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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f71add9 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52197 (https://www.gutenberg.org/ebooks/52197) diff --git a/old/52197-0.txt b/old/52197-0.txt deleted file mode 100644 index 9eb89b1..0000000 --- a/old/52197-0.txt +++ /dev/null @@ -1,5841 +0,0 @@ -Project Gutenberg's Home Arts for Old and Young, by Caroline L. Smith - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Home Arts for Old and Young - -Author: Caroline L. Smith - -Release Date: May 30, 2016 [EBook #52197] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOME ARTS FOR OLD AND YOUNG *** - - - - -Produced by Chris Curnow, Chris Jordan and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - HOME ARTS - FOR - OLD AND YOUNG. - - BY - MRS. CAROLINE L. SMITH. - (_AUNT CARRIE._) - - - ILLUSTRATED. - - - BOSTON: - LEE AND SHEPARD, PUBLISHERS. - NEW YORK: - LEE, SHEPARD AND DILLINGHAM. - 1873. - - - - - Entered, according to Act of Congress, in the year 1873, - By LEE AND SHEPARD, - In the Office of the Librarian of Congress, at Washington. - - - - -CONTENTS. - - - CHRISTMAS. - PAGE - How to make a Christmas Tree 13 - The Christmas Bran Pie 19 - Twelfth Night 21 - The Christmas Bag 22 - - - AMUSEMENTS FOR CHRISTMAS HOLIDAYS. - - Shakespeare Reading Clubs 23 - Private Theatricals 27 - Charades 30 - Con ju-gate 32 - Dumb-found 33 - So-ro-sis 34 - Lamentable 35 - Proverbs 37 - Tableaux Vivants 38 - Tableaux of Statuary 39 - Lights and Shades 41 - - - VENTRILOQUISM. - - What is Ventriloquism 44 - The Theory of Ventriloquism 46 - Practical Rules and Illustrations 50 - Polyphonic Imitations 55 - To Imitate an Echo 57 - Concluding Remarks 57 - - - NATURAL MAGIC. - - Æolian Harp 61 - Magic of Acoustics 62 - To show how Sound Travels through a Solid 63 - Theory of a Voice 63 - Singular Example of Superstition 63 - - - GARDENING, FLOWERS. - - How to plant Seeds 70 - The Queen of Flowers, the Rose 75 - Flower Beds 83 - Carnations 87 - Fuchsias 87 - Pansies 88 - How to plant Hardy Bulbs 89 - Japan Lilies 91 - Cape Bulbs 92 - How to grow Bulbs in Winter 93 - Garden Insects 96 - Some Useful Hints 99 - Moss Baskets 101 - Hanging Baskets 104 - Artificial Rockeries 107 - Ferneries 107 - Ivies 109 - Pressed Flowers 110 - Strawberries 113 - Grapes 115 - How to arrange Sea Mosses 117 - - - HOUSE AND HOME ARTS. - - Knitting 120 - How to knit a Stocking 121 - Baby’s Knitted Shirt 124 - Baby’s Blanket 125 - Border to a Blanket 125 - Knitted Bed-quilt 126 - Baby’s Blanket 127 - Sofa Cushion 128 - Table Mats 128 - Carriage, or Bed-room Mat 129 - Knitted Moss 129 - Plain Needle-work and Useful - Hints for Young Ladies 130 - Embroidery in Spangles and Cannetille 135 - Embroidery in Lamé of Velvet and Gold 136 - Embroidery in Feathers 137 - Cork Work 137 - Black Landscape 142 - Vegetable Flowers 142 - Ornamental Seed Work 143 - How to impress Leaves on Velvet 144 - Paper Pillow 145 - Imitation of Carved Ivory 146 - Diaphanie or Stained Glass 148 - Painting on Glass 151 - Painting on Velvet 153 - Casting in Plaster, Sulphur, &c. 156 - Engraved Boxes 159 - - - SOLITAIRE GAMES OF CARDS. - - The Legitimist 161 - The Sultan 163 - French Solitaire 165 - The Army Solitaire 166 - - - THE TOILET. - - The Bath 171 - Complexion 174 - Recipe to cure Freckles 175 - A Cure for Freckles 176 - A Cure for Freckles 176 - A Cure for Pimples 176 - Hair 176 - Carrot Pomade 178 - Bandoline 178 - Cold Cream 179 - Recipe for Camphor Ice 179 - Cucumber Salve 180 - To loosen Stoppers of Toilet Bottles 180 - To remove a Tight Ring 180 - Hair Wash 181 - Cure for Poison 181 - - - HOME READING. 182 - - - THE SICK ROOM. - - Cooking for the Sick 187 - Port Wine Jelly 187 - Toast Water 188 - To prepare Rennet Whey 188 - Flax-Seed Sirup 189 - Mucilage of Sago 189 - Applications for the Sick.--Refreshing - Lotion 189 - Recipe for Croup 190 - Remedy for Sore Throat 190 - Burns 190 - - - DIRECTIONS FOR MAKING BREAD, YEAST, &c. - - Bread 191 - Waffles 194 - Cream Tomato Soup 195 - Breakfast Cake 195 - Molasses Gingerbread 195 - Plain Cookies 196 - Moonshine Crackers 196 - New Year’s Cookies 196 - Sponge Cake 197 - Loaf Cake 197 - - - POLITENESS. 198 - - - - - HOME ARTS - - FOR OLD AND YOUNG. - - - - -HOME ARTS. - - - - -=CHRISTMAS.= - - -We beseech all our youthful readers _not_ to pass by our Christmas -chapter. - -We wish we possessed an abler pen, that would induce every family in -the land, rich or poor, to celebrate the birth of our Saviour Jesus -Christ, who gave his life for us. Even if some learned men think the -twenty-fifth of December is not the day Christ was born, what does it -concern us? We know Christ brought love and charity into the world, -therefore in gratitude we should celebrate his birth; the exact period -is of but little consequence. - -Seldon informs us that the Christian church, desirous of abolishing the -Saturnalia of the Romans, a festival instituted in honor of Saturn, -appointed a festival in honor of her Divine Master, Jesus Christ, to -supersede it. But the observance of the day did not become general -until about the year 500. The reason why the evening before Christmas -day is celebrated, is, that in the primitive church the day was always -observed as the Sabbath, and like it, preceded by an eve, or vigil. It -was once believed that if we were to go into a cow-house at twelve -o’clock, on the night before Christmas, all the cattle would be found -kneeling. Many firmly believe the bees sing in their hives Christmas -Eve, to welcome the approaching day. - -We deck our houses and churches with evergreen, because at this sacred -time the earth, then wrapped in darkness, was, as it were, clothed in -living green by the birth of Jesus Christ, our Saviour; fit emblems are -they, of the never-dying spirit of our Lord and Master. - -The laurel is used with other evergreens at Christmas, because of its -use among the ancient Romans, as the emblem of peace, joy, and victory. -In the Christian sense it may be applied to the victory gained over the -powers of evil by the coming of Christ. The mistletoe is used in all -Christmas decorations by the English. Its berries and its green are -very beautiful. It is a parasitic plant, and grows on the oak tree. A -branch of mistletoe is often hung over a door-way on Christmas Eve, and -if a gentleman can kiss a lady as she passes under the mistletoe, he -has on _that_ evening a right to the privilege. - -The evergreens mostly used in America are hemlock, spruce, laurel, -and the varieties of ground pine. The bright red bitter sweet berries -gathered in the fall add to the beauty of the wreaths. - -Many have asked the meaning of initials affixed to crosses on that -day, such as I. H. C., and I. H. S. The former stands for three Latin -words: “Jesus Humanitatis Consolator”--Jesus the Consoler of mankind; -the latter, “Jesus Hominum Salvator”--Jesus the Saviour of Men. On some -very ancient crosses are found I. N. R. I., “Jesus Nazarenus, Rex -Judæorum”--Jesus of Nazareth, King of the Jews. - -“Yule” was a name anciently given to Christmas, and it was the custom -to select a large log to burn on Christmas Eve, for in those days -the old-fashioned fireplaces would hold very large logs of wood. The -festivities of that night lasted until the log burned out. This log was -called the “Yule log.” - -The Scandinavians watched the declining rays of the sun from early -spring even to December, with great anxiety, and erected slanting -dolmens to detect the first certainty of its approaching return; -and when informed that its face was once more turned towards their -habitations, over which their enemy, the snow, had already usurped his -authority, they brought the “Yule log” to the fire, and danced, and -sung, and shouted, and drank, the grand carouse of all the year, making -the frozen air jubilant with their Christmas carols under the mistletoe. - -Our Pilgrim Fathers had suffered so much persecution from the Church of -England, that they abolished all church festivities. Their persecutions -made them austere in all things. They looked upon church festivals -as devices of the evil spirits, forgetting that He who gave us the -bright sun, lovely flowers, and sparkling streams, rejoices to see man -cheerful as well as good. - -Our Pilgrim Fathers suffered much for our good, and now our noble free -country can afford to have many festivals. - -The celebration of Christmas is fast winning its way, even in New -England. The beautiful custom of decorating our homes and our churches -yearly increases throughout the land. What can be more appropriate than -to celebrate the birthday of our Saviour with garlands and songs, and -the affectionate interchange of gifts. - -God gave us his only begotten Son; we in humble imitation give gifts -to our loved ones. God’s deeds seem consistent with this day. He, -whose birth we celebrate, gave his life for us. Can we restrain our -hands from relieving, our hearts from sympathizing with the poor, the -bereaved, and the distressed? - -The custom of giving presents at Christmas originated in Germany. -It was derived from the ancient feast of Sol. The children of many -Americans, who remember Christmas, hang up their stockings Christmas -Eve, thinking “Santa Claus” will come in the night and fill them with -gifts. Some, to avoid being roused at too early an hour, have taken a -large bag, as a receptacle for presents, and the father or mother of -the family in due time distribute the presents. Others have had a table -spread with their gifts of love, or place their gifts carefully under -the breakfast plates, or on the chairs at the table. But the German -custom of Christmas trees is by far the most desirable. We wish it was -universal here. The writer of this assisted in preparing almost the -first tree in our portion of New England, but since then the Christmas -tree has spread far and wide; a tree more productive of pleasure and -fun was never before planted. - -We will give some simple directions for the arrangement of the -Christmas tree, hoping to induce some families, who have felt a -Christmas tree was too expensive, to plant it this year. This tree is -within the means of the poor as well as the rich, by the exercise of -the united skill of any family. - -We think all such festivals and family meetings assist in making “the -home” the dearest spot on earth. - - -1.--HOW TO MAKE A CHRISTMAS TREE. - -The first thing to be considered is how to obtain a suitable tree. - -If you are not near any woods, and intend to purchase an evergreen from -a nursery of trees, the “silver fir” is decidedly the best adapted for -that purpose. In the large cities, trees of all kinds can be easily -bought; they are carried through the streets for sale. If you go to -the woods, the common spruce is the most suitable. The hemlock is the -prettiest green, but its boughs are not sufficiently firm to bear any -considerable weight. If a spruce cannot be found, hemlock can be used -by nailing narrow slats of wood across the tree and under the branches, -as a support. Paint the slats green, and they do not show; in that way -candles and presents can be firmly fastened to its branches. - -If the tree is not perfect in shape, nail on here and there an extra -branch, until it becomes symmetrical. - -Take a small round tub, or half of a small cask. Place your tree in the -centre and brace it firmly, and fill the cask with sand. Cover the cask -with green moss; it is the prettiest green for the purpose. It can be -covered with little branches of hemlock if moss cannot be procured, or -even a green floor mat can be placed around it. Another simple way to -fasten a tree firmly, is to take a suitable block of wood, and have a -hole made in the centre just to fit the stem of the tree, and cover the -block with moss, or paint it. Then place your tree either in the centre -or corner of your room where it is to be, first spreading a white cloth -over the floor, which will not only protect your carpet, but add to the -brilliancy of your tree when it is lighted. Some use a small tree, and -place it in the centre of a table; the presents too large and heavy for -the tree, are placed upon the table. When your tree is firmly placed -in the right position, fasten on your candles with little tins, cut -in the form of a diamond, with two very acute angles, and bent in the -centre to form a right angle; push one point into your tree, and on -the other fasten your candle or taper. The latter is the prettiest, -and neatest to use. Buy the colored wax tapers. If you prefer you can -cut up candles. Tapers or candles can be fastened also to your trees -by wires, or by melting one end of the candle, and while hot, fasten -it by the melted wax to the branch of the tree. Also you can purchase -tins prepared to hold the tapers, made with a sharp point to fasten to -the tree, and one to put in the taper; that point must be heated before -fastening it to the candle. This tin has a hollow rim around it to -catch the melted wax. - -Trees can be lighted with gas, by unscrewing the centre gas chandelier, -and fastening on a gas pipe reaching to the floor, with branches or -arms of different lengths, according to the size of the tree, longer at -the bottom, shorter at the top. Fasten your tree firmly close to the -centre pipe; the branches of the tree should hide it. The branches -of the gas-pipe should be wound with gold or green paper, and the -branches of the tree placed, if possible, over them. This makes a -brilliant tree, and is much easier to light, and does not require to be -constantly watched. But wax tapers are more appropriate. - -When your tree is firmly fastened and the lights all arranged, hang on -your ornaments with wires and ribbons, commencing with the top of the -tree first. - -We will give a few simple directions for making ornaments, which may be -useful to those who cannot afford to purchase. - -To form gilded balls, take nuts, such as walnuts, filberts, and English -walnuts (the latter nut can be opened and filled with anything you -please, and then glued together again). Fasten a long tack or nail -into the end of the walnut to hold it by, and afterwards to suspend -to the tree. Wash the nut all over with the white of an egg, laid on -with a feather. Then roll it in leaf gold till it is well covered. Be -careful you do not breathe over the leaf gold, or it will fly away from -you. A cheaper way is to take a sheet of gold paper, and cut a piece -sufficiently large to cover the nut. Brush it with paste, then fasten -it round the nut, rolling it over and over in your hand, to fill in -every crevice. Apples covered with gold paper look very tempting; a -smooth-skinned apple, of medium size, can be used, and the gold paper -should be cut in sections, so that it will fit the apple smoothly. - -Pretty little ornamental bags can be made of English walnuts. After the -shells are well cleaned, varnish and paint or gild them in stripes, -then bore holes in each half shell at the top and bottom, and fasten -them together with narrow ribbon. Another prettier way is to take -pieces of colored silk or ribbon, and fasten together at the side, then -take half of one side of a nut, and glue the silk firmly all around the -inside edge; hem the top of the silk and run in a string, or simply -take strong saddlers’ silk and run all around, to draw it up. Thus is -formed a pretty bag, which can be filled with candy; lace bags, filled -with candy and parched corn, are ornamental. Take oblong pieces of -coarse lace, run into the meshes bright colored worsted, then fasten -them into a bag firm with the same worsted, and draw them up at the top -with worsted. Birds’ nests add to the attraction of the tree. Take some -halves of unboiled egg-shells; dip them in white of egg (but first you -must have some moss ready), make a hollow of moss in your hand, and put -the half shell in it. The moss will adhere to the outside. Take care -that your moss be thick enough to hide the white of the shell. Line -the inside with down or cotton wool, and put sugar-plum eggs in it. -These nests look charming in the dark foliage of a tree. Small flags -are a great addition; we would suggest that flags made to represent -the national banner of other nations would be pleasant work for both -boys and girls, illustrations of all of which can be found in any large -atlas. - -For horns of candy, get some white cartridge paper, cut squares, -ornament them with pictures, mottoes, gold, silver, and fancy paper; -shape them into a horn, and paste them firmly; cut off the top point -and bind the rim with paper or ribbon, also paste on a loop of ribbon -to fasten to the tree, and fill them with candy. - -Glittering crystals, made of alum, are very pretty. To make them, -dissolve alum in hot water until it will hold no more, then strain it -off. Then take bonnet wire and form little baskets, sprays of leaves, -little wreaths, or make the wreaths of tiny sprigs of spruce, fir, or -take raisin stems (a slightly rough surface is necessary), suspend -these by a network of string tied across the top of a deep basket; -the dissolved alum must cover each article entirely; let them remain -undisturbed over night. Remove them carefully the next morning, and you -will find them glittering with minute crystals, resembling diamonds. If -powdered turmeric is added to the hot alum solution, the crystals will -be bright yellow. Litmus will cause them to be of a bright red. Logwood -will turn them purple. The more muddy the solution the finer will be -the crystals. - -Sprays of mock coral, also tiny baskets of the same material, add to -the tree’s beauty. To make them, take bright red sealing-wax, powder -it, and dissolve it in alcohol. Then take your twigs, sprays, or -anything you wish to imitate coral, and dip them in the above mixture -until they are well dyed. - -Baskets made of moss and filled with natural flowers, add a fresh -beauty to the tree. Balls made of cake, and frosted all over, look like -snow balls. Pop corn balls make quite a show. Bits of cotton wool, -covered with diamond powder, and scattered over the tree, imitate snow. - -Take gold paper, cut it in strips a quarter of an inch wide, and an -inch and a half long. Take one of the strips and fasten together with -paste, forming a ring; then take another strip and pass it through -the ring just formed, and fasten it together with paste; continue this -process until you have made a long chain. A number of these chains, -festooned from branch to branch, resemble chains of gold. - -Fairies always please children, and are easily made. Purchase some -small, jointed wooden or china dolls, and different colored tarlatans -for dresses, and form the wings of white tarlatan, or of white linen -banking paper. Take butterfly wings for a pattern; sew on gold and -silver spangles on dress and wings, or paste on tiny stars of gold and -silver paper. Cut little strips of gold paper, and roll them up, as -you do paper lamp-lighters, for the wands. Fasten them with thread or -wire to the hand of the fairy. The crown of the queen can be made of -gold paper, cut in strips long enough to go round the head, and cut it -in points in front, and paste it round the head. Fasten wire round the -waists of the fairies, leaving one long end to wind around the branches -of the trees. Thus they look as if they were flying. - -Many pretty things can be made from egg-shells, such as pitchers, -bowls, goblets, and tiny cradles; ornament them with gold paper and -little colored pictures. - -There are hundreds of little glittering toys, which can be purchased -for a few pennies, such as brass beads, little looking-glasses, glass -balls, gilded toys, &c., too numerous to mention; odd bits of tin hung -among the branches glitter very prettily. - -Every member of a family preparing a Christmas tree, should use his -or her wits to contrive little inexpensive ornaments; even the little -ones, with some instruction, can make many pretty things, and it will -add tenfold to their pleasure to feel they have assisted in ornamenting -their precious tree; only let them _think_ they can do it, and most -assuredly it will be done. - -In making presents, every member of the family should strive to find -out the wants and tastes of those to whom they intend to give presents, -thinking only of giving pleasure, and not of personal gratification of -their pride or love of show. The golden rule our blessed Saviour gave -us should be ever uppermost in our minds. Love should be the presiding -genius of every home festival. - -God works upon our hearts in many and various ways. Often the simplest -thing in life may awaken us to a right sense of his goodness and mercy. -So in home influences, if a Christmas tree every year can add one link -to the chain which binds us in love to one another, should we not be -paid for weeks of labor? Every child thus early taught thoughtfulness -for others, must feel the good effects through life. - - -2.--THE CHRISTMAS BRAN PIE. - -The bran pie is often used in England, in place of the Christmas tree, -or as an addition to the “Twelfth Night” party. - -It is within the means of every family, as its contents can be -inexpensive or expensive, according to the taste and means of the maker. - -First, a large wooden bowl should be obtained, or any large tin pan -or dish. This can be covered with white cloth or not, as the maker -pleases; a wreath of evergreens around the edge is an improvement. - -The contents of the pie may be sugar hearts, rings, kisses, or any -bonbons, mock rings, or gold rings, indeed, any article which can be -easily tied up in a small bundle. It is desirable that there should be -many articles in this pie that will cause fun and laughter. Blanks, -such as an empty box, or some trifle rolled up in many papers. A bright -piece of silver, called a lucky piece, or a half-sixpence, enclosed in -a nut-shell, and like all the rest of the articles, tied up in paper, -adds to the sport. All these bundles should be placed in the large bowl -or dish and covered with bran. A large spoon can be laid on the top of -the pie. - -This pie should be placed on the table, after a Christmas dinner or -supper, the guests or family all remaining in their seats around the -table. If there are many little ones, it can be arranged beforehand, -and have a servant, or some member of the family, place the pie at the -front door, and ring the bell furiously and blow a trumpet; also place -a paper on the top of the pie, on which is written, “A present from -Santa Claus.” As soon as the bell is rung, the ringer must disappear -at once, as children are wide awake at Christmas. We had a bran pie -brought in that way; the children rushed to the door, and in their -eagerness to see Santa Claus, ran past the pie some distance, looking -eagerly on all sides; when they returned, one little boy declared he -saw him whisking round the corner of the street. When the pie is on -the table, everybody is invited to partake. Each in turn takes a -spoonful; whatever bundle the spoon touches is theirs; the bundle must -be opened at once and exhibited before the next person dips. The very -inappropriateness of some of the gifts helps to create laughter, and -there is a good deal of amusement in the after exchanging, or refusing -to exchange, when the pie is all distributed. - - -3.--TWELFTH NIGHT. - -In England their festivities continue twelve days. Twelfth Night is -sometimes called “Old Christmas,” as it was the day celebrated as -Christmas before the almanac was changed. The change was made by Pope -Gregory XIII., during the year 1752. Therefore Twelfth Night has its -own peculiar festivities. In some portions of England they have a large -gathering of friends. During the evening two dishes of little frosted -cakes are passed round, one for the gentlemen and one for the ladies. -In each there is one cake with a ring, and one with a broken sixpence. -The two who get the ring will be married before the year is out. The -broken sixpence indicates an old bachelor or an old maid; but if the -two agree to join their broken sixpence, there is a chance for them. So -says the old tradition. - -A lady, whose early youth was spent in England, says where she lived -Twelfth Night was celebrated especially by the children. At their -social parties they selected a king and queen, who regulated the -festivities of the evening. Sometimes the lady of the house prepared -cards, with various figures written or drawn upon them, among them a -king and queen. Each child drew a card on entering, which designated -the character he or she was to represent. Of course the lady managed to -slip the cards of king and queen into the hands of those best able to -preside. - -In one of our small cities, where there are several families who unite -in keeping Twelfth Night every year, they have but one ring, and -whoever gets it must give the party the next year. - - -4.--THE CHRISTMAS BAG. - -Make a large bag of thin white paper or silver paper, fill it with -sugar plums, and tie a string around the top, to keep it fast. Then -suspend it from the ceiling, or from a large door frame, and provide a -long, light stick. Each little child is blindfolded in turn, and the -stick put into his or her hand. She is then led within reach of the -bag, and told to strike it. If she succeeds in her aim and tears a hole -in it, the sugar plums are scattered on the floor, and the little ones -scramble for them; but it is by no means easy to strike a suspended -object blindfolded; generally many attempts are made unsuccessfully. -Each child is allowed three trials. The maker of the bag can put in it -tiny books, pincushions, or any little toy, with the sugar plums. This -bag would add to a child’s party; it is often used at birthday parties. -An older person should always superintend, for some children would be -greedy or rude. - - - - -=AMUSEMENTS FOR CHRISTMAS HOLIDAYS.= - -ADAPTED TO ALL AGES. - - -Shakespeare reading clubs, private theatricals, charades, and tableaux -are deservedly the popular home amusements of the present day. They -certainly strengthen the lungs and memory, and improve the intellectual -tastes. These amusements are peculiarly adapted to enliven long winter -evenings. As some of our young friends may not understand the _modus -operandi_ of these amusements, we will try and enlighten them. - - -1.--SHAKESPEARE READING CLUBS. - -Some clubs read Shakespeare alone. It is most certainly a noble -study, and one we can never weary of. Few can hope ever to excel in -delineating Shakespeare. Therefore it is well, if we meet together -for social enjoyment as well as improvement, to have a variety of -plays, such as Sheridan Knowles’ plays. Also, it is an admirable way -of learning to converse easily in German and French to read plays in -the different languages. In reading these plays, the parts, in the -beginning, should be given to different members. - -The librettos of many excellent plays can be bought for a very small -sum, such as “Ion,” “Hunchback,” “William Tell,” “Love’s Sacrifice,” -and many other excellent old plays. These small books are less -cumbersome to carry around. It is well before the club meets to read -any play, to have each person read over his or her part, so as to be -able to comprehend the character. Therefore the play to be read at -each reading should be given out at the close of every meeting, and -the parts selected, each member having an equal share. Such clubs are -far more agreeable to its members, and less likely to cause unpleasant -rivalries, than clubs for private theatricals, as private actors are -often jealous, for human nature, alas! is weak. - -We have known of some very successful clubs, where discord and jealousy -never appeared, and where harmony reigned. We will give the manner of -proceeding adopted by one of them, as it may assist in the formation -of others. The club was started by some young ladies, with a view -of making home and winter evenings agreeable to their brothers. A -committee was chosen to form a code of laws. Each one was to subscribe -a small sum to purchase the librettos of their plays. The following -rules were signed by all the members:-- - -1. Each member of the club must take his or her turn in choosing a -play, and in giving out the rôle of characters. - -2. Every member must take the characters given him, and do his best, -unless he can exchange parts with some other member, with the consent -of the one who selected the play. - -3. The one who selects the play has a right to the best character. - -4. The club shall meet once a week at the houses of members, in -alphabetical rotation. - -5. Whenever any member is unable to take his part and cannot attend the -meeting, he must provide some one to take his character. - -6. No new member can be admitted without the vote of the majority. - -7. Each member must study his or her part well, before meeting with the -club. If any two, or several, should have difficult parts together, -they must meet privately and practise them. - -At first they merely read the plays; but soon they partially acted -them, and found them increased in enterest thereby. They always had -their little librettos by them. Those who had ready memories rarely -referred to them, or a mere glance would be sufficient. Finally they -dressed in character, and admitted an audience composed of their -relatives. - -There is not necessarily anything awkward in having the books in hand. -Such little pamphlets can be easily rolled up, and will scarcely be -noticed. Under these rules they became familiar with the best plays, -without wearying of them, and each member had an opportunity of -consulting his own taste. - -Before the winter closed the members of this club found they could so -easily learn their parts, that they rarely were obliged to refer to -their librettos. Constant practice improved their memories. Often those -whose parts were associated together, would meet for private practice. - - -2.--PRIVATE THEATRICALS. - -Private theatricals amuse a large circle of _friends_, and any club -willing to undertake the presentation of plays deserve the thanks of -their audience. - -Even a simple farce requires much labor and frequent rehearsals to be -well acted, and one soon wearies of the constant repetition of even -witty sayings. The most trivial character must be carefully studied, -for one bad actor often destroys the effect of the whole play. Then the -footlights, stage, &c., must be prepared. A few directions, with a list -of easy farces, may be of service. All who live in cities can easily -hire scenery, dresses, &c., but for the benefit of towns and villages, -we will give a short account of how such things can be managed. - -Some lady can almost always be found who will give the use of her -house. A house should be selected which has two parlors, connected by -large folding doors or an arch; one parlor being for the audience, and -the other for the stage. All the furniture and carpets should be taken -from the latter room. A rough staging should be built (boards can be -easily hired), and by boring a hole in the floor, a gas pipe can be run -up along the front of the staging, with a sufficient number of burners. -Tin shades painted green (as they render the light softer, and more -agreeable to the eye), are an addition, for they keep the light from -the audience, and throw it directly on the actors. A large floor cloth -can be nailed on the stage for a carpet. A drop curtain, so arranged -as to be rolled up quickly and easily, by means of a cord pulley at -one side of the stage, where the prompter sits, just out of sight of -the audience, is necessary. Scenery for the sides and back parts of -the stage can be roughly painted on cloth; it answers every purpose of -canvas, by being strained when wet, over light wooden frames (made so -as to be easily moved); when dry, it presents a smooth, hard surface. - -Each member should provide his or her own dress. To give the required -expressions to the faces, a box of good water colors, some fine chalk -powder, camel’s hair pencils, and rouge saucers are wanted. To make -frowns, scowls, or comical expressions, such as a broad grin, smirk, or -simper, stand before a mirror and assume the desired expression; then -trace the wrinkles produced with a fine brush of the brown tint; this -will fix the required expression on your face. Rouge is best applied -with the finger. Burnt cork is excellent for darkening eyebrows and -making moustaches, also for representing leanness, which will be done -by applying a faint tint just under the eyes, on the sides of the -cheeks, and under the lower lip. A strong mark running from the corner -of the nose down towards the corner of the mouth on each side marks age -or emaciation. - -A few directions may be of use in regard to the preparation of -theatrical dresses. Powdered wigs can be made of tow, ravelled yarn, -or gray-colored horse hair; beards and moustache of the same, or a -piece of buffalo skin. Ermine can be made of cotton flannel, with tags -of lion-skin cloth sewed on, or black tags painted. Pelisse wadding is -sometimes used. - -Crowns and sceptres are easily made of pasteboard and gold paper. -Velvet talma cloaks, capes, or even the loose velvet sack, can be -converted into cavalier cloaks (the armholes in the sack must be -fastened up on the inside) by fastening them gracefully over one -shoulder. Then put on a large old-fashioned lace collar, ruffles -around the hand, a Kossuth hat, looped up on one side with a paste pin -or buckle, fastening a white or black plume (taken from some lady’s -bonnet), stockings drawn over the pantaloons and fastened at the knees -with bows and buckles; and, lo! with but little trouble, you have a -fine cavalier of the olden times. With old finery and little ingenuity, -a theatrical wardrobe can be quickly made, if all are willing to do -their part, but the larger share of the work is generally done by a -few. Rocks can be made by throwing plain gray blanket shawls over -ottomans, tables, &c. Rain may be imitated by dropping peas in a tin -pan; thunder, by rattling sheet iron; lightning by means of a tin tube, -larger at one end than the other, and filled with powdered resin. The -smaller end of the tube should be open, the other end so managed that -the resin may sift through. Shake the tube over a lamp, or blow the -resin through a plain tube into the flame of a lamp, and you will have -a good imitation of lightning. - -Dissolve crystals of nitrate of copper in spirits of wine, light the -solution and it will burn with a beautiful emerald green flame. Pieces -of sponge, soaked in this spirit, lighted and suspended by fine wires -over the stage of theatres, produce the lambent green flames now so -common in incantation scenes. Strips of flannel saturated with it, and -wrapped around pieces of copper, will form the swords and fire-forks -brandished by the demons in such scenes. Devices like the above are -very simple, and add much to the general effect. - - * * * * * - -The publishers of this book have printed a large number of small plays, -adapted for private theatricals, called “The Amateur Drama.” We will -mention a few of them that are good; the old comedies and farces are -well known to all. - -DRAMAS IN TWO ACTS. - - Sylvia’s Soldier, 3 male, 2 female characters. - Once on a Time, 4 " 2 " " - Down by the Sea, 6 " 3 " " - Bread on the Waters, 5 " 3 " " - The Last Loaf, 5 " 3 " " - -DRAMAS IN ONE ACT. - - Stand by the Flag, 5 male characters. - The Tempter, 3 " 1 female character. - -FARCES.--MALE AND FEMALE CHARACTERS. - - We’re all Teetotallers, 4 male, 2 female characters. - A Drop too Much, 4 " 2 " " - Thirty Minutes for Refreshments, 4 " 3 " " - A Little more Cider, 5 " 3 " " - -FARCES.--FEMALE CHARACTERS ONLY. - - The greatest Plague in Life, 8 characters. - No Cure no Pay, 7 " - The Grecian Bend, 7 " - -ALLEGORIES.--ARRANGED FOR MUSIC AND TABLEAUX. - - Lightheart’s Pilgrimage, 8 female characters. - The War of the Roses, 8 " " - The Sculptor’s Triumph, 1 male, 4 female characters. - - -3.--CHARADES. - -There is no game that can afford so much amusement to a circle of -friends as that of acting charades. It affords a scope for the exercise -of both wit and ingenuity. - -A word must be chosen, in which the syllables may be rendered into some -kind of a lively performance, and the whole word must be capable of -similar representation. Then the plan of action must be agreed upon. -Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, -gowns, &c., must be looked up for the occasion, and speedily converted -into various and grotesque costumes, suited to the representation to -be made. By exercising a little ingenuity, very fine charades can be -acted “impromptu.” Speed, in all preparations, is quite necessary to -success, as an audience is always impatient. If it is determined to -have charades at a party, the lady of the house should arrange dresses, -plan of action, and subjects, beforehand. She can generally tell who -can assist her best. If all the arrangements can be made without the -knowledge of her guests, the effect will be greatly increased. This is -also an improving game for a family of children. Write the plot and a -simple dialogue, and let them learn it; it will be a good exercise for -the memory, and teach them ease of manner; but let them only act before -a home circle. - -A talented friend of ours has a very pleasant way of acting charades in -her own family circle, which is well adapted for large family circles, -such as assemble together on Thanksgiving, and during Christmas -holidays. This lady unites her family with a few other pleasant friends. - -For a good charade party, twelve or more persons are desirable, and two -rooms, connecting by sliding or folding doors, are the most convenient, -though two connecting by only a single door will do, if the party is -not a large one. - -First, two persons should be chosen managers; then the managers must -choose sides, so that the company will be about equally divided. The -sides then take separate rooms, to become, alternately, actors and -audience; the managers draw lots to see which side shall act first. -Those that are to begin, first choose a word, then proceed to represent -it. A common way is to divide the word into syllables, and present one -at each scene, then, after having gone through the word, if the other -side cannot guess it, a scene is given to represent the whole word. -When all is ready for a scene, the door is thrown open for the others -to look in and guess it. Frequently a whole word is given at once in -one scene. The manager must always announce whether one syllable or -more is given. After giving the audience time to guess it or give it -up, the parties change rooms, and the other side must act; they will, -of course, have their word selected and all arrangements made, as they -had sufficient time while waiting for the others. - -In acting the word, each party must try to mystify the other, yet the -syllable must be well represented; but there can be by-play to divert -the audience from the real word. The party that guesses the whole word -the soonest, are considered the conquering party. Care must be taken -not to let the actors know if the audience guess the word before it is -fully acted. - -Sometimes in the place of words, proverbs are acted. Each word is acted -in turn, or two words are acted in one scene; if the latter, before the -scene is acted, some one of the actors can inform the audience that -they will act two words of the proverb. - -A few directions for acting certain words and proverbs, and a short -list of words and proverbs easy to be acted, may be an assistance to -our youthful readers. - -If a word or syllable can be represented by action, it should be seldom -spoken; but in some cases syllables must be spoken to give an idea of -the word. Some prefer acting charades entirely in pantomime. - - -4.--CON-JU-GATE. - -_Con._ Arrange a school, one of the actors dressing as a country -schoolmaster; let the scholars all have books in their hands, conning -their lessons in loud whispers. - -_Ju._ The same school can be retained. One of the actors, dressed as a -German Jew pedler, can come to the school to sell pens, pencils, paper, -chalk, &c. He can talk in a broken Jewish manner. The _Jew_ should be -prominent in this scene. - -_Gate._ This syllable, instead of the common representation of a gate, -made with a small clothes-frame, &c., can be represented by having the -whole company of actors dress in odd garments, and walk about the room -in couples, each with a different gait, hobbling, striding, pompous, &c. - -_Conjugate._ Let the same schoolmaster assemble his unruly school, -and give out verbs to be conjugated; the scholars, to make the scene -ridiculous, should mix up languages and conjugations in a medley. - - -5.--DUMB-FOUND. - -_Dumb._ Let a certain number of the actors be seated in a row, when the -door opens, or the curtain is drawn aside; let them remain perfectly -silent for two moments, then let them silently rise and walk out of the -room. Or as they sit silent, some actor can come in and ask questions -to each, receiving only a vacant stare in answer; he then can rush out -of the room, calling them a stupid set; it would be too plain to call -them dumb. - -_Found._ This can be made very amusing by arranging a court scene, -judge, jury, and lawyers, and a prisoner’s box, in which an actor, -dressed as a servant-girl, can be seated as the criminal accused of -stealing a pocket-book. Witnesses can be examined. After the court has -gone over the case, and the lawyers make as much sport as possible -in their examination, a boy, dressed as a ragged Irish boy, should -rush in, pocket-book in hand, calling on the judge to hear him. After -ordering him to be turned out, and much talk being made about turning -him out, at last, in a broken Irish voice, he must scream out, “Plaase -yer honor, it’s me that _found_ it,” holding aloft the pocket-book. The -judge must request to see the pocket-book. (A young boy once acting -this part, caused much laughter, by exclaiming, “Och, and indade is the -court honest?”) The judge having examined the pocket-book, declares the -girl innocent, and dismisses the court. - -_Dumbfound._ The room should be partially darkened, and some of the -actors seated around the room talking as they please. One of the actors -can be dressed as a ghost. A giant ghost acted by dressing up an -umbrella, or a broom, arranging it with long white drapery of sheets, -and the person carrying it can raise the dressed-up umbrella or broom -as they enter the room. The ghost can glide slowly around the room; -its occupants should exhibit silent horror, either by crouching down, -contortions of the face, or in any way possible, but not a sound should -be uttered. - - -6.--SO-RO-SIS. - -_So._ One of the actors should be dressed as a schoolmistress; some -children can be seated by her with patchwork in their hands. The -mistress can teach them sewing, while in another part of the room an -actor must hold some papers of seeds, and pretend to be sewing the -seeds in a box or pot of earth. - -_Ro._ Place the actors all in a row; let them stand gazing at the -audience a moment, then all at the same time make a low bow to the -audience, and that scene is over. - -_Sis._ Have a school, and the master should call “sis” to come and -recite; any little girl can take the part of “sis,” or some boy can -complain of his “sis” to the teacher. - -_Sorosis._ Can be made very amusing by representing an assembly of -strong-minded women. The gentlemen actors can dress in outlandish -dresses, and act the part of women. They can choose a president, and -other officers, &c. - - -7.--LAMENTABLE. - -FRENCH CHARADE. - -“L’amont” can be acted well in pantomime by representing an old deaf -man, and his young wife; the old man with spectacles on nose, sitting -in a large chair, reading the newspaper, his young wife standing behind -the chair. A low tap is heard at the door. She starts and listens; the -door opens slyly and discovers a young man. She starts with delight, -but points to the old man, motioning the young man to go. He makes -gestures of despair; then appears to have a sudden thought, bows, and -retires. Soon a loud knock is heard; she goes to the door, and returns -with a letter, giving it to the old man; he reads, shakes his head, -and hands it to her; she looks at it, runs for his hat and coat, and -motions him to go. He leaves at one door, while _L’Aman_ enters at -another. Then they act a lover-like scene, and the curtain drops. - -_Table._ She again appears with sleeves rolled up, apron on, -rolling-pin in hand, making cakes, the young lover standing by, and now -and then eating one of the cakes. They hear a heavy step, and the lover -runs for a hiding-place. At last he springs under the table, and she -pulls a table cloth down around it, and goes on rolling cakes. In comes -the old man, hobbling along. He looks around and suspects something, -and begins a strict search. Thus ends that scene. - -_Lamentable._ The same actors appear, but the table is turned over, -and, behold! the old man has seized the young lover, and is brandishing -aloft a heavy cane, while the young wife appears, weeping bitterly. - - * * * * * - -The following words are easy to be acted:-- - - Back-bite. - Com-fort. - In-fan-tile. - Pa-pa-cy. - Fare-well. - Car-pet. - Bond-age. - Ann-ounce. - Sin-cere. - No-bil-i-ty. - Pen-i-tent. - Bride-well. - Brace-let. - In-firm. - Spec-ta-cles. - Per-mu-ta-tion. - Rail-way. - Trans-mute. - - -8.--PROVERBS. - -SAFE BIND, SAFE FIND. - -_Safe._ An actor takes the part of a distracted mother, rushes around -the room exclaiming, “My child is lost!” “He must be drowned!” &c. Soon -one of the actors can rush in with a child, exclaiming, “Madam, your -child is _safe_, but I found him in a little boat, floating out to -sea;” other actors can rush in, all talking at once, some scolding the -child, others rejoicing he is safe. - -_Bind._ The one acting the part of mother can be seated with her -work in her hands, and in her basket some rolls of old cotton. Three -children can come in crying, one with a cut head (take some red paint, -and make a splash on the forehead to represent blood), exclaiming, “O, -dear, I’m killed, I know.” The other, limping and crying, “O, my foot -is broken! O, dear! O, dear!” The other complaining of her hand, all -talking at once. The mother must order them to talk one at a time, and -she will bind up their wounds. Then she can take her rolls of cotton -and bind up the injured parts. - -_Safe._ The mother and children can be seated talking, when a knock -comes at the door. One child opens the door and admits a pedler; after -showing some trifles, he declares he has some wonderful money safes, -and exhibits some boxes, and expatiates on the virtues of his safes. -The mother can purchase one for each child. - -_Find._ The same mother can be seated as usual, when the children must -come running in, telling that one of their number has lost his safe. -They all hunt for it, and look everywhere to find it, to no purpose. - -_Safe bind, safe find._ The scene opens with a little girl tied into a -chair, reading a book. The mother must come in arrayed for the street. -On entering, she must exclaim, “I am thankful I have at last found -a way to keep my child from being lost.” Then she must turn to the -audience, and ask them if they can tell her the proverb. If they cannot -guess, she must ask if she shall tell them. Sometimes the audience -require time to talk it over before they are willing to own they cannot -guess it. - - * * * * * - -One example will sufficiently illustrate the manner proverbs are acted. -We will now give a list of some proverbs adapted for action. - - Ill weeds grow apace. - Little pitchers have large ears. - Fine feathers make fine birds. - Union is strength. - Time unveils truth. - Black cats have black kittens. - Necessity is the mother of invention. - All is not gold that glitters. - Slow and sure. - - -9.--TABLEAUX VIVANTS. - -Tableaux vivants, as commonly represented, are so well understood -that no directions are necessary; but some of our readers may not -have heard of the illustration of poems, &c., by a series of living -pictures. This is far more interesting than simply to personify some -one picture. Still another way is to represent the different verses and -scenes in a song in pantomime, while at the same time some one who is -a good musician sings the verses of the song, as they are represented. -For instance, “The Mistletoe Bough;” first represent a room decorated -with green, a company assembled, gayly dressed and dancing, while a -lady or gentleman behind the scene sings the verse represented in -distinct tones, and so on through the whole song; the last scene, -representing children in a lumber-room opening an old chest, and -exposing a skeleton, old flowers, &c. “Auld Robin Grey,” “The Three -Fishers,” “O, they marched through the Town,” “She wore a wreath of -Roses,” “The Minstrel’s Return from the War,” are all excellent ballads -to represent. - - -10.--TABLEAUX OF STATUARY. - -This is a new form of tableaux, and if well done, exceedingly beautiful. - -To prepare and arrange groups of statuary requires artistic skill, -patience, and steady nerves; the two last qualities are necessary for -those acting as statues. - -A lady who excels in preparing groups of statues, as we can testify, -has kindly permitted us to give to the public her manner of preparing -them. - -First, some effective groups of statuary must be selected, and -carefully examined. Then those persons who are willing to gratify their -friends by acting as statues, can be arranged in the different groups -according to their fitness; those acting as statues, require marked -features, and in most groups fine figures to _build_ upon, as drapery -conceals minor faults. All that can be prepared before the evening, -are the head gear and the articles for drapery. A cap must be made of -white linen or cotton, closely fitting the head. Take candle-wicking, -and knit it on common sized ivory needles, wet it in hot water, -and iron it dry. Then ravel it out, and cut it into the desirable -lengths, and fasten it to the cap like a wig. When placed on the head, -this candle-wicking can be arranged according to the statue to be -represented, and it will resemble the hair carved in marble. If expense -is not to be considered, the drapery should be made of cotton flannel, -as it hangs heavier, and is more easily arranged than sheets, which are -generally used to save expense. From three to four sheets are often -required for the drapery of one person, as it is necessary to hang in -such heavy folds to look like marble. One is usually doubled up and -tied around the waist, the others folded, tied, and pinned, to resemble -the drapery of the statue represented; rules are impossible to give, as -the arrangement can only be made by an ingenious as well as an artistic -person. Now comes the most disagreeable part, that of painting all -exposed parts, such as neck, face, hands or feet, to resemble marble. -First, common whiting must be mixed smoothly in water, the consistency -of milk. This is put on with a shaving brush, and every part wholly -covered with this preparation; let that nearly dry, then rub it in -with the hand, then rub in lily white, to give the flesh, besides the -whiteness of marble, the soft look of polished marble. The lips are -finished at the last moment. Old white stocking legs drawn over the -arms will save the trouble of painting them. Then the statues are ready -to be grouped for exhibition. Any person who is nervous, restless, and -easily inclined to laugh, cannot act as a statue. It is not possible -to realize the beauty of such a group of living statuary, when well -done, unless it has been once seen. We advise those attempting to get -up exhibitions for the benefit of some charitable object, to try a few -groups of living statuary; it is very effective to an audience. - - -11.--LIGHTS AND SHADES. - -If you wish to throw the background of a tableau into shadow, place -screens between the lights at the sides of the stage and that part of -the picture you wish to have dark; _vice versa_ with the foreground. -Particular points or characters may be more brilliantly lighted than -others, by placing at the side of the stage a strong light within a -large box, open at one side, and lined with bright tin reflectors. - -Lights of different colors can be thrown successively on a picture, and -made to blend one with another, by placing the various colored fires in -boxes three feet square, one at one side, and lined with reflectors. -Those arranged at the sides of the stage on pivots, can be turned on, -one after another, so as to throw their light on the stage. Before one -light has entirely vanished from the scene, a different color should -gradually take its place. - - - - -=VENTRILOQUISM MADE EASY.= - - -Ventriloquism we always supposed, like many other arts, depended to a -certain extent on natural talent, or was a peculiar gift. - -Professional ventriloquists favor the idea that it is a natural gift, -in order to enhance their profits. But boys of the present age are not -so ready to believe in marvellous gifts, and may have persevered in -trying to imitate famous ventriloquists, and to try was to succeed. - -A friend of ours once met a boy only ten or eleven years old, who was -an excellent ventriloquist, so far as the power of throwing the voice -into a closet or adjoining room goes. On being questioned if he could -explain the power he had, the boy said he had heard Harrington the -ventriloquist some time previous, and having a desire to possess the -same acquirement, he passed in practice in a garret all the spare time -he could get for many days, and at the end of that time was fairly -startled himself at hearing a voice come distinctly from an old chest -of drawers. - -The persevering little fellow had found out for himself the true theory. - -We will give our young friends some plain and simple rules and -directions how to acquire the power of ventriloquism, which we have -obtained from a reliable English work; many persons following these -rules have obtained proficiency in this art, according as they devoted -time and attention to the subject. The word ventriloquism is derived -from _venter_, the belly, and _loquor_, I speak; literally signifying, -belly-speaking. - - -1.--WHAT IS VENTRILOQUISM. - -Ventriloquism may be divided into two sections, or general heads, the -first of which may be appropriately designated as Polyphonism, consists -of the simple imitation of the voices of human creatures, of animals, -of musical instruments, and sounds and noises of every description, -in which no illusion is intended, but where, on the contrary, the -imitation is avowedly executed by the mimic, among which we may -classify sawing, planing, door-creaking, sounds of musical instruments, -and other similar imitations. - -Secondly, we have ventriloquism proper, which consists in the imitation -of such voices, sounds, and noises, not as originally in him, but in -some other appropriate source, at a given or varying distance, in any, -or even in several directions, either singly or together, a process -exciting both wonder and amusement, and which may be accomplished by -thousands who have hitherto viewed the ventriloquist as invested with -a power wholly denied by nature to themselves. - -Polyphony is very common, for there is scarcely a public school which -does not possess at least one boy capable of imitating the mewing of -a cat, the barking of a dog, or the squeaking voice of an old woman. -It is very seldom that even a blundering attempt at ventriloquism is -heard, except from a public platform, simply from the want of knowledge -of how to proceed. The art does not depend on a particular structure -or organization of these parts, but may be acquired by almost any one -ardently desirous of attaining it, and determined to persevere in -repeated trials. - -If a man, though in the same room with another, can, by any peculiar -modifications of the organs of speech, produce a sound, which, in -faintness, tone, body, and every other sensible quality, perfectly -resembles a sound delivered from the roof of an opposite house, the -ear will naturally, without examination, refer it to that situation -and distance; the sound which he hears being only a sign, which from -infancy he has been accustomed by experience to associate with the idea -of a person speaking from the house-top. A deception of this kind is -practised with success on the organ and other musical instruments. - -The English Cyclopædia says “the _essence_ of ventriloquy consists in -creating illusions as to the distance and direction whence a sound has -travelled.” How these sounds are produced, we will now show. - - -2.--THE THEORY OF VENTRILOQUISM. - -Many physiologists aver that ventriloquism is produced by speaking -during the inspiration of air. It is quite possible to articulate under -these circumstances, and the plan may be occasionally adopted; but the -practical experience of many performers prove that the general current -of utterance is, as in ordinary speech, during _expiration_ of the -breath. - -Some think ventriloquism comprises a management of the echoes; but -echo only repeats what has been already spoken. Baron Mingon, a famous -ventriloquist, had an automaton doll with which he could apparently -converse. He thus describes his _modus operandi_: “_I press my tongue -against the teeth, and thus circumscribe a cavity between my left cheek -and teeth, in which the voice is produced by the air held in reserve in -the pharynx_. The sounds thus receive a hollow and muffled tone, which -causes them to appear to come from a distance.” The Baron says, “It is -essential to have the breath well under control, and not to respire -more than can be avoided.” Ventriloquists often experience fatigue in -the chest, and have attributed it to the slow expiration of the breath. -Some are often compelled to cough during the progress of exercitation. - -To attain an exact and positive knowledge of the modifications of voice -specified as ventriloquism, it is important to be familiar with the -distinctions of the sounds uttered by the mouth; and to ascertain how -the organs act in producing those vocal modifications, it is necessary -to know how the breath is vocalized in all its distinctions of pitch, -loudness, and quality, by the ordinary actions of the vocal organs. In -ordinary language we speak of noise, of common sound, and of musical -sounds. A quill striking a piece of wood causes a noise, but striking -successively against the teeth of a wheel, or of a comb, a continued -sound, and if the teeth of the wheel are at equal distances, and the -velocity of the rotation is constant, a musical sound. - -Phonation, or the production of voice, is a result of actions taking -place under two distinct classes of laws, namely: the ordinary -mechanical laws of acoustics, and the physiological laws of muscular -movement. The adjustment of the vocal mechanism to be brought into -operation by the current of air, is made by actions, under the latter -laws; and phonation is the result of the reaction of the mechanism -on the current of air by mechanical movements under the former laws. -Now the pitch of the voice essentially depends on the tension of the -vocal ligaments; the loudness on the extent of the excursion of these -ligaments in their vibrations; the duration on the continuance of the -vocalizing causes; the equality on the organization of the larynx, -and also on the form and size of the vocal tube. The form and size of -this tube can be altered in various ways. For instance, by dilating or -contracting the mouth; by contracting the communication between the -pharynx and mouth, so as to constitute them distinct chambers, or by -dilating the opening so as to throw them into one, which is chiefly -attained by movements of the soft palate, and by altering the form -of the mouth’s cavity, which is effected by varying the position of -the tongue. Each of these modifications of the vocal tube conveys a -peculiarity of quality to the voice, all, however, being local or -laryngeal sounds. Moreover, sounds can be produced in the vocal tube, -apart from the larynx. These, strictly speaking, are not vocal sounds, -though some of them may be of a definite and uniform pitch, while -others are mere noises, as rattling, whispering, gurgling, whistling, -snoring, and the like. Now, as everything audible comes under the -classes of noise, sound, or musical sound, and as each variety -originates in the vocal apparatus of man, it is obvious that _an -ordinary vocal apparatus is all that is required_ for the achievement -of the feats of ventriloquy. - -A person in a house cannot judge by the noise of an approaching -carriage, with any certainty, whether it is coming from the right or -left. Thus it is in many other sounds. _But we judge the direction -sound has travelled from its source on reaching the ear._ The -ventriloquist indicates, either directly or indirectly, the direction -from which he wishes his audience to believe the sound is coming. Thus -he directly indicates it by words, such as, “Are you up there?” “He is -up the chimney,” “He is in the cellar,” “Are you down there?” &c. He -indirectly indicates it by some suggestive circumstance, as an action -or gesture, which is so skilfully unobtrusive and natural as to effect -its object without being discovered. Thus, when the ventriloquist -looks or listens in any direction, or even simply turns towards any -point, as if he expected sound to come thence, _the attention of an -audience is by that means instantly directed to the same place_. -Thus, before a sound is produced, the audience expect it to come in -the _suggested direction_, and the ventriloquist has merely by his -_adjustment of vocal loudness_, to indicate the necessary distance, -when a _misjudgment of the audience will complete the illusion which he -has begun_. - -The effect which is produced on sound by its travelling from a -distance, is observed to be,-- - -1. That its loudness is reduced in proportion to its distance. - -2. That its pitch remains unaltered. - -3. That its quality or tone is somewhat altered. - -4. That its duration remains unaltered. - -5. That the human speech is _somewhat obscured_, chiefly in the -consonant sounds. - -It must be remembered that the ventriloquist makes the sound, not as -it is heard at its source, _but as it is heard after travelling from a -distance_. - -Too much attention cannot be bestowed on the _study of sound as it -falls on the ear_, and an endeavor to imitate it as it is heard, _for -the secret of the art is, that as perspective is to the eye, so is -ventriloquism to the ear_. When we look at a painting of a landscape, -some of the objects appear at a distance, but we know that it is only -the skill of the artist which has made it appear as the eye has seen -it in reality. In exactly the same manner a ventriloquist acts upon -and deceives the ear, by _producing sounds_ as they are heard from any -known distances. - -We have given the acoustical theory of the effect on the auric nerve, -and the means are the organs of respiration and sound with the -adjoining muscles. The organs and muscles used are the diaphragm, the -lungs, the trachea, the larynx, the pharynx, and the mouth. - - -3.--PRACTICAL RULES AND ILLUSTRATIONS. - -The first voice a student of ventriloquism will strive to acquire is -what is called “The voice in the closet.” To acquire this voice, which -we so name for distinction’s sake, speak any word or sentence in your -own natural tones; then open the mouth, and _fix the jaws_ fast, as -though you were trying to hinder any one from opening them farther, or -shutting them; draw the tongue back in a ball; speak the same words, -and the sound, instead of being formed in the mouth, will be formed in -the pharynx. Great attention must be paid to holding the jaws rigid. -The sound will then be found to imitate a voice heard from the other -side of a door when it is closed, or under a floor, or through a wall. -To ventriloquize with this voice, let the operator stand with his back -to the audience, against a door. Give a gentle tap at the door, and -call aloud in the natural voice, inquiring, “Who is there?” This will -have the effect of drawing the attention of the audience to a person -supposed to be outside. Then fix the jaw as described, and utter in -the “closet voice” any words you please, such as, “I want to come in.” -Ask questions in the natural voice, and answer in the other. When you -have done this, open the door a little, and hold a conversation with -the imaginary person. As the door is now open, it is obvious that -the voice must be altered, for a voice will not sound to the ear when -a door is open the same as when closed. Therefore the voice must be -made to _appear_ face to face, or close to the ventriloquist. To do -this, the voice must not be altered from the _original note or pitch_, -but be made in another part of the mouth. This is done by closing the -lips tight and drawing one corner of the mouth downwards, or towards -the ear. Then let the lips open at that corner only, the other part to -remain closed. Next, breathe, as it were, the words out of the orifice -formed. - -Do not speak distinctly, but expel the breath in short puffs at -each word, and as loud as possible. By so doing you will _cause the -illusion_ in the mind of the listeners that they hear the same voice -which they heard when the door was closed, but which is now heard more -distinctly and nearer on account of the door being open. This voice -must always be used when the ventriloquist wishes it to appear that the -sound comes through an obstacle, but from some one close at hand. - -The description of voice and dialogue may be varied, as in the -following example:-- - -“The Suffocated Victim.” This was a favorite illustration of Mr. Love, -the Polyphonist. - -A large box or closed cupboard is used indiscriminately, as it may be -handy. The student will rap or kick the box, apparently by accident. - -The voice will then utter a hoarse and subdued groan, apparently from -the box or closet. - -_Student._ (Pointing to the box with an air of astonishment.) What was -that? - -_Voice._ O, let me out! - -_Student._ Why! there is some one in here, I declare (to box). Who is -it? - -_Voice._ I won’t do so any more. I am nearly dead. - -_Student._ Who are you? How came you there? - -_Voice._ You know very well who I am. Let me out! Let me out! - -_Student._ I tell you I don’t know you. - -_Voice._ O, yes, you do. - -_Student._ Tell me quick. Who are you? - -_Voice._ Your old school-fellow, Tom ----; you know me. - -_Student._ Why, he’s in Canada. - -_Voice._ (Sharply.) You know better; he’s here; but be quick. - -_Student._ (Opening the lid.) Perhaps he’s come by the underground -railroad. Hallo! - -_Voice._ (Not so muffled as described in direction.) Now, then, give us -a hand. - -_Student._ (Closing the lid or door sharply.) No, I won’t. - -_Voice._ (As before.) Have pity (Dick, or Mr. ----, as the case may be), -or I shall be choked. - -_Student._ I believe you are a humbug. - -_Voice._ Why don’t you let me out and see, before I am dead? - -_Student._ (Opening and shutting the lid or door, and saying, the voice -accordingly.) Dead! not you. When did you leave Canada? - -_Voice._ Last week. O, I am choking! - -_Student._ Shall I let him out? (Opening the door.) There is no one -here. - -Conversations can be held with pedlers at the door, or with some one in -the cellar or basement; and as a rule the lower notes of the voice will -be best for voices in the basement, and formed as low in the chest as -possible. - -The second kind of voice, or voice No. 2, we will call it, is more -easy to be acquired. It is the voice by which all ventriloquists make -a supposed person speak from a long distance, or from or through the -ceiling. In the first place, with your back to the audience, _direct -their attention_ to the ceiling, _by pointing to it_, or by looking -intently at it. Call loudly, and ask some questions, as though believed -a person to be concealed there. Make your own voice very distinct, and -as near the lips as possible, as that will help the illusion. Then, -in _exactly the same tone and pitch_, answer; _but, in order that the -voice may seem to proceed from the point indicated, the words must be -formed at the back part of the roof of the mouth_. To do this, the -lower jaw must be drawn back and held there, the mouth open, _which -will cause the palate to be elevated and drawn nearer to the pharynx_, -and the sound will be reflected in that cavity, and appear to come from -the roof. Too much attention cannot be paid to the manner in which the -breath is used in this voice. When speaking to the supposed person, -expel the words with a deep, quick breath. - -When answering in the imitative voice, the breath must be _held -back, and expelled very slowly, and the voice will come in a subdued -and muffled manner_, little above a whisper, but so as to be well -distinguished. To cause the supposed voice to come nearer by degrees, -call loudly, and say, “I want you down here!” or words to that effect; -_at the same time make a motion downwards with your hands_. Hold some -conversation with the voice, and cause it to say, “I am coming,” or -“Here I am,” each time indicating the descent with the hand. - -Let the voice, at every supposed step, roll, as it were, by degrees, -_from the pharynx more into the cavity of the mouth_, and at each -supposed step _contracting the opening of the mouth_, until the lips -are drawn up as if you were whistling. By so doing, the cavity of the -mouth will be very much enlarged. This will cause the voice _to be -obscured, and so to appear_ to come nearer by degrees. At the same time -care must be taken not to articulate the consonant sounds plainly, -as that would cause the disarrangement of the lips and cavity of the -mouth; and in all _imitation voices_ the consonants must scarcely -be articulated at all, _especially if the ventriloquist faces the -audience_. For example, suppose the imitative voice is made to say, -“Mind what you are doing, you bad boy,” it must be spoken as if it -were written, “ind ot you’re doing, you ’ad whoy.” (It is rarely a -ventriloquist shows a full face to his audience, unless at a great -distance from them. It would help to destroy the illusion if the jaws -were seen to move.) This kind of articulation is made by forming the -words in the pharynx, and then sending them out of the mouth by sudden -expulsions of the breath clean from the lungs at every word. This is -often illustrated by a ventriloquist pretending to talk to a man on the -roof. - - -4.--POLYPHONIC IMITATIONS. - -Mr. Love, the great polyphonist, delighted in his youth to imitate the -buzzing of insects and the cries of animals. Such accomplishments are -easily acquired, and we think if our young boy friends will follow our -directions, they will acquire at least polyphonic powers to amuse their -friends at home and abroad. - -To imitate a “tormenting bee,” a boy must use considerable pressure on -his chest, as if he was about to groan suddenly, but instead of which -the sound must be confined and prolonged in the throat; the greater the -pressure, the higher will be the faint note produced, and which will -perfectly resemble the buzzing of the bee or wasp. In all imitations -of insect noises, the bee should be heard to hum gently at first, so -as in a private party not to attract attention till the right pitch is -obtained. The sound will penetrate every corner of a large room. To -assist the illusion, the person imitating a bee should pretend to try -to catch the insect. To imitate the buzzing of a blue-bottle fly, it -will be necessary for the sound to be made with the lips instead of -the throat: this is done by closing the lips very tight, except at one -corner, where a small aperture is left; fill that cheek full of wind, -but not the other, then slowly blow or force the wind contained in the -cheek out of the aperture; if this is done properly, it will cause a -sound exactly like the buzzing of a blue-bottle fly. - -To make the above perfectly effective, the person imitating a fly or -bee, should turn his face to the wall; with a handkerchief strike -at the pretended bee or fly, at the same time pretend to follow his -victim, first this way and then that, and finally to “dab” his pocket -handkerchief on the wall, as though he had killed it; the sound should -be at times suddenly louder and then softer, which will make it appear -as it is heard in different parts of the room. - -“The Spectre Carpenter.” The noise caused by planing and sawing wood -we often hear imitated. Yet but few boys know how easily it is done. -Much amusement is often caused by this imitation. To imitate planing, -a boy must stand at a table a little distance from the audience, and -appear to take hold of a plane and push it forward; the sound, as of -a plane, is made as though you were dwelling on the last part of the -word _hash_. Dwell upon the _sh_ a little, _tsh_, and then clip it -short by causing the tongue to close with the palate, then over again. -Letters will not carry the peculiar sound of sawing; but any bright -boy, by carefully listening to the sound made by carpenters, with -these suggestions, can, with practice, imitate the sound perfectly. -To make the deception more perfect, put some shavings in your pocket -to sprinkle as you pretend to saw, also a piece of wood to fall when -the sawing is ended. A friend of ours told us of a negro, well known -as a famous whistler about the streets of Boston years ago, who would -place both hands tightly over his ears, incline his head downwards, and -imitate with great precision a music-box; but he said it pained him to -do this. - - -5.--TO IMITATE AN ECHO. - -It is impossible for a ventriloquist to produce an echo in a room of -ordinary size, as the walls, being so near, would cause the sounds to -be blended, and would only produce one impression on the ear; and yet -a skilful ventriloquist can with ease imitate, in a room, a mountain -echo. We will give the instructions, as it is very amusing. - -Turn your back to the listeners; whistle loud several short, quick -notes, just as if you were whistling to a dog; then as quick as -possible, after the last note, and as softly and subdued as possible to -be heard, whistle about a third the number of notes, but it must be in -the _same note or pitch_; this will cause the last whistle to appear -just like an echo at a great distance. This imitation, if well done, -causes much surprise to those listening. The same thing can be done by -shouting any sentence, such as, “Halloa, you, there!” or, “Ship, ahoy!” -Let your voice be formed close to the lips; then quickly, and in the -_same pitch or note_, speak the same words very subdued, and formed at -the back of the mouth. This is very simple, yet effective. - - -6.--CONCLUDING REMARKS. - -“Any person acquainted with the voices before described, may imitate -many others by _contraction and expansion of the glottis, and by -modifications of the cavity of the pharynx and mouth_. The best way -to practise is in a room alone, to talk aloud, and, while so doing, to -make all sorts of _contortions with the muscles of the mouth and jaws, -first fixing the jaws_ in the manner already described, _then drawing -the lips inward, next putting them forward, at the same time placing -the tongue in different shapes and positions in the mouth_; also by -speaking in the natural voice, and answering in the _falsetto pitch_, -which is the imitating voice for women and children.” - -The ordinary compass of a voice is about twelve notes, and a very good -practice to the attainment of the art is to call aloud in a certain -note, _and then in the octave to that note_; do this several times a -day, changing the note or pitch, loud at first, and by degrees decrease -the sounds; this kind of practice will assist any one in learning to -modulate the voice to appear to recede or come near by degrees. - -We think enough has been said to enable _any boy_, sufficiently -persevering, to become a good ventriloquist. “Always remember, that to -_render a voice perspective, the most essential thing is to attend to -the study of sound as it falls upon an ear; then imitate that sound -by the different contractions and expansions of the muscles of the -throat, mouth, face, and jaws_. During these various contractions -and expansions, draw in a long breath, and talk, first rapidly, then -slowly, but always with a _slow expiration of breath_. Do this a dozen -times consecutively for several days, at the same time _elevate and -depress the roof of the mouth_, especially the back part, as this -movement causes the voice to appear near or at a distance.” - -We have now given our young friends the best practical directions we -could obtain from the rules given by a skilful ventriloquist. All boys -who have faithfully followed our directions, should try their powers -before some friend. We think they will be astonished at their success, -and will be pleased to become a source of great amusement to their -friends as well as themselves. But beware, boys, of _misusing_ your -power; always remember the “golden rule,” and never frighten any person -seriously. - -Ventriloquism was well known, even before Christ; but it was used -only as a means to foster superstition, and often took the form of -divination. The statue of Memnon will instantly suggest itself as a -familiar example. The gigantic head was heard to speak the moment the -sun’s rays glanced on its features. Undoubtedly the magic words were -pronounced by the attendant priest, who must have been a ventriloquist. -We could give innumerable instances of its use among the ancients; -but we will close with an amusing anecdote we once heard of a famous -ventriloquist. He was passing through a street with a friend, at the -same time a load of hay was passing along. The ventriloquist called the -attention of his friend and others passing along to the suffocating -cries of a man in the centre of the hay. A crowd gathered round and -stopped the astonished carter, and demanded why he was carrying a -fellow-creature in his hay. The complaints and cries of the suffocated -man now became fainter, and he appeared to be dying. The crowd, -instantly proceeded to unload the hay into the street, the smothered -voice urging them to make haste. The feelings of the people may be -imagined, when the cart was found empty. The ventriloquist and his -friend walked off, laughing at the unexpected result of their trick. - - - - -=NATURAL MAGIC.= - - -The Æolian Harp consists of an oblong box of thin deal board, about -five or six inches deep, with a circle drawn in the middle of the -upper side, an inch and a half in diameter, around which are to be -drilled small holes. Along the upper side of the box seven, ten, or -more small strings, of very fine gut, are stretched over bridges near -each end, like the bridges of a violin, and tightened or relaxed with -screw pins. The strings must be tuned to one and the same note, and -the instrument placed in some current of air where the wind can pass -over its strings with freedom. A window, the width of which is exactly -equal to the length of the harp, with the sash just raised to give -the air admission, is a good situation. When the wind blows upon the -strings, with various degrees of force, different musical tones will be -sounded; sometimes the blast brings out all the tones in full concert, -and sometimes it sinks them to the softest murmur. In many old castles -these harps were fastened in the windows, and their wild music caused -the ignorant to think they were haunted. - -A colossal imitation of the instrument just described was invented -at Milan, in 1786, by Abbate Gattoni. He stretched seven strong iron -wires, tuned to the notes of the gamut, from the top of a tower sixty -feet high, to the house of a Signor Muscate, who was interested in the -success of the experiment and this apparatus, called the giant’s harp, -in blowing weather, yielded lengthened peals of harmonious music. In a -storm this music was sometimes heard at the distance of several miles. - -Simply tying waxed saddler’s silk to little sticks, and pushing them -into the crevices of windows, so as to receive a draught of wind (the -silk being strained tight), will produce very sweet sounds. - - -1.--THE MAGIC OF ACOUSTICS. - -The science of acoustics furnished the ancient sorcerers with some -of their most complete deceptions. The imitation of thunder in -their subterranean temples did not fail to indicate the presence of -a supernatural agent. The golden virgins, whose ravishing voices -resounded through the temple of Delphos; the stone from the river -Pactolus, where trumpet notes scared the robber from the treasure which -it guarded; the speaking head, which uttered its oracular responses at -Lesbos; and the vocal statue of Memnon, which began at the break of day -to accost the rising sun, were all deceptions derived from science, and -from a diligent observation of the phenomena of nature. - - -2.--TO SHOW HOW SOUND TRAVELS THROUGH A SOLID. - -Take a long piece of wood, such as the handle of a broom, place a -watch at one end, apply your ear to the other, and the ticking will be -distinctly heard. - - -3.--THEORY OF THE VOICE. - -Provide a species of whistle common as a child’s toy, or a sportsman’s -call, in the form of a hollow cylinder, about three fourths of an inch -in diameter, closed at both ends by flat circular plates with holes -in their centres. Hold this toy between the teeth and the lips; blow -through it, and you can produce sounds, varying in pitch with the force -with which you blow. If the air be cautiously graduated, all the sounds -within the compass of a double octave may be produced from it, and if -great precaution be taken in the management of the breath even deeper -tones may be brought out. This simple instrument or toy, has indeed the -greatest resemblance to the larynx, which is the organ of the voice. - - -4.--A SINGULAR EXAMPLE OF SUPERSTITION. - -The following _true story_ was related to me by one who was personally -acquainted with the facts. There was a certain bend in one of our -western rivers which was avoided by every one, as it was supposed to -be haunted by the devil. At a certain hour in the evening, for many -years, terrible curses were distinctly heard. Suddenly they ceased. A -gentleman skilled in the science of acoustics, hearing an account of -the strange phenomena, determined to ascertain the cause, and carefully -examined the river on each side for about a mile above and below the -bend. He ascertained that at about the time the sounds ceased, an old -fisherman, who had lived on the opposite side of the river, full a mile -from the spot where the curses were heard, had died. He was told that -the fisherman was in the habit of crossing the river to a village, -where he found a market for his fish, and where he spent his money for -liquor; and that after drinking freely on his way home, while rowing -across the river at night, he would swear terribly. This gentleman -then persuaded a friend to go down the river to the place where the -curses were formerly heard, while he remained in a boat on the river -at the point at which the old man usually crossed. He then played on a -bugle and sang several songs. His friend soon returned, and with eager -delight exclaimed, “O, ----, such glorious music fills the air, just -where the curses used to be heard!” The neighbors came rushing down to -hear it, and some fell on their knees, praying. They said, “the angels -have driven the devil away.” Mr. ---- then asked what were the songs -they heard. His friend described them correctly, and said he understood -even the words, one of them being the famous Marseillaise, another a -German song; the foreign words made the ignorant more sure that the -sounds were supernatural. Mr. ---- then played on the bugle, and sang -again the same songs, while his friend stood by; but his friend said -the music was not equal to that he had heard below, where the sounds -had really seemed heavenly. - -The peculiar configuration of the river banks had concentrated the -sounds, and the distance and the water had softened them. - -The person who related this anecdote to me said that he and his friend -had often tried the experiment. Nothing would convince the more -ignorant neighbors that the sounds were occasioned by merely natural -causes. A love of the supernatural is strong within us, and sometimes -leads us into grave mistakes. - - - - -=GARDENING, FLOWERS.= - - -We, as a nation, are not a happy, home-loving people. The “spirit of -unrest” pervades all classes. - -This enterprising, uneasy spirit, has been, and is of benefit to us, as -a comparatively new country, in settling and breaking our wild western -lands. - -But the time has come when it is well to curb that spirit, and -cultivate all quiet, home-loving influences. - -Therefore we beseech you, parents, to begin in earliest infancy to -cultivate a love of the beautiful in nature; give your little ones -flowers; and as soon as they are able to play in the garden, give them -a little spot of their own to dig in; and when they can understand the -process, give them seeds to plant, and some few flowers to cultivate. -We can tell you of a happy cottage home, where the children, from -earliest infancy, have lived among flowers. Each had their tiny garden, -with spade, hoe, trowel, and watering-pot. The father and mother would -also assist with their own hands in training vines, roses, and shrubs, -in artistic beauty. The good father never went to his counting-room -without some flowers in his hand, or in the button-hole of his coat, -the valued gift from the tiny garden of one of his darlings. Years -passed and fortune favored them, but they never would exchange their -cottage home, with its vines, trees, and shrubs, for all the stately -mansions in the town. And as the daughters married, and the sons left -to seek their fortunes, they would look back with intense longing -to their loved home; and joyous were their meetings around the home -Christmas tree. - -On Sundays they always, even in midwinter, ornamented their social -table with flowers, for they are God’s smiles. Therefore, my friends, -we speak from observation, and from seeing the effect of an opposite -course. If you wish to lessen your doctor’s bill, and give the beauty -of robust health and happiness to your children, girls or boys, give -them a garden, and let them plant, weed, and water it. If your children -bring you even a simple field daisy, express your pleasure to them, and -let them not see you cast it aside. - -A well cared for garden displays--and displays to good advantage -too--the love of home, domestic taste, a wish to please, industry, -neatness, taste, and all the sweet household virtues that create a -_happy_ home. - -Horticulture confines itself to no rank, and it may form the amusement -or the pursuit alike of great and small, rich and poor; only the -kind of garden we choose, and what we do with it, must depend on our -circumstances. - -Teach your boys the use of a pruning-knife, and how to graft; then give -them some trees to experiment upon. You may save them from dissipation, -by giving them a taste for horticulture. It is a happy, health-giving -employment. - -Decorate even your barn with graceful vines. The poorest house can be -made an agreeable place by transplanting a few of the many simple wild -vines. It is not natural to love intensely a stiff, ungainly object. - -We have often thought, as we have roamed about the farming districts -of New England, and have seen the many great, stiff, square houses, -with not a graceful tree or flower to relieve their nakedness (though -now and then a syringa, or lilac bush, or cinnamon rose, and perhaps a -stately old butternut, may be seen), the sons and daughters of those -households will surely emigrate. Utility is our hobby. Some farmers -think it waste time to plant a flower, as it yields no fruit. - -Remember the old saying, “All work and no play makes Jack a dull boy.” -You that dwell in a city, strive to have a small spot in the country to -which you may send your children in summer, to roam at will. We heard a -little child, in urging her mother to go into the country in vain, cry -out, “It is too, _too bad_, mamma. We know God did not make the city -for little children, because he loves us.” - -Do not waste your money at fashionable watering-places. Even in early -years, take your children to the woods and let them see nature in its -wild state. There is nothing like a day in the woods for refreshing us -all, in body and mind. The wild music of running brooks is so lulling, -the birds carol their “native wood-notes wild” so sweetly, the strange -blended odor of the damp mould, the leaves, the wild flowers, and the -prospect of the distant meadow, are so delightful; the play of the -sunlight through the dense foliage, and on the sylvan walks, is so -beautiful, and the quiet is so marked, after the hum and roar of a -city, that the mind is tranquillized, and both you and your children -will be nearer to God, and nearer to one another, for every hour thus -spent. Our whole country is full of wild beauty. Spend your spare money -in decorating your homes with trees, flowers, and shrubs. The influence -upon your children will be far more beneficial. - -If your children wish for money to purchase seeds and flowers for their -gardens, if possible, give it cheerfully. It is far better so spent, -than in dress and toys. Let them plan their own gardens, and experiment -as much as they please. A very pretty fence can be made round such -gardens by a number of stakes of equal lengths, pointed at one end to -drive into the ground, square at the top, and painted green. Then place -them at equal distances around your garden, and bore holes about six or -seven inches apart for the twine, which should be brown linen. Pass the -twine through the holes, in lines all around the garden. Plant vines -which run rapidly, such as Cypress Vine, Madeira Vine, Nasturtium, -Maurandya, Barclayanna, Dwarf Convolvulus, Mountain Fringe, &c. By -midsummer your simple fence will be very beautiful. - -Having spent many years in cultivating flowers, perhaps a few practical -directions from our own experience may be of service to our readers. -And we will give some excellent suggestions taken from a famous -florist. - - -1.--HOW TO PLANT SEEDS. - -We often think, because the seed we plant does not germinate, that we -have purchased poor seed, when the fault is in the manner of planting. - -Nearly all kinds of flower seeds require transplanting, therefore it -is best to plant in boxes, pots, or hot-beds. Old cigar boxes are -convenient, and are easily handled, but first bore holes in the bottom -of the boxes, and in your pots or boxes place either broken clam or -oyster shells, or pieces of old flower pots, as a drainage; then take -light, rich earth and sift it or rub it carefully in your hands, to be -sure there are no lumps; some bake the earth to destroy any insects -which may be in it, but it answers the same purpose to pour boiling -water upon it. After you have filled your boxes or pots with this -prepared earth, sprinkle your seed carefully over it, and sift over -them light soil sufficient to cover them, moisten them with warm water, -and place the box where there is but little light, and throw a piece -of paper over the top. Some use a piece of thick flannel; if you use -flannel, water your seeds without removing it, until your seeds have -sprouted. A warm place will start them best. Let them remain thus -several days, till the seeds have a chance to swell, before you give -them much light, and keep the earth moist (a sponge is excellent to -water them, as it does not disturb the position of the seeds; also use -warm water); as soon as you see they are sprouting, give them light, -and air, if not too cold, or else the plant will not have strength to -grow well. Hot-beds are the best, and can be made with but little -expense, by taking some old box; and if you do not possess an old -window-sash, you can purchase one of some builder for a trifling sum -of money, and fit it to your box by nailing strips at the sides; dig -a place the size of the box, and two or three feet deep; fill it -with horse manure, mixed with straw, which is the most heating; then -sprinkle soil over the top about six inches deep; place your box on the -top, carefully heaping the earth around the outside, and your hot-bed -is made, in which you can start your seeds and slips by either placing -your boxes or pots in the earth on top of the manure, and plant your -seeds and slips in them, or as many prefer, planting in the soil of -your hot-bed. After your seedling plants are of sufficient size to -transplant, if you first transplant them into small pots, you can -easily plant them in your flower beds without disturbing the roots, -and the plants will not require covering; you must first dig a hole -and pour water into it, then carefully slip the plant, dirt and all, -from the pots, and place into the hole made for it, and press the earth -tight around it. Of course they must remain in the pot till they are -well rooted. In raising slips, you need to mix in full half common -scouring sand with the soil, and they must be shaded from the light -several days. - -All who care for flowers will desire to raise verbenas, as they blossom -all summer. If you wish to raise them from seed, they should be sown -in February or first of March. One secret in raising fine verbenas -is change of soil. It would be better to plant them every year in a -different location, but if you renew the soil it will do to plant them -twice in the same bed, but never three years in succession. Indeed, -flowers as well as vegetables need constant change of soil; they soon -exhaust the earth. Seeds are better that are raised in locations -distant from the place where they are to be sown. Flowers soon -deteriorate if you continue to plant over and over from seed raised in -the same spot; that is one of the reasons why seeds from Europe are -generally preferred by florists. Japan Pink seed should be planted in -March, in order to have them flower the first year; they are hardy and -blossom also the second year. Pansy seed should be planted as early as -Verbenas. Ten Weeks’ Stock, Phlox Drummondi, Double Zinnias, Lobelia, -Petunias, Portulaca, Salpiglossis, Candytuft, Larkspur, &c., should be -planted in April. If you desire to raise Picotee or Carnation Pinks -for the next year, and Canterbury Bells and Fox Gloves, sow in April. -Sow Asters of all kinds the last of April or first of May. Some of the -climbers, such as Maurandya Barclayanna, Tropæolum, commonly called -Nasturtium, Cypress Vine, Thunbergia, &c., need transplanting, and -better be sown early. Sweet Peas should be sown in the open soil about -three inches deep, early in April. It is better to soak the seed in -warm water before sowing. When they have germinated, and as they begin -to climb, fill in earth around them, and water now and then thoroughly -with soap suds. Mignonnette should not be transplanted; sow the seed in -the open soil the first of May. Candytuft and Sweet Alyssum are hardy, -and the seed can be sown out of doors; but if you have once had them, -they will come up self-sown. Look over your beds in spring, and take -up such plants, when you have the soil prepared and beds made, then -you can plant them back again where you desire. Joseph’s Coat is a very -brilliant plant; its leaves are all shades of green, red, and yellow; -the seed can be sown either in or out of doors by the first of May, -also Golden Calliopsis. Balsams will grow better if the seeds are not -planted till the second week in May, out of doors. - -All the flowers we have mentioned are desirable, even in a small -garden; of course there are hundreds of varieties of even annuals, but -unless you have a gardener it is impossible to raise them all, for -it is desirable, even in a small garden, to have some flowers raised -by slips, or bought from some green-house, such as Fuchsias, Double -Feverfews, Scarlet Geraniums, Bouvardias, Heliotropes, Rose Geraniums, -Lemon Verbenas, Monthly Roses, Hardy Perpetuals, &c. Hardy Perpetual -Roses are desirable in every garden, they grow so thrifty and blossom -all summer, and with a little covering will live out all winter, and -if they are showered often, early in the spring, while the dew is on -the roses, with whale-oil soap suds, using a syringe to shower them, it -will prevent the usual damage done by the slug. If you have a shady, -moist place in your garden, there you can plant your Lily of the -Valley, Double Blue English Violet, Forget-me-not, and Pansy. - -Fuchsias also require some shade. Heliotropes and Geraniums will bear -enriching more than most plants; frequent waterings with guano water -are excellent. A table-spoonful of guano to a gallon of water is -sufficiently strong. It also improves Pansies, Fuchsias, and nearly -all plants except Roses. Soap suds is better for Roses and Verbenas, -at least according to our experience. Nearly all plants make a finer -show in a garden arranged either in beds, each variety by itself, -or in clusters. Before planting your garden in spring, it is well -to carefully consider the nature of each flower, and arrange your -garden so that each flower can be displayed to advantage; never plant -promiscuously; it is astonishing what a difference landscape gardening -will make in the general aspect of even a small place. It is quite as -desirable as to arrange the colors in a picture to harmonize. Even an -old stump of a tree can be made beautiful by planting vines around -it, or by scooping out the top and filling in soil, and planting -Nierembergia, Lobelia, Double Nasturtium, Variegated Myrtle, &c., in -it. Those we have mentioned blossom all summer, except the Myrtle, the -leaves of which are as beautiful as many flowers. - -If we ladies would spend less time on our dress and in arrangements -for the table, and take that time for working in our gardens with our -children, we should not only make our homes more attractive, but we -should gain in health and strength. Early every spring call a family -council to decide the arrangement of your flower garden. Let your -boys have a place to raise vegetables as a pastime. Encourage them -to diligence by promising to purchase all they will raise; in that -way they can earn money to give to the poor, or for their Christmas -presents; even children will take far more pleasure in giving what they -have really earned with their own hands. - - -2.--THE QUEEN OF FLOWERS, THE ROSE. - -This beautiful flower deserves especial attention, and is truly called -the Poet’s flower. A rose is the type of beauty in women. A lovely -maiden is called a rose-bud. A beautiful matron compared to a rose in -full bloom. Its delicate and refreshing perfume is always welcome to an -invalid. It adorns a bride, and is a tribute of love in decorating the -lifeless remains of our loved ones. - -Volumes could be written upon the beauties of the rose. A child can -cultivate this beautiful flower. If you do not possess any ground, -there always will be room for at least one pot with a rose in your own -room. - -Roses can be classified under three general heads. - -No. 1. - -Those that bloom only once in a season, such as Hybrid China, Provence, -Sweet and Austrian Briars, most of the mosses, and all climbing -varieties that are hardy in New England and the Middle States. We do -not advise our young friends to cultivate this class, unless they have -large gardens. Madame Plantier is the only variety which we retain in -our garden. This rose is a profuse bloomer, and one of the most perfect -white roses grown. We will mention some of the desirable climbing -varieties which can be used for “Pillar Roses.” - - Queen of the Prairies, deep rose color. - Baltimore Belle, blush white, blooming in large - clusters. - Russeliana, crimson shaded to pink. - Madame d’Arblay, creamy white. - Gem of the Prairies, carmine, blotched white, very - full. - Superba, flesh color, clusters immense. - -No. 2. - -THE HYBRID PERPETUALS, OR REMONTANTS. - -This desirable class is of comparatively recent origin, and obtained by -hybridizing the Provence and Damask varieties with the Ever-blooming, -or China. They in a measure combine the qualities of the two classes, -but less of the China, as the name Perpetual is a misnomer, for the -chief blooming ones in regular season of rose flowering, unless -especial care is taken to cut off every flower as soon as they begin -to wither, and keep the plant growing freely, then these plants will -blossom twice or thrice in a season. Most of these Remontants are full -bloomers, and the flowers very perfect. We will give a list of a few -varieties we can recommend. - - Auguste Mie, pale shade of rose, very full. - Baronne Provost, bright rose, very double. - Blanche Vibert, pure white, delicate grower. - Caroline de Sensal, blush, pink centre, free bloomer. - Géant des Batailles, reddish crimson, superb. - General Jacqueminot, bright crimson, very brilliant. - Jules Margottin, bright scarlet crimson. - Le Lion des Combats, _very dark_ crimson purple. - -No. 3. - -The monthly, or ever-blooming class, are distinguished by their -delicate shining leaves and stems. This class comprises four -sub-classes, namely, the Noisette, Tea, Bengal, and Bourbon. - -The Noisette are of rampant growth, usually flowering in clusters. -In the Southern States they need no covering during the winter -months, but in the North, East, and West, if buried in winter, and -properly trained, they are often used as Pillar Roses, particularly -the beautiful La Marque, whose pure white buds are so valuable to all -florists. If planted in the ground in a green-house, it will climb all -over the walls. We will name some varieties which we have cultivated, -and know can be successfully raised, even in New England. - -NOISETTE. - - Aime Vibert, pure white, very full bloomer. - America, straw color. - Gloire de Dijon, blush white, buff centre. - Lamarque, large, white, shading to yellowish centre. - Minette, light crimson, very double. - Marshal Niel, very beautiful deep yellow. - Souvenir d’Anseleme, deep carmine. - Solfaterre, deep straw color. - -TEA. - - Adam, rich rose, salmon shaded. - White Tea, the freest bloomer of all roses. - Camellia Blanche, pure white. - Devoniensis, blush, Magnolia fragrance. - Isabella Sprunt, clear canary yellow. - La Pactole, canary color, free bloomer. - Safrona, orange yellow. - -BENGAL. - - Agrippina, bright crimson. - Bousanquet, blush white. - Louis Philippe, light crimson. - Madame Rohan, pure white. - Napoleon, blush, extra large. - -BOURBON. - - Marshal Niel, a deep buff; the _king_ of roses. - Bousanquet, rich blush, free bloomer. - Duc de Chartres, large, very double, crimson. - Hermosa, deep pink, _most desirable_. - Psyche, light rose, very double. - Souvenir de Malmaison, flesh color, very double, - superb. - Sombriel, blush white, one of the best. - -There are comparatively but few varieties of roses suitable for -producing an abundance of flowers in winter, and these would not be -called the finest varieties for summer culture. They are selected for -their buds. The Safrona for instance, is selected for its deep, saffron -colored buds; the full flower is but semi-double. We will give the -names of a few of the roses best adapted for winter culture. - - Lamarque, white, tinged with straw color. - Safrona, saffron yellow, free bloomer. - Agrippina, rich deep crimson, free bloomer. - La Pactole, light canary-color, abundant bloomer. - Hermosa, rosy pink, most prolific variety. - Gloire de Dijon, large, full, buff, shaded to salmon. - -CULTIVATION. - -The best soil for the rose is a rather stiff loam, although it is not -particular about soil, but grows luxuriantly, flourishes well in a -fresh loam with a plenty of pure air and sunlight. A stiff, clay loam -will produce better flowers, and of a deeper color, than a soil of -a light muddy character. If you desire many blossoms, be careful to -cut off every rose when it fades away. We gather our roses so freely, -we leave but few to wither. In the spring roses should be pruned -thoroughly. - -Many people have been discouraged in raising roses, on account of the -slug and other insects; but nothing can flourish in this world, that -is desirable, without care. So with the rose. Early in spring, just -as the buds are starting, wash your roses in a solution of tobacco or -whale-oil soap. If the insects appear on the leaf, syringe the bush -freely, early in the morning or late at night, with a solution of -whale-oil soap. Sprinkle wood ashes or charcoal dust around the roots. - -A gardener invariably recommends monthly roses, rather than the -so-called perpetuals. Those who purchase perpetuals, without a previous -knowledge of their habits, are always disappointed in the few flowers -they produce after the first blooming. Their great virtue is the hardy -nature of the plant. The monthly roses bloom at the South nearly the -whole year. But what shall we do with these delicate roses at the -North during the winter? The best way is to lay them down, and cover -with sods, or earth and manure. If the subsoil is gravelly or sandy, -they will surely keep, as a good drainage is necessary, without it they -cannot live. The way to lay down a rose-bush is to dig a trench four or -five inches deep, up to the root of the rose, then bend your rose-bush -carefully into the trench, and peg it down. Cover entirely root and -branches by sods, placed grassy side upwards, forming a hillock. Or -cover it with earth or sand, and straw or manure. - -The next important consideration is _the time at which it is done_. Few -amateurs have any idea of the amount of freezing which even the tender -tea roses will sustain without injury. It often proves fatal to roses -to be covered too soon. It is well to cover the ground around the roots -of the roses with leaves or straw to prevent the earth from freezing. -In New England, the early or middle part of November is generally the -time to cover roses for the winter; in the Middle States, in December. -The best rule is to let your roses remain uncovered, until the ground -can no longer be ploughed, or dug with a spade. This covering can be -removed as soon as vegetation fairly starts in spring. Every plant thus -saved possesses a four-fold value over those planted out in the spring, -as the roots have been so little disturbed. Another way is to dig a -trench, line it with straw, and lay in your delicate roses, then cover -entirely with earth until spring. Roses that have bloomed all summer -should not be potted for winter use. They need rest, and will not -flourish in warm rooms. - -ROSES FOR WINTER BLOOMING. - -Roses for winter blooming require a different treatment, as one -essential condition of free winter flowering is, that the plant has -abundance of active, or, as gardeners term them, “working roots.” -Plants are started for this purpose either by cuttings struck in -March, or else one year old plants are used. These plants should be -re-potted frequently to prevent their becoming pot-bound. They must -never be allowed to dry or wilt in the heat of summer, else the white, -working roots will perish, and before the plant can regain its vigor -new ones must be formed. You must not attempt to force your rose at -first; when you take it in for winter, a cool temperature will be -needful. It depends upon when you desire rosebuds how you treat it. It -must be pruned previous to flowering. If you desire roses the first of -January, prune or shorten the shoots the first of November (earlier -for Christmas). They then can be placed in temperature ranging fifty -degrees to sixty degrees at night, with only fifteen degrees higher -during the day. Two year old plants are better for new beginners, as -they form working roots sooner, having more fibres. - -In the summer the plants should be exposed to the sun; but to keep them -from drying, place the pots in beds of sawdust, or refuse hops, tan, -bark, or sand, whichever is most convenient to obtain. - -PREPARATION. - -Our young friends may desire to raise their own roses, so we will give -them a few directions. The best time to take cuttings is from October -to January. The wood must be ripened; cuttings are usually made with -three or four eyes. These cuttings are best put into a cold frame, or -in a box prepared with equal parts of sand, leaf mould, and loam; all -they require is sufficient protection not to freeze. Cuttings placed in -such frames about the last of October, will be rooted sufficient to pot -by March. Cuttings can be placed in rows quite near together, say an -inch apart, and the rows three inches apart. This space allows you to -press the soil firmly about each stem. One thorough watering, when put -in, to settle the soil closely around them, will usually be all that is -necessary until they begin to root in the spring. Some varieties will -root much easier than others. As soon as they are well rooted, they -should be potted in two inch pots, shaded and watered for a few days, -and gradually hardened off by exposing them to the air; in this way -they can be sufficiently rooted to plant in the open ground in April or -May. Layering is more easily done from about the middle of June to the -middle of September, always using shoots of the young growth--that is, -a growth of three or four weeks old, or such as are not so much ripened -as to drop the leaves; or in other words, the cut should always be made -at that part of the shoot where there are as green and healthy leaves -below as above the cut. This condition of the shoot is very important, -in order to produce a well-rooted layer. - -Another mode of layering, not in general use, is, to place the layer -where the incision is made, in a three or four inch pot, sinking -the pot in the ground to the level of the rim; all the roots being -confined in the pot, when the layer is lifted, no check is given to -them. Layers so made may be planted out in the fall, and if a little -mulching is given round the roots, not one plant in a hundred will -fail; while if the layering is done in the usual way, without pots, -a heavy percentage is almost certain to be lost during the winter. -To the florist, without proper means of propagation, this method of -layering roses in pots will be found very advantageous, as every layer -so made will make an excellent flowering plant by spring, if kept in a -green-house or cold-pit, during the winter, and will prove nearly as -valuable to the purchaser as large one year old plants. - -ROSE-BEDS. - -Before planting a rose, be sure to find out its nature, or you may -have a tall bush where you would desire a low shrub-growing rose. In -arranging rose-beds, plant the tall standards in the centre. Then a -row of high bush growing roses, then a row of half dwarfs, then a row -of dwarf-growing roses. If this selection of the roses in such a bed -is properly made, it will be pleasant to the eye from June to October. -Of course the roses should be chiefly monthlies, or free-blowing -perpetuals. - - -3.--FLOWER BEDS. - -There are a great variety of opinions as regards the most effective -way of planting flower beds. Some prefer to mix plants of different -colors and varieties; others prefer the ribbon style of planting, now -so generally seen in Europe. - -If the promiscuous style is adopted, care should be taken to dispose -the plants in the beds, so that the tallest plants will be at the back -of the bed; if the leader is against a wall or background of shrubbery, -the others graduating to the front, according to the height. In open -beds, on the lawn, the tallest should be in the centre, the others -grading down to the front, on all sides, interspersing the colors -so as to form the most agreeable contrast in shades. But for grand -effect, nothing, in our estimation, can ever be produced in promiscuous -planting to equal that obtained by planting in masses or in ribbon -lines. In Europe the lawns are cut so as to resemble rich green velvet; -on these the flower beds are laid out in every style one can conceive; -some are planted in masses of blue, scarlet, yellow, crimson, white, -&c., separate beds of each, harmoniously blended on the carpeting of -green. Then again the ribbon style is used in the large beds, in forms -so various that allusion can here be made to only a few of the most -conspicuous. - -In a circular bed, say of twenty feet in diameter, the bordering can -be of blue. Lobelia, attaining a height of six inches; next plant Mrs. -Pollock Geranium (this does not grow very thrifty out of doors in New -England), or Bijou Zonale Geranium, growing about nine inches high. If -you plant Mrs. Pollock, on the next row to it plant Mountain of Snow -Geranium; if the Bijou plant, a circle of the red-leaved Achyranthus; -there are several varieties of this plant. Next the Coleus -Verschaffeltii; the centre being a mound of Scarlet Salvia. Another -style is to edge the bed with Alternanthera Spothalata (leaves pink and -crimson), which grows low and thick for a border. Then the fern-like, -white-leaved Centaurea Gymnocarpa; next row, the Crystal Palace Scarlet -Geranium. Then Phalaris Arundinacea Picta, a new style of ribbon grass; -next Coleus Verschaffeltii; in the centre a clump of Coma or Pampas -Grass. - -There are a great many different ways of arranging these ribboned beds. -It is pleasant to exercise one’s own taste, therefore we only give -examples to teach our readers how such beds can be prepared. - -Narrow beds along the margins of walks, ribbon lines can be formed -of low-growing plants, such as the White Lobelia Snow-flake, or -Gypsophilia, or Silver Leaved Alyssum for the front line, followed next -by Tom Thumb Trapæolum; then, as a centre, or third line, Fuchsia, -golden fleeced; as a second marginal line on the other side, Bijou -Zonale Geranium, white-leaved, with scarlet flowers, followed by a -line of Blue Lobelia. Shaded stars have a fine effect on a lawn; cut a -star, and plant it either with Verbenas, Petunias, Phlox Drummondii, -or Portulaca. The ends of the stars should be white, and shaded to the -centre, which should be dark, each point having different colors, one -shade of purple, one shade of pink, one shade of red, then shades of -lilac, then shades of scarlet. The centre the darkest shades. There are -many pretty ways of forming the beds of a small garden. We append one -diagram of a garden, and the flowers to plant it with according to our -taste. - -DIAGRAM. - - - H - - C B - - F A D - - I E - - G - - -A. Plant in the centre Scarlet Salvia, around that the white Centaurea -Gymnocarpa, bordered by Blue Lobelia. (All these beds should have -either a low border of box or turf.) - -B. Heliotrope, with Sweet-scented Geranium at each end. - -C. Verbenas, properly shaded. - -D. Dwarf Trapæolum, Sweet Geranium at the points. - -E. Varieties of Phlox Drummondii. - -H. On the point of the shield Lemon Verbena, the remainder, Monthly -Roses, border of Gypsophilia. - -I. On the point, one Lemon Verbena, the rest to be filled with Monthly -Carnations, bordered with Alyssum Variegatum. - -F. Varieties of Zonale Geraniums. - -G. Varieties of Fuchsias (if there is not too much sun). If so, plant -Japan Lilies; border both F and G beds with Double Feverfew. Perhaps -a bed of roses, arranged with standards in the centre, as we have -described, might be prepared for the centre bed A, and the Salvia, &c., -planted in the bed H, in place of the roses. - - -4.--CARNATIONS. - -The cultivation of the Carnation is very simple. It is rooted from -cuttings at any time from October to April, and as the plant is almost -hardy, it may be planted in early spring with safety in the open -ground. It is safe to put them out as soon as cabbage plants are set -out. Many from ignorance keep their Carnations in a pot or green-house -until the last of May, thereby losing six weeks’ growth. - -The Carnation cannot flourish in a wet soil, and care should be taken -to secure good drainage. As the Carnation grows, if winter flowering is -desired, the young shoots that the plant throws out should be cut off; -this induces a steady growth. There are many fine varieties for summer -growth, and but few suitable for winter flowering. - - -5.--FUCHSIAS. - -These flowers are very easily cultivated from slips; any amateur -florist can make these slips grow, either by planting in wet sand, or -in a bottle of water. Their lovely and graceful flowers add to every -bouquet. They require rich light soil, such as decayed leaves and -peat, moist atmosphere, and shade. Like the Lemon Verbena, the plants -will keep all winter in a cellar. There are but few varieties that -bloom well in winter. Bianca Marginata, white, with crimson corolla. -Speciosa, flesh-colored, with scarlet corolla (this variety will bloom -the year round, if well cared for). Serratifolia, greenish sepals, with -orange scarlet corolla. These are recommended for winter flowering by -all florists. We will mention a few varieties for summer culture. - -Elm City, crimson, very double. Venus de Medicis, white, magenta -corolla. Rose of Castille, sepals white, corolla violet rose. Snowdrop, -sepals bright scarlet, corolla white, semi-double. Striata Perfecta, -double striped blue and crimson. Queen of Whites, double white corolla. -Charming, violet corolla, crimson sepals, clusters immense. Lady of the -Sea, corolla violet purple, flowers two inches in diameter. - - -6.--PANSIES. - -Who does not love a pansy? They are easily raised by seed and layers. -The seeds should be planted in March for summer culture, and in October -for winter use. The pansy requires a rich soil. - -The finest bed of English pansies we ever saw were planted in the fall, -in a bed of rich soil. Before the winter snows the plants were covered -lightly with manure and straw through the winter. In the spring the -manure was carefully raked off, and the plants dug around with a garden -fork. They bloomed early in spring; and, as we looked upon them by the -morning light, their bright faces seemed to say “Good morning!” These -lovely flowers look like happy children. - -Many persons in our country call the pansy, violet; but the gardener -only calls the sweet double blue and white violet by that name. And -this sweet violet hides its head modestly under its leaves, and is the -flower the poet speaks of,-- - -“Meek and lowly, hiding ’neath its leaves of green.” - -The bright-faced pansy does not hide its head; it looks you in the -face as fearless as a sinless child. These violets are in great demand -from their delicious perfume. These plants require shade and moisture. -The best varieties are the “double blue Neapolitan” Setsenbran, single -blue, very prolific. King of Violets, very large blue. Double white -Neapolitan; this does not bloom freely. Sweet-scented Geraniums, -Heliotrope, Lantanas, Lemon Verbena, &c., are all easily propagated -from slips. The three first require often watering with guano water, -and with this treatment will fully repay all care. - - -7.--HOW TO PLANT HARDY BULBS. - -October, or the early part of November, is the time to plant bulbs -for next year’s flowering. Bulbs can be raised in any sunny place, no -matter how small the bed may be; they require less care, for the beauty -of the flower, than any other class of plants. We will give some plain -and simple directions, hoping our young readers may be induced to plant -at least a few bulbs this fall. - -The soil for bulbs should be rich and well drained; it should also be -dug deep. If water should lie on the surface long the bulbs would rot. -If the soil is poor, enrich it with well-rotted stable manure, or with -surface earth from the woods, or decayed leaves. Cow manure, of course, -is the best. If the ground is stiff, and the manure fresh, it is well -to put a little sand around each bulb. If the soil has too much clay, -mix sand with the manure. - -It is well to have your beds made so narrow that the weeds can be -destroyed, and the ground kept mellow, without walking among the -plants. Before the heavy frosts of winter appear your bulb beds should -be protected with leaves. Over these throw a little brush, to prevent -the wind from uncovering your bulbs. If your bulbs have been planted -a year or two, cover them with manure in the fall; the flowers in the -spring will repay you for all expense and trouble. - -Hyacinths and tulips should be planted about six inches apart, the -hyacinth four inches deep, and the tulip three inches. The early -varieties will often blossom the latter part of March. Crocuses blossom -even earlier. They should be planted about three inches apart, and -two inches deep. Snowdrops--the first flower of spring--should be -planted in the same way as the crocus, or a little nearer together. -Narcissuses, including the daffodil and jonquil, should be planted in -the same manner as the hyacinth. All these bulbs can be planted in beds -where you may desire to place either seedlings or any other annual, -which will blossom after these bulbs have done flowering. - -It is best to take up all your bulbs every third year, when they are -done flowering, and separate the newly-formed bulbs from the old. Keep -them in a dry place till October, then replant as we have directed. - - -8.--JAPAN LILIES. - -Of all the valuable flowers that have been imported from Japan or -China, during the past twenty years, nothing equals the exquisitely -beautiful Japan Lily--_Lilium Lancifolium_. No description can do -anything like justice to these flowers, or show the beautiful, -frost-like white of the surface, glistening like dew-drops; or the -rubies that stand out on the surface of one of the varieties, while the -end of the leaf is shaded like the exquisite pink, or the inside of -some sea-shells from India. - -There are nine varieties. The pure white and crimson, Lancifolium -Monstrosum rubrum; the pure white Lancifolium Monstrosum album, and -a delicate rose of the same variety; then the dark crimson, Lilium -Melpomene; white, spotted with delicate salmon, Lilium Punctatum; the -pure white, with projecting glistening spots, called Lilium Lancifolium -album; Lilium Lancifolium rubrum, white ground, spotted with crimson; -Lilium Lancifolium roseum, shaded and spotted with rose; and Lilium -auratum. This is sometimes called Golden-banded Lily, and is truly the -king of the lilies. The flower is ten to twelve inches across, composed -of six delicate white ivory parts, each thickly studded with crimson -spots, with a golden band through its centre. In addition to the -beauty of these lilies, they are fragrant, and as hardy as any of our -common varieties. - -Strong bulbs send up flowering stems from three to five feet in height, -and begin to bloom about the middle of August. Each flowering stem will -have from two to a dozen flowers, according to the strength of the bulb. - -Rich garden soil is all that is needed for these lilies. Plant them -in October or early in November, about a foot apart, and five inches -deep. The bulbs should remain several years, if possible, without -removal. These must be the lilies that surpassed Solomon in all his -glory. Lilium Longiflorum is called very beautiful. The flowers are -snow-white, trumpet-shaped flowers. Lilium Brownii, new variety, superb -white. - - -9.--CAPE BULBS. - -These are so called from coming from the Cape of Good Hope. The -Gladiolus is the finest variety. These bulbs are easily cultivated in -New England and the Middle States; they can be planted out as soon as -all fear of frost is passed. They will bloom by the last of July, and -by making successive plantings every two weeks to the middle of July, -they can be had in perfection until the frost returns. Although they -are not particular about soil, yet if choice can be had, a sandy loam, -peat, or a soil of decomposed leaves, is better than a stiff clay soil. - -In any soil, if it is well enriched, the flowers will increase in size -and beauty. - -These bulbs should be taken up as soon as the stems begin to wither -in the fall; but should the stalk of the late plantings be yet green, -the bulbs should be left adhering to the stalk until dried, which will -ripen off the bulbs. They can be kept in winter under the stage of a -green-house, or in a frost-proof cellar or closet, or in any dry place -where potatoes will keep. It is impossible to mention varieties; all -are good, and new varieties increase yearly. - - -10.--HOW TO GROW BULBS IN WINTER. - -Bulbs can be grown in vases, bowls, dishes, cornucopias, &c., of -whatsoever shape or form, from the small ornament that will hold a -crocus, to the large family punch-bowl, capable of growing a dozen -hyacinths. Wire or rustic work of any kind, lined or not with zinc, -and filled with moss, will grow bulbs to perfection. A zinc frame can -be made to fill the whole front of any window; and if filled with moss -or sand, and planted with hyacinths, lily of the valley, crocuses, -snow-drops, tulips, narcissus, and polyanthus, would in itself form -a complete miniature winter flower-garden. These, with successive -plantings, may be made so many connecting links between our autumn -flowers and the early spring blossoms. - -Take a common soup plate, place in it as many strong bulbs as it will -hold easily, and fill in about half an inch of water. In a few days -the roots begin to spread, and so clasp each other in the course of a -few weeks, that they form a natural support. If the bulbs and plate -are covered with moss, it improves the appearance. For winter bloom -successive plantings can be made every two weeks, from September till -January. After the early part of December, hyacinths intended for -glasses had better be half grown in pots, then turned out and the roots -carefully freed from the soil in tepid water, then placed in glasses. -In this way they will blossom sooner. The soil used to cultivate bulbs -should be light and rich, full half sand. Bulbs can be grown in moss -by keeping it damp. They can be raised even in clear sand. Take any -ornamental dish capable of holding moisture, and fill it with sand in a -pyramidal form. In the centre plant a hyacinth, and at equal distances -round it plant three or more, according to the size of the dish; fill -up the space with crocuses, snow-drops, dwarf tulips, &c. In planting, -the bulbs should be covered with sand, all but the tops. Then place the -dish of bulbs in water five minutes, in order to fix the bulbs firmly -in their position. Repeat this bath once a week, never allowing the -sand to become dry. Place it in the dark for two weeks, then keep it in -a cool, light, airy room. - -There is no bulb so well adapted to house culture as the hyacinth. They -grow easily in pots or glasses. They will grow in almost any light, -sandy soil; but just in proportion as this is adapted to the plant, -will the perfection of their culture be attained. - -For pot growing, the hyacinth, to attain its greatest beauty, should be -grown in pots seven inches in diameter, and the same depth. They will -grow and blossom in pots of four or five inches in diameter. Only one -bulb should be planted in a pot. Two or three can be grown in larger -sized pots. Put over the hole in the bottom a good drainage, half an -inch or more in depth, on this either a handful of leaf mould, very old -cow manure, or the coarse part of the compost; then add the prepared -soil, filling up the pot to within an inch of the top. On this place -the bulb, covering it with soil all but the top; press the earth gently -around it, and shake the pot slightly, to settle the soil, and finish -with a good watering; then either plunge the pots three or four inches -in some old hot-bed, and cover with leaves, or place them in the dark, -covered carefully, but in a dry place, for several weeks, to allow the -roots to make a vigorous start. Water them very slightly at first, then -gradually inure them to the sunlight. As the flowers expand, place a -saucer under each pot, which must be kept filled with water till the -flowers begin to decay; then lessen the water till withheld entirely. - -For planting in glasses, the last of October or early in November will -do. Use only rain or spring water. Fill the glasses with water, and -place the bulb so that the roots will just come in contact with it; -set them in a dark closet, or on a shelf in a dry cellar, and let them -remain till the roots have started, usually in three or four weeks; -then remove them to any place which is well lighted and warm, keeping -them from the sun till they look a deep green; turn them around now and -then, and change the water once in three or four weeks. If you perceive -the roots look slimy, and the water fetid, carefully remove the bulb, -and place the roots in clear water of the same temperature; wash the -roots gently; cleanse the glass before replacing the bulb. - - -11.--GARDEN INSECTS. - -In presenting this subject to our readers, it will be difficult to -decide where to begin, or where to leave off. With the first warmth, -aphides, or plant lice, in shoals and nations, show their unwelcome -presence on our roses, geraniums, and almost all choice plants. Many -of our choice fruit trees are infested with these pests of the garden. -They are exceedingly prolific. Réaumur has proved that one of these -insects, in five generations, may become the progenitor of nearly six -thousand millions of descendants. They fasten themselves in crowds on -a plant, and suck the life from it. Some live in the ground and infest -the roots of plants, such as verbenas and China asters. We have often, -on seeing a plant drooping, saved it by taking up the plant, root and -all, and washing it in strong soap suds; replant it, after carefully -scalding the earth, and digging it in. The plant should be protected -from the sun for a few days, until the roots start again. - -The best remedy for these plant lice is to syringe them with a solution -of whale-oil soap, or a mixture of soap suds and tobacco water, used -warm. Still another remedy is a solution of half an ounce of strong -carbonate of ammonia in a quart of water. Where it is possible, dip -the infected branches into either of the above solutions, holding them -carefully in the solution several minutes. - -A drying east wind makes insects abound, and rain clears them away. - -The rose-chafers, or rose-bugs appear about the second week in June, -and remain thirty or forty days. They infest rose bushes and grape -vines. They must be carefully picked or brushed off into a basin of hot -water, or burned, as they increase thirty fold, and destroy both fruit -and flower. - -Caterpillars of many butterflies and moths are destructive in a garden, -and, when the perfect insects can be caught, before they lay their -eggs, one death will save much killing. Whenever one is found resting -quietly on a branch, stem, or leaf, with the wings folded, it is most -likely a female about to lay her eggs, and it had better be killed. If -a butterfly or moth is found so placed, dead, she will have laid her -eggs; be sure to find and destroy them. As the season advances, destroy -every chrysalis you find. - -Possibly some of our young readers have never seen a chrysalis, and -may not know what it is. We will try and explain this to you. Every -species of the butterfly, or moth, is first a grub or caterpillar, -crawling upon, or in the earth. These caterpillars, when they have -completed the feeding stage, retire to some place of concealment, under -a leaf, beneath palings, or in interstices of walls, spin a tuft of -silky fibre, and entangle the hooks of their hindmost feet in it. Then -they form a loop, to sustain the fore part of the body in a horizontal -or vertical position. Then they spin a band over the back; and most -caterpillars form a cocoon, in the shape of the letter U, around the -body. Then they cast off the caterpillar skin, and become a chrysalis. -In summer the chrysalis state lasts from eleven to fifteen days. Later -it lasts all winter (while in this state these insects remain dormant). -At the proper time the chrysalis bursts open, and a butterfly issues -from it. We have often found these cocoons, or chrysalides, and taken -them to our rooms to watch the coming forth of the butterfly. - -Rose slug (Lelandin Rosæ), a light green, translucent little fellow, -varying from one sixteenth of an inch to nearly an inch in length. -There are evidently two species or varieties, one of which confines -its ravages to the lower side of the leaf, the other eats it entire. -The first is by far the most destructive here. In a few days after the -plants are attacked they appear as if they had been burned. - -The only remedy we have found is a preventive one, which, in fact, -ought to be used against all insect life. We have spoken of this (and -will not repeat) in our rose chapter. The only remedy, whale-oil soap, -is prepared by florists by dissolving one pound to eight gallons of -water. They apply it _ten_ days in succession, with a garden engine or -syringe. This must be done very early in the morning, or late at night, -as the slug shuns the light of day, and hides under the leaf. With -very young, delicate roses, the solution is too powerful; hand work -will be necessary to pick them off. English sparrows, a comparatively -late importation, should be kindly treated by all, as they are the -best exterminators of injurious insects. The ground, or blue aphis, -and verbena mite, are among our most subtle and dangerous of pests. -They work at the root, and often before we can see the plant fading, -they have taken its life. The florist’s remedy is as soon as you see -the least sign of drooping in your Asters or Verbenas, the plants most -afflicted by them, water them copiously and persistently at the roots, -with tobacco water, the color of strong tea, and apply it daily for one -week. We often take up the plants and wash the roots, but it is a harsh -remedy: it will kill or cure. - - -12.--SOME USEFUL HINTS. - -We have, in studying different books on horticulture, found many -opposing sentiments. Some seemed like hearsay to all former experience, -yet we ought to be ready to receive all advice based upon positive -experience. We intend acting upon some new theories of Peter Henderson, -a famous gardener near New York. We have always supposed it very -injurious to take water directly from a cold spring to water plants, -and that rain water or soft water must be used, at the same temperature -as the air in which the plants are growing. He says it is a foolish -dogma, as the water will take the same temperature before the plant -can be injured. Of course if the plant was to stand in cold water it -would injure it. This will save much extra trouble; we ourselves shall -profit by his advice, as he ought to know, having faithfully tried the -experiment. - -We have always supposed it necessary for the health of a potted plant -to have a sufficient amount of bits of oyster shell, &c., at the bottom -for drainage. - -Mr. Henderson says, for fifteen years he has grown all his thrifty -plants _without_ the use of crock, charcoal, or any other substitute, -and he considers it useless trouble; he thinks the moisture escapes -freely from the sides of the pot. He says when we wish to resuscitate -an unhealthy plant, we wash the soil from its roots, and put in a -_new_ pot, where the drainage is perfect from the sides. He has grown -_millions_ of healthy plants without draining. He thinks old pots, -whose pores are all filled, often cause the death of a plant. He -approves of frequent change of pots, as it injures a plant for the -roots to become hard and woody. In most cases the slightest tap on the -edge of the pot is sufficient to turn out the ball of earth. Be careful -and not take too large a pot; the size must increase gradually. - -Mr. Henderson thinks it is not unhealthy to sleep with plants in the -room, as we have always been taught. He says it is a common practice -for gardeners to sleep in their green-house, and to be with their -plants often at night, and yet, as a class, they are vigorous men. -He himself, for three winters, slept on the floor of the hot-house, -without any injury, and that was more than a score of years ago. - -Plants can easily be sent by mail, by first washing the roots in -water, then take them dripping and wrap them in dry moss, then roll -around them several thicknesses of thick brown paper; the whole must -be _tightly_ rolled, to prevent the dry air penetrating to shrivel the -plant. In this way plants can be sent even two thousand miles at a -cheap rate, as our postal laws only charge two cents for four ounces, -unless the package exceeds four pounds. - - -13.--MOSS BASKETS. - -Take a piece of the spring used in hoop-skirts, or a rattan, and make -a small hoop about eight inches in diameter. Collect from the woods -a quantity of the long, feathery moss, and wind a heavy wreath of -this moss on a hoop, then cover a piece of the rattan or hoop-spring, -sufficiently long for the handle, with moss, and fasten it to the -hoop. Then take a solid bunch of this moss, the size of the centre -of the hoop, and push inside of this moss-covered hoop; this forms a -moss basket. Take a common plate, and place this basket upon it, and -sprinkle it thoroughly with water. This basket can be filled again and -again with bright flowers, casting away the flowers as they wither. The -wet moss will keep them fresh as long as if placed in a vase filled -with water. Now and then place this basket in a dish of water, and -sprinkle it, or let the rain fall upon it. This will freshen the green -tint of the moss. - -Baskets covered with the knitted moss, which in our work department we -have given the directions how to prepare, are very pretty. A tin dish -should be made to fit it, and painted green; keep this filled with -natural flowers, or French artificial flowers, which imitate nature -perfectly, can be arranged in them, and if placed on a bracket, or in -some place where they will not be likely to be examined too closely, -they will easily pass for fresh flowers. - -To form a pyramid of flowers, take three, four, or five wooden bowls, -according to the size you wish for your pyramid; let them be a regular -gradation in size; procure some round pieces of wood, like ribbon -blocks, graded in size, glue the tallest into the centre of the largest -bowl so that it will stand upright, and up on top of that glue the -bowl next in size, and so on to the smallest bowl. Varnish the inside -several coats; paint the outsides green, and cover with moss; some have -a stand made, and glued to the bottom of the largest bowl. When filled -with flowers it is a lovely sight. Baskets made of tin and painted -green, then covered with moss, make the prettiest hanging baskets -possible. Tin rings, large enough to surround vases placed inside, and -made to hold water, with little wires across the top and painted green, -when filled with flowers, form the prettiest mats in the world; the -wires keep the flowers in place. I saw one filled with only rosebuds, -blue forget-me-nots, and geranium leaves. It is an improvement to cover -the outside with moss. Crosses made in the same way are very beautiful, -and are appropriate to place on the grave of any beloved friend. In -that way flowers can be preserved a long time, if there is a sufficient -supply of water to preserve them. - -There are innumerable ways of arranging flowers. The poorest person -can afford to purchase a tin basin, and with a little common paste -and moss, which can be found in all country places, a pretty dish -for flowers is soon made. Shells make lovely vases. The large shells -sailors polish so exquisitely to resemble mother of pearl, make elegant -hanging vases; bore holes on each side and hang them with strong cords. - -The month of September is not too late to make a fine collection of -mosses from mountains and valleys. Mosses will have attained by this -time a luxurious growth. There are but few mosses that look well after -being pressed. The best way to preserve a collection of mosses is to -arrange them in some suitable box, as they grow, and in the order you -desire to keep them, and let them dry slowly. If you wish to cover any -box, basket, or vase, it is better to paste them on, before they are -entirely dry, with common paste. The dry white and gray mosses form -very beautiful receptacles for flowers, by covering the outside of any -rustic basket with the moss. Thread wire will fasten it firmly to any -basket, or rustic work. Paste or wire can be used to fasten it on to -boxes or bowls. - -We have seen a lovely rustic stand for flowers, formed from a common -wooden box (a large bowl is the more desirable). The handle was formed -from a barrel hoop. The legs of the stand were made of gnarled branches -of trees. Then fine annealed wire was wound over the whole. This served -to hold the moss firmly to the box. The beautiful curled white, gray, -and green dry mosses were then arranged all over the box, legs, and -handle, so as to give grace and beauty to this inexpensive stand. This -box was then filled with rich loam, and planted with purple, white, -and pink Maurandia, and variegated Myrtle. These vines twined over -the handle, and festooned the sides of the box. Lobelias, Fuchsias, -Nierembergias, white and scarlet monthly Pinks, silver-leaved Geranium, -and King of the Scarlets, also one white monthly Rose in the centre, -filled the box with bright flowers all summer. This inexpensive -flower-stand was constructed by a boy during his school vacation, and -it formed a beautiful centre ornament to his mother’s front yard. In -the winter the good mother had her boy’s work carefully removed and -placed in her bay window. There it blossomed, and spoke cheering words -to her of her absent darling, as she sat day by day, during the cold -winter months, sewing by its side. - - -14.--HANGING BASKETS. - -Hanging baskets are now in such universal use, that the taste for them -has extended to every town or village in our land. All florists keep a -supply of baskets, with flowers planted and growing, ready for sale. -These baskets are quite expensive. We will give directions for some -equally pretty, but inexpensive, which any ingenious boy or girl can -make. - -Take a small wooden bowl, bore holes in the sides to fasten in a cord, -or screw in rings. Cover this with cones, acorns, black beans, &c., -in fact, any pretty seed can be used to good effect; arrange them -in different forms, like flowers. Varnish with asphaltum varnish. A -cocoanut shell makes a pretty small basket. Either of the above are -pretty with the white and green dry moss glued over the outside. -Baskets can be made of sticks of the oak or maple tree, choosing those -of the size of a man’s thumb, and cutting them of equal lengths, eight, -ten, or twelve inches, according to the size of the basket desired. -Then build your basket like a log hut; interlace your fingers, and you -will see the design. Nail these sticks firmly in place, fasten in a -wooden bottom. Heat a wire and thrust it through the end of each stick, -and bend it into a loop; suspend it by cords fastened to these loops. -This makes a durable basket to hang out of doors; any boy of twelve -could make it. - -Rustic baskets can be made with or without a wooden frame, but a wooden -bowl is a good foundation; procure from the woods a quantity of blasted -branches, or other crooked, rough, or knotty twigs. Soak them in hot -water or steam them, so as to make them pliable. Stain the bowl with -asphaltum or black varnish, then screw in rings for the hanging cords -to pass through. When the varnish is dry, bend around the outside of -the bowl one of the twigs or blasted branches, and nail it securely at -the top edges on either side. Twine several pieces around in this way, -according to your taste, until the whole surface is covered; finish -by nailing one around the rim of the basket for a border. Varnish the -branches like the bowl. The entire basket is then ready for use. All -kinds of shaped baskets can be made out of wire, painting them green, -and filling in moss in all the crevices; a painted tin dish, placed in -for the dirt, will surely prevent any drip; thick moss is ordinarily -sufficient. All kinds of these baskets should be filled up with light, -sandy loam; a few bits of charcoal, and a piece of sponge in the -bottom, assist in keeping the soil moist. Light, trailing vines should -be trained to fall over the sides, and loop in and out of rustic work. -We will give a short list of vines suitable for baskets. - - Lobelia Erinus Paxtoni, an exquisite blue. - White and pink Gypsophila. - Panicum Variegatum. - Tropæolum, ball of fire. - Convolvulus Mauritanicus. - Variegated Myrtle. - Geranium Peltatum Elegans. - Nierembergia. - Linaria Cymbalaria. - All varieties of Maurandia Barclayana. - German Ivy. - Alyssum Variegatum. - Vinea Elegantissima Aurea. - Moneywort. - -PLANTS FOR THE CENTRE. - - Centaurea Gymnocarpa. - Alternanthera. - Sedum Sieboldii. - Bijou Zonale. - Achyronthes Gilsoni. - Mrs. Pollock, &c. - -These baskets should be exposed to the sun at least two or three hours -daily, and in dry weather watered freely. If the surface of the basket -between the plants is covered with moss, it will prevent the earth from -drying as soon, and the basket will look neater. - -Baskets of moss and wire can be every week dipped into a pail of water. - - -15.--ARTIFICIAL ROCKERIES. - -A well-formed and flourishing rockery is an ornament to every lawn. - -Petrified wood forms very beautiful rockeries, but as our purpose is to -assist our young friends to make their own rockeries, we will leave the -more elaborate to the gardener. - -Save all the clinkers from your furnace coal, dip them in a hot lime -wash to color them pure white, their fantastic shapes are thus more -conspicuous; arrange them in a mound according to your fancy; leave at -suitable distances cavities of six or eight inches deep, to be filled -with soil; in this plant your creeping plants; bright colors should -be selected for a white rockery. Dwarf Scarlet Tropæolum, Scarlet -Verbenas, Petunias, Golden Moneywort, Lobelias, Scarlet Geraniums, -Myrtles, Coleus, German Ivy, &c., are used to good effect on this rock -work. Hydraulic cement instead of lime will make a pretty drab color. -If the rockery is protected by some shade, it looks well to plant it -with Ferns and Lycopodiums. - - -16.--FERNERIES. - -Is it not, friends, very pleasant to have a bit of the summer woods -in our parlors in midwinter? Such a pleasure is within the reach -of us all, with but little trouble and expense. Those who live in -cities, and cannot go into the country, surely must have some friend -who can supply them, or the materials can be obtained at any public -green-house. First you require a glass dome, or what is still better, -take five panes of glass, any size you please, four to form the sides, -one for the top; fasten the glass together with a light wooden frame, -then take any tin dish, like a baking pan, or if round, a tin plate or -jelly cake pan, or a tin dish can be made to fit it for a trifling sum -of money; paint the tin green on the outside. Then collect some pieces -of broken flower pots, or still better, bits of marble, granite, or -any stone, and scatter them around the tin dish, placing in the centre -some moss-grown stump or stick, and pile the stones around it; then -collect from the woods ferns, mosses, partridge vines, with its bright -red berries (indeed any plant will grow in these ferneries which can -be found in moist places in the woods); take up a little of the leaf -mould in which they grow (they need but little soil), arrange your -plants, spreading the roots carefully over the stones, scattering a -little leaf mould on them, and place your mosses around the whole. The -tallest plants should form the centre, but in arranging even ferneries, -it is more agreeable to exercise your own taste. Before placing your -globe or glass frame over your fernery, sprinkle the plants thoroughly, -then cover with the glass, and let it remain a few days in the shade. -You can keep them where you please, but they grow better near a -window; be very careful not to water them too often; once a month is -generally sufficient; if too wet, they will mould and die; when there -is but little moisture on the glass, it is well to raise the glass to -ascertain if it is dry. Our fernery has been made four years; it has -required but little care; now and then we add a new fern, some moss, -or any suitable plant gathered from the woods, and remove any dried -ferns or leaves. It often renews itself. Trailing Arbutus and partridge -vines will blossom in ferneries. It is always pleasant to the eye, and -no care after the first expense and trouble. Ivy and Lycopodium grow -well in ferneries, but the rare ferns, &c., from green-houses do not -flourish as well as those plants taken from our native woods. - - -17.--IVIES. - -English Ivies are a great ornament to our rooms, and are hardy, and -require very little care. After the first two years they grow quite -rapidly, therefore it is well to procure two-year old plants; train -them on your curtains, over your windows and pictures. Many make a -mistake by changing the pots very often, thinking they require a very -large pot, which is not so, for they do not require as much earth as -many plants, only keep them moist, and have rich loam for the soil; it -is well to water them every month with guano water, prepared according -to the same rule given for flowers. The Poet’s Ivy is very pretty, the -leaf being quite small. The most beautiful ivy we ever saw was one that -never was removed from its place, summer or winter; it filled a large -bay window, encircled the whole room, and wound around many pictures; -now and then a gardener came and changed the soil, and the leaves were -occasionally washed. - - -18.--PRESSED FLOWERS. - -To press flowers, to be arranged on paper like a painting, you must -take some plain white wrapping paper (in Paris you can obtain paper -prepared by a chemical process to preserve the colors), and place your -flowers or leaves carefully between two sheets of the paper. Then -press them by placing a heavy weight over them (letter presses are -excellent), and leave them a day or two, then change the paper; thus -the juices of the flowers are absorbed. It takes a week or two to press -perfectly, and in summer often longer. When dry, place them in a book -or some air-tight box, ready for use. A year is required to make a -varied and handsome collection, as each flower has its own season for -blossoming. Wild flowers retain their colors better than cultivated; -but experience alone will teach you what flowers will retain their -color best. Many pretend to be able to preserve all kinds of flowers, -but it is impossible. I will give a list of flowers which are known to -retain their color by this mode of pressing. - -All Geraniums (except the horse-shoe and sweet-scented) preserve their -color. They are very essential, as their colors are brilliant and keep -for years. All yellow flowers, both wild and cultivated, retain their -color. The Violet and Pansy, Dwarf Blue Convolvulus, Blue Larkspur, -Blue Myrtle, Blue Lobelia, Heaths, the small original Red Fuchsia, Wild -Housatonia, and many tiny blue, and even white flowers press perfectly. - -For green, Ivy, Maiden Hair, Ferns or Brake, Mosses, &c., retain their -color best. Rarely a cultivated green leaf presses well. Autumn leaves, -if small, and the youngest oak leaves, mix in well. Certain kinds of -stems, such as Pansy, and others of similar character, are best adapted -for pressing. - -After your collection is made, take some card-board, without a polish -if possible, and arrange your flowers as you design to have them. Gum -them to the paper with tragacanth, using a camel’s hair brush, then -press on the paper and flower with a cloth, carefully absorbing all -moisture, as well as firmly pressing the flower on the paper. Geraniums -and some large flowers look better if each leaf is glued on separately. - -In forming your bouquet, it is better to arrange the stems first and -work upwards. Baskets and vases of moss with flowers are pretty. To -form these you must trace out with a pencil your vase or basket, and -glue on the moss. Then arrange your flowers. - -We have heard amusing criticisms on the coloring of such bouquets from -persons who mistook them for paintings. Framed and covered with a -glass, they make ornamental pictures. - -It is a pleasant way of preserving mementos of friends, places, or -events. Flower albums or journals are very beautiful. Wreaths arranged -of different varieties of Pelargoniums, mixed in with any pretty green, -and other little flowers, such as Lobelias, are very handsome, and -the colors are durable. Pansies of different shades look well, and -brilliant wreaths may be made of all the varieties of flowers that hold -their color. The oval shape looks the best for wreaths. - -There are innumerable varieties of Ferns, Lycopodiums, and Maiden -Hair, both native and foreign, suitable for pressing. By pasting each -specimen on a separate sheet, and interspersing specimens of our -beautiful autumn leaves, also on separate sheets, and fastening them -together, either bound as a book, or in a portfolio, you will possess a -beautiful and attractive book with but little expense. - -Crosses can be arranged with Ferns, and shaded to appear as if painted -in perspective, and look like a cross standing on a mossy bank, with -flowers, &c., growing around and over it. First draw and shade your -cross, as a guide, then take the small leaflets of the darkest colored -ferns you can procure, and glue them on carefully where the cross -should be in shadow darkest, then take the brighter green Ferns (such -as are gathered in spring), and end with the white Ferns (which can -only be obtained in the fall), using them for the lightest shade; -be careful to cover every part, and shade it with Nature’s colors -as you would with paint. In a cross six inches high, and suitably -proportioned, full two hundred of the tiny leaflets of the Fern may -be used to good advantage before it is completed. Then take wild -Lycopodium, if you can obtain it, if not, the finest of the cultivated, -and arrange it on your cross to look like a vine growing over and -hanging from it; also paste on to it tiny little pressed Lobelias, and -arrange small Ferns, mosses, and any little flowers (wild ones are -preferable) around the base of the cross, to look like a mossy bank. -Different designs can be arranged in the same way. - -Be very careful in pasting on flowers and leaves, that every part, -however small, is firmly fixed to the paper; press them on after -pasting with a dry cloth. - -September is the time to collect the beautiful white ferns; the first -slight frost turns the green fern white. They should then be gathered -at once, and carefully pressed; when dry they resemble the skeleton -leaves. A vase of these forms a beautiful winter ornament. If you defer -gathering them till the heavy frosts come, they turn brown. - - -19.--STRAWBERRIES. - -A few hints as regards the cultivation of strawberries may be useful -to both boys and girls; for fine berries can be raised even on a small -plot of ground, if the soil be rich. Plants for a new bed should be -set out early in the spring; the roots will then grow strong, and the -plants will be better able to bear the cold of winter. Some gardeners -prefer to plant their strawberry roots in August, or even late in the -autumn, and if the winter is mild, or deep snows cover the ground, the -vines will live and bear fruit the next summer. Some prefer to raise -strawberries in hills, but the most prolific vines are those planted -in beds about three feet wide, with a path between, filled with straw, -to keep the fruit from the ground; it is well to cut off most of the -runners. Of course the beds should be kept free from weeds. There are -many new varieties, but the old Hovey’s Seedling is as reliable as any, -and very prolific. The Russell is easily propagated; vines planted in -April will often yield fine strawberries in June. The Wilson is a -profitable strawberry for the market because of its large yield, but it -is hardly equal in flavor to the Hovey. - -The Hovey will soon run out if planted by itself; it requires some -other kind to be planted with it. The Pine is usually the variety -selected for that purpose. It is useless to enumerate the several -varieties, for nearly every locality has its favorite strawberry. Some -kinds will scarcely bear a perfect berry in some locations, while in a -different locality the same plant will be loaded with perfect fruit. -Sometimes a healthy and vigorous-looking bed of strawberry plants will -produce but few berries; then you must examine the blossoms, those -which bear fruit will have the berry formed in the flower, while others -will blossom freely, but do not bear fruit; these are the male plants, -and it is better to leave but few of them in your strawberry beds. When -you plant the new roots, dig a hole with a trowel and fill it with -water, then spread out the roots and pack the earth close around them; -but when they are fully rooted, and commence to grow, the earth should -be kept loose around them. - -Strawberry plants should be replanted every third year; it is best to -change the location of the bed if possible, or at least to renew the -soil. Boys or girls who raise and gather from their own little garden -a dish of strawberries, will find great pleasure in presenting it to -their friends as fruits of their own labor. - - -20.--GRAPES. - -The care of the grape vine is a pleasant occupation. To gather the -rich, ripe bunches of its delicious fruit is a grand enjoyment. Almost -every one can command a spot of ground sufficient for the liberal -support of a grape vine. It may be planted in any unappropriated -corner about the house--a sunny spot is to be preferred; but a vine -may do well with but little direct sunshine, if it is well sheltered -and properly cared for. It may be planted at the foot of a tree, the -branches of which are not near the ground, and it will find its way -high up the tree, and will yield large crops of fine fruit, hidden -among its own thick foliage and that of the tree, provided the ground -immediately about its roots can be reached and kept warm by the sun’s -rays. - -As it grows, it will endeavor to adapt itself to the circumstances that -surround it, and will take the direction your taste or convenience -require it to follow. Its flexible branches are obedient to the gentle -hand of the careful cultivator. You may train it upon stakes six or -eight feet high, or upon a low trellis where the fruit will be within -easy reach of your hand. You may have the fruit within a few inches of -the ground, or by removing all the lower branches of the vine, you can -cause the ripe bunches to hang in graceful festoons around and over the -window of your chamber, high above the reach of accident and pilferers. -The grape vine will do as it is bid, which is much more than can be -said of some young people, whose eyes sparkle at the sight of its -fruit. - -In preparing the ground in which to plant the vine, reference must be -had to the character of the soil. If the soil is clayey and cold, or if -the neighboring surface is such as to turn an undue proportion of the -rains upon the place where you propose to plant your vine, care must be -taken to secure for the roots of the vine a sufficient drainage. If the -roots of the vine are surrounded by wet and cold earth, the fruit will -mature slowly, and will be endangered by the early frosts. You will -secure a sufficient drainage by digging a hole three feet deep and five -or six feet in diameter, and throwing into it small stones, fragments -of bricks, or other like rubbish, to the depth of about eighteen -inches, and filling to the surface with the soil. If the soil in which -you propose to plant your vine is light, no artificial drainage will be -necessary. - -Dig over the ground, and mix with it some well-rotted manure or bone -dust to the depth of your spade. The plan of trenching and deep -manuring is of questionable advantage. The roots of the vine prefer to -run near the surface, but they will seek the rich soil wherever it may -be; and if they are drawn away from the surface of the ground and out -of their natural direction to the colder soil below, the effect upon -the fruit may be unfavorable, both as to quality and quantity. - -In the ground thus prepared, set your young vine from the nursery. -First, drive down a stake to which you can tie the young vine, then -place the roots of the vine three inches below the surface of the -ground, carefully spreading the roots so that they will be as nearly as -possible in the position in which they grew in the nursery. - -The beautiful operations of nature will then commence. The roots of -the vine will at once begin to adapt themselves to their new home, -and their delicate fibres will firmly clasp the particles of the -well-prepared soil; the warm days of the early spring will draw the sap -up through the whole length of the vine; the buds will open and exhibit -their delicate tints, new shoots and broad green leaves will follow, -and you can soon eat the fruit of your own labor, sitting beneath the -shadow of your own vine. - - -21.--HOW TO ARRANGE SEA-MOSSES. - -While our young friends are enjoying the pleasures of the sea-shore, -there is no more delightful employment than gathering and preserving -the beautiful flowers of the sea. - -September is the time to collect the finest varieties of sea-mosses. -Before you commence to arrange them, procure two pieces of deal board, -about twenty inches long and twelve inches wide; some light-brown -paper, and blotting paper, and white drawing paper. You will need -camel’s-hair pencils, long, slender darning-needles (or common needles -mounted on lucifer matches), a small piece of alum, and old cotton or -linen cloth. - -The best time for collecting the mosses is in the early morning, -when, on your return, there is leisure for immediately laying them -out. If you leave them until the next day, the chances are that one -half of them will be spoiled. Do not collect many mosses at one time; -for these flowers of the sea fade, and even decompose very fast, -when roughly handled or carelessly gathered. If you cannot arrange -them at once, put them either in an oil-skin bag, or a tin can, with -sea-water. When you are ready to arrange them, take your drawing paper -and cut it into large and small squares, or any size you desire. Get -some soup plates, or any shallow dish; fill with fresh water; place a -small piece of alum in each dish. Now have your camel’s-hair pencils -and darning-needles, or needles mounted on matches, by your side. Then -float a piece of sea-moss in fresh water. If very dirty or sandy, wash -it first in clear water. Float it on a piece of paper, which must be -placed under it with the left hand, while with your right hand you -arrange the plant in a natural manner, using your camel’s-hair pencils -and needles. Superabundant branches can be thinned out with small, -sharp-pointed scissors. When the specimen is placed as you like it, -cautiously raise the paper, that the position of the plant be not -altered, and let it rest somewhere with sloping inclination, that the -moisture may run off, while other specimens are treated in the same -way. Do not leave them long thus, for they must be pressed before the -paper is dry. In drying them, you must lay either old soft linen, or -cotton over them, to prevent its sticking to the upper paper when -pressing; as, in order to press it, you must first lay them in blotting -paper, and then in brown, and place them, thus prepared, between your -boards, and strap the two boards tightly together. The blotting paper -and old cloth must be changed at least twice in drying large sea-weed. -The second day place a heavy pressure on the boards used in pressing. - -Sea-mosses are glutinous, and must be dried, and not pressed; and, when -finished and dry, then moisten the under side of the paper, and press -it gently. Others will not adhere to paper, and therefore, when dry, -should be brushed over with a little isinglass, dissolved in gin, laid -on warm; and they will then be fixed closely to the drawing paper. - -Another preparation is one ounce of oil of turpentine, in which some -gum mastic, the size of a nutmeg, has been dissolved. This gives a -gloss to the specimen, and helps to preserve the color. - -The finest and rarest specimens are found in the lowest tide pool, or -cast up after a storm. - -We have seen these sea-mosses, or sea-weeds, exquisitely arranged, -representing flower painting. - -Take the pink and green sea-weed, and with practice, moss-rose buds can -be perfectly represented, also other flowers. Be careful and select -fine-grained, at the same time _strong_ paper. - -Every lover of nature should always possess a microscope. Examine -with it many tiny specimens, condemned as too small to arrange in -your album; it will reveal to you such form and color, provision and -harmony, as the Almighty Creator conceals from the unseeing eye, and -reveals to patient and intelligent search. - - - - -=HOUSE AND HOME ARTS.= - - -1.--KNITTING. - -Plain knitting is but little noticed since knitting machines were -invented. At present crochet work has taken its place, and fancy -tatting. It will not be necessary for us to give any especial -directions for these kinds of work, as nearly all our magazines give -new directions in every number. But both crochet and tatting require -eyesight. If a child is taught in early youth to knit well, all common -knitting can be done without eyesight. We can _think_ better if our -hands are employed on plain knitting. If our eyes have been overtasked, -and cannot bear the light, we can knit in the dark. We always keep some -common knitting, such as strips for a blanket, or stockings for the -poor, on hand; and it is astonishing the amount of work accomplished in -this way, as we can knit, if a neighbor calls, for it does not prevent -our conversing freely, also we can knit and read. - -We earnestly advise our young readers to learn to knit. Many persons in -the present era are afflicted with weak eyes, and dislike to be idle; -the knowledge of knitting would be a pleasure, also of netting, as -that requires less eyesight than other branches of work. We will give -the directions for knitting a few fancy articles, also the directions -for knitting a common stocking, so that our young girls can knit -substantial stockings for the poor. During the last war, when our young -ladies were called upon to knit stockings, how few knew how! So many, -who earnestly desiring to do their part, were obliged to learn the -rudiments of knitting! - - -2.--HOW TO KNIT A STOCKING. - -First select four smooth steel needles of a size suitable for the -woollen or cotton yarn you intend to use. If you cannot tell yourself, -the person of whom you purchase your yarn can select suitable needles. -Your stitches should be cast on with double yarn. Knitting them on is -preferable; first form a loop on one needle, then by knitting that loop -with another needle, the required stitches can be formed. Some persons -prefer a little elastic roll at the top; this is formed by knitting -eight or ten rows round plain, then turn directly back and knit on the -wrong side a few times. - -But the most common mode is purl every two stitches. This is done by -knitting two stitches and purling two. It is well to continue this for -a gentleman’s stocking or a boy’s all the way to the heel, as they -cling better to the leg, or purl two and knit two for a half a finger, -then knit a finger and a half plain, and end the leg part by purling -two and two again at the ankle for an inch. If the stocking is for a -lady, after knitting four or five inches from the top (the first inch -being purled every two stitches), the narrowing should be commenced. -In plain knitting, one needle is called the seam needle, for the centre -stitch should be purled, and one must be taken to purl that same stitch -the whole length of the leg. The narrowing of the leg should be done -on each side of the seam stitch. Then knit five or six rows before -narrowing again. The leg should be narrowed thus seven or eight times -to form a good shaped leg. - -No rules for length, or the number of stitches to be cast on a needle, -can be given, as nearly every person differs in size. The only sure way -is to measure by some old stocking. The heel must contain just half the -stitches in the whole stocking. Take off the stitches, for the heel, -on to one needle. A long heel makes a better shaped stocking than a -short one. When nearly done, narrow five or six times on each side of -the purl; for, in taking off the stitches for the heel, the purl stitch -must be in the centre of the heel needle. The heel is knit backwards -and forwards like a garter, only it is purled all across on the wrong -side. The narrowing must all be done on the plain knitting side. Some -persons knit the heel with double yarn; others, on the purling side, -slip a stitch and knit a stitch all across, and the next time the -purling side is knit, slip the stitch you _knit_ before. This makes -a strong heel, almost equal to running a heel after it is knit. To -bind off the heel, you must place half the stitches on one needle and -half on another, then place them side by side, and knit two stitches -together with a third needle, slip the first stitch knit with the third -needle over the second stitch all across, never leaving but one stitch -on the needle. Some finish the heel differently; they take just half -the stitches of the heel in the middle of the needle, leaving a quarter -on one side and a quarter on the other, and only knit the middle, but -each time take up one stitch from the side, and narrow it with one on -the middle, until all the stitches on the side are gone. - -The foot is formed by taking up the loops on each side of the heel -(these loops are formed in knitting the heel, by always slipping the -first stitch, as in a garter). In knitting round the first time, it -is necessary to widen on the heel every third stitch, by taking up an -additional loop. It should then be narrowed on the corner of the side -needles, by narrowing two together of the four last stitches on the -first needle, then on the other side needle knit two plain, slip a -stitch and knit a stitch, and put the slipped stitch over the knitted -stitch, until the foot is small enough. After the first few times -around, it shapes the instep better to narrow, then knit around without -slipping and binding. The next time knit past the narrowing side plain, -and slip and bind, therefore the size is only lessened one stitch -every row, forming a long gore. The toe is formed by narrowing at the -beginning and end of each needle; first knit two plain and narrow, then -leave four at the end of the needle, narrow the first two, and knit -the other two plain; before narrowing, see that the stitches on each -needle number the same. Knit around three times plain, then narrow as -directed. Knit three plain rounds between the narrowing three times. -Then knit twice around plain, three times between the narrowing; then -once, then narrow every time till there are only four stitches; break -off your yarn, leaving sufficient to draw through the four stitches, -and with a darning needle fasten it strong. - -Another way to narrow a toe off, is to narrow every seven stitches -when you begin the toe; knit seven times around, and narrow every six -stitches; knit six rows and narrow every five stitches; knit five rows -and narrow every four stitches, so on to the end. - - -3.--BABY’S KNITTED JACKET. - -Cast on two hundred stitches on good sized steel needles, knit quarter -stitch eleven purls, that is twenty-two times across; then, with -colored split worsted, knit three purls, then narrow every time, -putting the worsted twice over the needle each time to make holes; knit -three purls, then commence with the white worsted; knit fourteen purls; -divide the stitches into three parts, fifty on each side, one hundred -in the middle. Commence with the middle, knit twenty-two purls, then -narrow each side of the needle every other time, making twenty-two -purls, bind off. Knit the fronts the same way, narrowing only on one -side. - -SLEEVES. - -Cast on sixty-five stitches, knit thirty-six purls, narrowing each side -of the needle every eighth purl; knit three purls with color, make -holes, then three more purls, bind off fifty-four stitches, then sew up -the shoulders, take up the stitches round the neck, knit the same with -the colored worsted, as the border on the sleeves, take up stitches -down each side of the front, knit the same border, only have one purl -before making the holes, then knit two purls. - -BORDER. - -Cast on eighteen stitches, and knit the same as border for blanket, -making seven holes instead of four. _Split worsted is preferable._ - - -4.--BABY’S BLANKET. - -Commence with thirty stitches on a needle, and knit Brioche stitch. -Knit till you can count twenty-four loops, then change the color (the -stitch to be knit, is slip a stitch, put thread in front and narrow, -all across, on both sides the same). You must always join the color -on the same side, and have a colored square in each corner of your -blanket. Knit seven squares in each strip, and seven strips form the -inside of the blanket. - - -5.--BORDER TO BLANKET. - -Cast on ten stitches, knit two plain, put your worsted in front and -narrow all the rest, but knit the last stitch plain; that is, put your -thread in front and narrow two together, till there are two left; then -put your thread in front and knit one stitch; then the last one plain; -knit back plain; then knit three stitches, and the same as before, only -add a stitch every other time across, till you have nineteen stitches; -then knit twice plain, and knit eight, and narrow; then put your -thread in front and narrow four times; knit last stitch plain always, -knit back always plain; decrease one every other time till you have -ten, then knit a plain row to join your other color. All the scallops -are knit the same, and it needs thirty-two blocks of edging to go round -the blanket. The colored point of each corner must be gathered up to -the point close, thus making the white come on each side of the colored -square. - -It takes eight ounces of common zephyr worsted, four ounces of each -color. - -This enlarged, makes very handsome carriage blankets, with a palm leaf -worked in each square; but instead of a knitted border, it is better to -tie in a heavy fringe of worsted. - - -6.--KNITTED BED-QUILTS. - -This requires a whole box of the red and white Saxony yarn. - -This should be knit with the finest ivory needles. Cast on forty -stitches. Knit the stripes garter stitch; that is, knit backwards -and forwards plain knitting, slipping always the first stitch on the -needle. Knitting it thus, it makes every other time across look like -purling. The stripes must be four hundred purls in length; it needs -eleven stripes, red and white alternately. These stripes must be sewed -together, and the ends finished off with a fringe, or knit a border. -The directions given for the border to the first baby’s blanket, knit -it broader by knitting six or seven stitches plain before you widen or -narrow to make holes. - -A “couvre-pied” can be knit in the same manner, only knit the stripes -three hundred and ten purls in length. - - -7.--BABY’S BLANKET. - -A beautiful blanket can be knit with stripes, alternating pink and -white. Knit plain garter stitch, each stripe a yard long; the white -stripes should be the narrowest, eighteen stitches for the white and -twenty-two for the pink. When finished, then work in the white stripes, -a pink rose-bud and a green leaf, as small as possible, then sew all -together, making the blanket a square yard. - -BORDER. - -Cast on sixteen stitches. - -_First row._ Knit three, turn over twice, purl two together, knit two, -turn over twice, knit two together, turn over twice, knit two together, -knit five. - -_Second row._ Knit seven, purl one, knit two, purl one, knit two, turn -over twice, purl two together, knit three. - -_Third row._ Knit three, turn over twice, purl two together, knit -thirteen. - -_Fourth row._ Knit thirteen, turn over twice, purl two together, knit -three. - -_Fifth row._ Knit three, turn over twice, purl two together, knit two, -turn over twice, knit two together, turn over twice, knit two together, -turn over twice, knit two together, knit five. - -_Sixth row._ Knit seven, purl one, knit two, purl one, knit three, -purl one, knit two, turn over twice, purl two together, knit three. - -_Seventh row._ Knit three, turn over twice, purl two together, knit -six, turn. - -_Eighth row._ Cast off five, knit ten, turn over twice, purl two -together, knit three. - - -8.--SOFA CUSHION. - -Cast by knitting sixteen stitches, knit plain four rows like a garter, -knit eight stitches, turn and purl four, knitting heel stitch (that -is, plain in front, and purl on the back side), ten times on the four -stitches. Then slip the four stitches from the needle while you take -up the next four, then return them again and knit the remaining four, -turn and knit twelve stitches, then take up the last loop on the roll, -and narrow it off with the first stitch of the last four, then knit the -last three plain. Then knit four rows plain (which makes three rows -of purling on the right side between each roll). Now commence another -roll, same as before. It takes seven ounces of tapestry worsted, or -double zephyr, one ounce to a stripe. Be careful and select colors that -will harmonize together. - - -9.--TABLE MATS. - -Table mats, made of coarse white tidy yarn--with the plain crochet -stitch and a scallop border--are easily worked, and do not strain the -eyes. - - -10.--CARRIAGE OR BED-ROOM MAT. - -A very pretty carriage or bed-room mat may be made in knitting. Collect -as much flannel list, or flannel and woollen cloth as you can; cut it -into short lengths, and knit a few rows, for a foundation, in twine. -Then take a piece of list, put it across the string, and knit it in -tightly; knit the pieces of list in this way all across; then knit a -row plain; then knit in a row with the list. If you knit an edge of -scarlet flannel, say six rows first, and six stitches at the beginning -and end of each row, of pieces of the scarlet, and six rows of scarlet -at the ending, your mat will be improved, particularly if the centre is -knit entirely of gray list, as the gray and scarlet are very effective. -When completed, line it with a nice coarse brown cloth. Pretty mats -can be knit entirely of old pieces of cloth of any kind, by cutting it -in narrow strips and sewing each strip together; knit it with large -needles either in strips or squares, and sew them firmly together; -take your pieces at odd times and strip them up, and as you sew them -together, roll them into balls ready for knitting, then arrange your -colors to harmonize together. - - -11.--KNITTED MOSS. - -Cast on about fifty stitches of light green Berlin wool; slip a stitch -on your needle without knitting, and knit the next row. Continue the -same until you have finished two skeins of wool, taking care never -to knit the first stitch of each line. Then knit on it, in the same -manner, two skeins of the next shade darker of color, and continue in -the same manner until you have knitted up five shades of green; join -on a rich brown, and a faded moss-colored wool, and then cast off. Wet -your knitting through with clear water, then dry it over a furnace -register, or cover it with a paper or cloth, and press it with a hot -iron. Let it remain for a few hours untouched, then unfasten the last -stitch, and pull it out. It will unravel easily, from the first stitch -of each row not having been knitted, and you will have a good curling -imitation of moss to sew on to baskets or for borders of mats. - - -12.--PLAIN NEEDLE-WORK, AND USEFUL HINTS FOR YOUNG LADIES. - -Our young ladies formerly were educated thoroughly in needle-work. -Plain sewing was taught in the primary schools; but, alas! these times -seem past; it is rare to find a little girl of even ten years old who -can hem a pocket-handkerchief well. The children of our mechanics -grow up with but little knowledge of useful work. Their mothers, with -mistaken love, mend, dress, and make their wearing apparel. Often -they marry wholly ignorant of the accomplishments _necessary_ for a -true wife and helpmeet--that is, the knowledge of housekeeping, plain -sewing, and cutting out the simplest garment. - -Who is to blame for this? The excuse of many a hard-working mother -is, “I have not had time to teach my daughters;” and of our ladies of -wealth, “I did not suppose my daughters would ever be poor, or require -such knowledge!” - -It is a very great pity sewing is not taught in our common schools. It -is quite as important to our girls as reading, writing, spelling, &c. -There is no country in the world where a _practical_ education is so -necessary as in ours, the fluctuations of fortune are so great. The -rich man of to-day may be the poor man of to-morrow. Therefore every -boy and girl in the land should have a useful and practical education. -Our girls especially, rich or poor, need a knowledge of practical -housekeeping; it is not possible for any lady to be a good housekeeper -unless she knows how things should be done herself, as a trained -servant in our free country is rarely found. - -Plain sewing is also very important to be learned in early youth. In -these days of machinery much of the old plain work is done by the swift -needle of the sewing machine, rather than by hand; and it is expected, -by and by, that hemming, stitching, over-hand work, and gathering will -be as much forgotten as the old tambour stitch and embroidery of our -ancestors. But we maintain that a person to work well on a machine -should first be taught to sew well, and it is quite possible work may -be required when no machine is to be hired. If young ladies are always -able to hire their sewing, it may be pleasant to work for the poor. -We hope our young readers may be induced, of their _own_ desire, to -become _good sempstresses_. If any one reading this book is induced to -obtain _practical_ knowledge on the subject, we shall feel repaid, and -we would gladly hear from them. We will now give a few directions as -an assistance, at the same time begging our young readers to remember -that one lesson from a good sempstress is worth a dozen pages of print. - -A hem should be, generally, narrow and very even; if it is to be wide, -cut a measure the desired width, and be careful to have it exact; -the stitches should be taken through, but so small as to be nearly -invisible. A hem on clear muslin will look neater if it is finely _run_ -like the seam of a dress. - -In over-hand sewing the stitches should be taken on the edge of the two -sides, and should lay quite close to each other, so as to look like -purling. - -In stitching you should only take up two threads, both behind and -before the needle. - -Gathering is done on the needle, two threads taken up and four left, -and the line should be kept very straight by a thread, if possible. The -gathers, when finished, are drawn very tightly together on the thread, -and stroked down smoothly with a strong needle or pin. - -Darning is done by taking every other thread (in a stocking), and -leaving a long loop at the end of each line. The darn is crossed by -taking every other thread alternately, each way. It used to be called -“weaving.” If muslin is to be darned, it is better to use ravellings of -the same instead of thread. - -Should you have a rent in a dress to repair, use ravellings of the same -material; they are easily to be obtained from the turning in of the -top of the skirt, if you have no pieces; but generally some are left -by the dressmaker, and should be kept for such accidents. In mending -by piecing, be careful that you do it very neatly; match stripes or -patterns on the material artfully, and you will have the triumph of -preventing the defacement of your dress. - -Learn how to make and trim a bonnet, or make a graceful bow of ribbon. -Young ladies of small means, who are ingenious and tasteful, often -present a better appearance by making things for themselves, than those -who, without taste or neatness, spend large sums at the milliners’. We -advise you to try and make your own dresses. - -In order to do this, rip up an old dress that fits you; lay the several -portions of the body on a large sheet of brown paper, with the turnings -_turned in_; trace the pattern carefully with a black pencil; then draw -a line round the whole, including the turnings-in, and cut it out. Pin -this pattern on your material, and cut out the dress, taking care that -you do not get two fronts for the same side, if there is a right and -wrong surface to it. To prevent the possibility of this mistake, it is -well to fold the material and cut both at once. The same may be said -with regard to the side bodies. Greater skill is required to put the -skirt into a band, than in making a body, in order that it may hang -gracefully; but as fashions change continually, we can only advise -you to get a good pattern to copy from, and _care_ and _patience_ -will insure you success. If your means render it unnecessary or not -expedient for you to make your own dresses, you will find it pleasant -to be able to make up the cotton dress you destine for some poor -neighbor, whose want of time for needle-work will render her as much -obliged for the _labor_ bestowed, as for the material itself. Making -clothes for poor children is _active charity_. - -We know of a young lady so naturally industrious, that at the age of -six years, she made entirely every part of a day shirt for her father. -It is not as likely, at the present day, that your labors will be -required for shirt-making for your male relatives; they generally -prefer buying their linen ready made. Every _woman_ ought to know how -to put one together. - -Any child or young lady who can make a shirt well, can easily -manufacture all female undergarments; patterns for cutting out will -be all that will be required. Both cotton and linen cloth should be -scalded in _soap-suds_, dried and pressed _without_ rinsing, before you -work on them, in order to render them soft enough for the needle to -pass through easily. But should you be unable to have this done, rub -the parts you are going to sew or hem with a cake of white soap, or -make a strong suds and brush the parts. Your needle will move easily, -and will run no risk of breaking. - -We advise young ladies who have the care of their own linen, and -perhaps have their own allowance for dress, to take a few hours on -one fixed day, weekly, to look over their clothes, and make any small -repairs that may be wanted. They will find the truth of the old -adage,--“A stitch in time saves nine,”--and will make their linen last -as long again as it would otherwise do. Gloves should be neatly mended, -and no rip suffered to remain a day. White and light-colored gloves can -be nicely cleaned by rubbing them with a flannel dipped in milk and -white hard soap. When dry they will need to be pulled till they are -soft and in shape. - -Cultivate, we beseech of you, habits of neatness in early youth. -Dresses should never be put away dirty, or with spots that can be -removed, or thrown down in a heap. Benzine or chloroform will remove -nearly all kinds of spots, but it must be quickly rubbed dry, or it -will leave a spot. Wax spots from candles can be removed from any -material by placing over the spot some brown or blotting paper, and -place over it an iron sufficiently hot to melt the grease; change the -paper until all the grease is thus absorbed. - -Our young readers may be assured that the little care bestowed on -keeping their garments neat, clean, and whole, will give to their -appearance that air of freshness which in itself is a charm, and will -prove the truest economy. Moreover, the power of using the needle -skilfully will give good manipulation for other and more artistic -employments, and can never be aught but a blessing to the American girl. - - -13.--EMBROIDERY IN SPANGLES AND CANNETILLE. - -Bullion, which is a large gold wire, of which officers’ epaulets are -made, _frisure_, a smaller bullion, _clanquant_, which is a flat -gold ribbon, are all classed under the denomination of cannetille. -Leaf-shaped spangles are called laine. - -Stretch the velvet, cloth, or silk which you intend to embroider in a -frame, and tack over it your pattern, which must be nicely drawn on -silver paper. Suppose your pattern is a wreath of grape-vine leaves and -grapes; you must put bullion on for the centre stem. This is done by -running a needle and thread through the tube, and fastening it with an -occasional (strongly sewn) stitch or two. Take the smaller bullion, or -frisure, for the outlines of the leaves and tendrils, fastening it on -in the same manner as the large bullion; vein the leaves with fine gold -thread. - -Make your grapes of large spangles, and purple or green glass beads, -thus: Pass your needle through the velvet from underneath, take a -spangle on it, then take a purple bead; pass your needle again through -the spangle and back through the velvet. Then begin another grape in -the same way, and fasten carefully off when your silk is used up. A -wreath of grapes and holly (the holly berries red beads) round the edge -of a table cover would look very nice. The cover should be of dark -cloth, and edged with gold cord all around. - - -14.--EMBROIDERY IN LAMÉ OF VELVET AND GOLD. - -Fix your material in a frame. Tack over it your pattern drawn on silver -paper, or sketch it lightly on the surface of the cloth or silk. - -Work your stems and tendrils in frisure, your berries or little flowers -in spangles. - -You can purchase stamped velvet leaves, which you must fasten with -strong gum to your velvet or silk, and then keep them firm by veining -them with gold thread. - -Petals of flowers may be cut out of colored velvet, and arranged on the -cloth or velvet, if the young needlewoman has sufficient taste to form -a flower. - -The work may be done entirely of cachemire and gold on cloth, if a more -expensive material is beyond the worker’s means. - - -15.--EMBROIDERY IN FEATHERS. - -Stretch your material for the ground on a frame. Cover the back or -under side of your feathers with thin gum, to keep the tiny plumage -together, and let them dry. Take a sharp pair of scissors, and cut the -feathers into the shape of the petals you require; lay them separately -on your pattern, and tack them firmly on the silk or cloth with sewing -silk of the same color. Work stems, tendrils, and centres with silk of -the color required. Of course you must arrange your petals or leaves -according to your pattern. - -Any white feathers dyed are suitable for this work. - - -16.--CORK WORK. - -Very beautiful articles can be made by ingenious boys and girls, from -cork bark. Those of our readers who have only seen cork work in the -shape of common bottle corks, will not be attracted by the title of -this chapter. But all who have seen, either at home or abroad, the -exquisite models of castles, old ruins, churches, and many other -picturesque objects, made entirely from this material, will welcome a -few simple directions for this work. - -We will first speak of the cork bark, as it may not be generally known -that cork is not indigenous, but is the soft, elastic bark of a species -of oak tree, that grows abundantly in the northern part of France, -Spain, and Italy. When the tree is fifteen years old the barking is -commenced, and is repeated at intervals of eight years, the bark -improving with every operation. The cork is stripped from the tree -in July and August; it is then piled up in water under heavy stones, -to flatten it, after which it is fire dried, and packed in bales for -exportation. The cork cutters divide the sheets of cork in narrow -strips, and after cutting them the proper length, round them with a -thin, sharp-bladed knife into a cylindrical form. The cork tree and -uses of its bark were known to the Greeks and Romans. - -Cork bark can be obtained at any of the numerous cork factories; it is -not expensive, and the refuse bark can be used in making many pretty -models. - -The beginner should select the simplest subjects for his first work, -such as a rustic cottage, bridge, or simple ruins. - -When a certain amount of proficiency has been attained, it will be easy -to advance to higher themes, until the most elaborate designs may be -attempted without fear of failure. - -In this art, models or pictures, with some description of the -proportions, are sufficient guides. - -In this work no tools are required except a sharp penknife and a -glue-pot. - -The walls of buildings must be cut from the cork block. The proper -thickness for the cork used in making walls is about one half, or -even one quarter of an inch, and the smoothest cork should always be -selected for this work. - -When the required size has been obtained, square it smoothly to the -shape called for, making the two side walls exactly alike. Next mark -with a black lead pencil the shapes of the windows, doors, &c. Then cut -the windows with a penknife, making the opening smaller on the inner -side, but slanting outwardly, especially in the sill the slope is very -considerable, and in gothic windows should never be flat or square. The -waste and refuse pieces of common cork will all be of use in making the -trimmings and ornamental work. For the mouldings around the windows, -cut small rims of cork, like your model, and glue them on at proper -distances from the outer edges. Thin sheets of mica glued on the inside -of the windows, are excellent substitutes for glass; the appearance of -stained glass can be given by gumming paper of the color you desire to -represent, on the inside, over the mica. All ornaments can be formed -of tiny shavings of cork. The gables, doors, &c., are prepared as -the model may require. The most suitable base, on which to glue your -building, is a board covered with green cloth or baize. The four walls -can now be glued together and placed on the green cloth board. If -not firm, small splints of wood, shaved so as to fit into the inner -corners, will strengthen the edifice. The roof comes next, and can be -made of smooth seasoned wood, about a sixteenth of an inch thick. - -Cut the board large enough to extend well over the edges, so as to form -eaves; glue one side firmly along the gable ends, then fit the peak -of the other side. A roof with a high pitch adds much to the tasteful -appearance of a rustic church. If there is to be a steeple, or spire, -the tower, or base of the building should be formed of small pieces, -cut so as to fit the slopes of the roof, and built as a mason joins -bricks or square blocks in a wall. When the base is formed square and -flat on top, the tapering spire should start from this foundation, with -a round, or eight-sided piece of cork, whose four opposite sides are -exactly the size of the square base on which it is to be glued; on this -place another cork a trifle smaller; this in turn will be covered with -another still less; so on until it tapers to a point. - -Common bottle corks, of various sizes, are best to use for spires and -columns. - -The best way to make spires or columns, is to glue them in proper -shape separately from the building; when all are joined, shave them -carefully, so as to form the proper slope for the spire, and the -columns can be cut with a knife to imitate fluted sides, or in any -desirable way. When they are finished, glue them in the proper place on -your buildings. - -The outside ornaments, such as a cross or vane for the point of the -spire, the caps of the columns, the buttresses, eaves, moulding around -the doors, porches over the entrance, cornices, &c., may now be added. -The roof may be colored with a little vandyke brown or burned umber, -mixed either in turpentine or oil; a single coat will be sufficient, -and if a rough appearance is desired, dust some fine sand over it -before the paint is dry. - -If you glue moss on to the base board, it adds to the natural -appearance of the building. If you design to represent a ruin, or -Gothic church, a little green moss, neatly gummed on to represent ivy -and other creeping vines, is an improvement. Time adds grace to all -ruins, by its moss and vines, planted by divine Providence. - -Landscapes, in the picture style, are often designed with cork; the -finest shavings of cork can be used to cut into shapes to represent a -castle, a light-house with rocks near by, a bridge, or whatever else -may be selected to form the design. Some idea of perspective drawing -will be necessary in this work; the object should be arranged and -fastened with gum arabic on to a piece of white card-board, and the -sky slightly tinted in water-colors for a back ground. Irregular edges -increase the resemblance to distant hills, and sharp edges of thicker -cork represent the objects in the foreground. - -There is no attempt to imitate nature in the variety of color, for -the picture wears the sombre shade of cork, but the general effect is -pleasing; the light background, seen through the thin shavings of cork, -give a good idea of brown autumnal forests. - -Crosses to train ivy on can be made of cork. - -We trust our readers will be induced to try this cork work. It is often -difficult to know what to make for fairs or for Christmas presents. -This work in our country is rarely seen, and it would sell well, or -prove a pretty present, if neatly done; but, like all things worth -doing, it requires time, practice, and patience to insure perfect -success. - - -17.--BLACK LANDSCAPE. - -Pass a card, or a piece of card-board, through the smoke of a candle -till it is quite black. - -Then take a penknife and scratch upon it any landscape or design you -please. - -Moonlight scenery is very effective in this way. In case of lack of -pencils, &c., this is not a bad way of sketching a scene one desires to -remember. - - -18.--VEGETABLE FLOWERS. - -Boys and girls who live in the country will find it a pleasant winter -evening pastime to make a bouquet of vegetable flowers. - -First gather from the woods laurel leaves and other evergreens. Then by -the exercise of taste, ingenuity, and a skilful use of the penknife, -really beautiful bouquets can be compiled of these flowers, with the -addition of sprigs of evergreen. White turnips, yellow turnips, beets, -carrots, pumpkins, and portions of cabbages, can be used for the -flowers. - -Take a white turnip, neatly peeled, notched exactly down in leaf shape -all round. Then fasten to a stem whittled from wood. Surround it with -green leaves, and behold either an exquisite white camellia or a rose! -Moss rose buds can be made by cutting turnips or beets into the proper -shape, and placing real moss around them. Red roses, camellias, or -dahlias can be made in the same way from beets. Yellow flowers from -carrots and pumpkins. White or red flowers from white and red cabbages. - -Beautify your houses, however poor or humble your lot; a bare, -comfortless room does not excite home love. - - -19.--ORNAMENTAL SEED WORK. - -We have seen exhibited at agricultural fairs some really beautiful -frames and boxes ornamented with common garden seeds. - -If our boys and girls will begin early in the summer, and collect every -variety of seed possible, such as all kinds of beans, corn, melons, -&c., they will have abundant material for this kind of ornamental work -in the winter. - -Every seed of size sufficient for handling should be saved; even small -polished black or yellow seeds, like poppy seed, can be preserved to -scatter over the ground-work. Dry all the seeds carefully, and place -them in boxes ready for use. This work can be applied with excellent -effect in ornamenting boxes, picture frames, hanging baskets, book -racks, flower stands, small tables, brackets, &c. Get the frame of -wood, of any article you intend to ornament with seed work; stain the -wood with walnut staining materials, or varnish with asphaltum varnish. -It is not desirable to have a high polish on the surface intended to -be ornamented, as the glue will not adhere to a very smooth substance. -Keep your woodwork in some dry place, until you are ready to glue on -the seeds. - -When you have a leisure day or evening, place your frame of wood before -you, and the boxes of seeds around it. When your glue is hot, spread a -little over a small space with a brush, and arrange your seeds in the -form of some flower or other figure. - -It is difficult to give explicit rules for the work. It is best for -each person to exercise his or her taste and ingenuity in arranging the -designs. As the work proceeds, an endless variety of shapes and styles -of designs will suggest themselves. - -An accurate resemblance to nature is not easily attainable in this kind -of work. - -When all the ornamental work is arranged, the small spaces left -uncovered should be brushed over with a thin coat of varnish, and -sprinkled with any small seeds. Black seeds are very desirable, as they -form a good ground-work, and afford a proper relief to the designs. -When the glue has become hard, apply to the whole work an even coat of -copal varnish. If this is not sufficient, apply another coat; it is -needed, as some seeds absorb more than others. - - -20.--HOW TO IMPRESS LEAVES ON VELVET. - -This work is very easy and very pretty, requiring only great nicety -and care, and some taste. Take a piece of white cotton velvet (such as -undertakers use as a lining to burial caskets), white jean, or white -linen, or fine, thin muslin; cut it out in the form of a tidy, mat, -or whatever you wish to make. Then pin upon it carefully, with very -minute pins, Ferns, Maiden’s Hair, or any graceful leaf, in the form of -a wreath or bouquet. - -Mix plenty of India ink the depth of color you require; take a fine -comb and brush; dip the brush in the ink and pass it over the comb, -thus splashing the ink all over your material until it is quite black. -Let it dry thoroughly, and then unpin your flower; you will find its -form left in white on the velvet or linen. Mark, with a fine brush, -the veins and stems in it, and your work will be ready to make up as -required. - -All delicate leaves should be carefully pressed till dry before using -them for this work. - - -21.--PAPER PILLOW. - -Save all your scraps of writing paper, old notes of no use, old -envelopes, old backs of notes, &c. Take a bag or some box to throw them -in, instead of the fire or rag-bag, where they are usually placed. When -a number has been collected, cut them into strips about half an inch -wide or narrower, and two inches long; curl them wet by drawing them -over the blade of an old penknife. - -Make a pillow case of any material you have; fill it with your curled -paper; mix with it a few shreds of old flannel. - -Stuff it _quite full_, sew the end up, and cover it as you please. -These pillows are invaluable in case of fevers, as they keep cool, and -are cheap and good substitutes for feather pillows. If these pillows -are not required for home use, our young ladies could make them for our -hospitals, or the poor. - - -22.--IMITATION CARVED IVORY. - -Take half an ounce of isinglass, boiled gently in half a pint of water, -till dissolved; then strain it, and add flake white, finely powdered, -till it is as white as cream. - -Take any article you desire to look like ivory, such as a wooden box, -stand, or card-case. - -Give the article three or four coats of this solution, letting each dry -before the other is laid on; then smooth it carefully with a bit of -damp rag. - -When the composition is perfectly dry, you can put on the imitation -carved ivory figures, which are made as follows: Boil half a pound of -best rice in one quart of water, till the grains are soft enough to -bruise into a paste; when cold mix it with starch powder till you make -it as stiff as dough; roll it out about as thick as a shilling. Cut it -into pieces two inches square, and let it dry before a moderate fire. -These cakes will keep many months, and be fit for use, if kept dry and -free from dust. - -When required for use, get a coarse cloth, make it thoroughly wet, -then squeeze out the water and put it on a large dish four times -double; place the rice cakes in rows between this damp cloth, and when -sufficiently soft to knead into the consistency of new bread, make it -into a small lump; if too wet, mix with it more starch powder, but -it must be sufficiently kneaded to lose all appearance of this powder -before you take the impression; to do which, you must procure some -gutta percha half an inch thick, cut it into pieces about two inches -square, and soften it in hot water; then get any real carved ivory you -can, and take off the impression on your pieces of gutta percha, by -pressing it carefully upon the carved ivory till a deep impression is -taken. - -When the moulds are quite dry and hard, and your paste in a proper -state, with a camel’s hair brush lightly touch with sweet oil the -inside of the mould you are going to use, and then press the rice -paste into it; if the impression is quite correct on removing it, take -a thin, sharp, small dinner knife and cut the paste smoothly, just -so as to leave all the impression perfect; then with a sharp-pointed -penknife smooth off all the rough edges, and with white cement place -your figures on the box in large or small figures, just as your taste -directs; the figures adhere better if put on before they are quite dry. - -Sometimes, from frequent kneading, the paste gets discolored; these -pieces should be set aside and used separately, as they can be painted -in water colors to resemble tortoise shell or carved oak; this should -be done after being fastened to the box. - -Having completed your work, finish by varnishing it very carefully with -ivory varnish, which should be almost colorless. - -This design so nearly resembles carved ivory, that it has been mistaken -for it when nicely done, and it is very strong if carefully cemented. - -Cover boxes simply with the flake white solution, and then paint on -them in water colors representations of flowers, varnishing when dry -with colorless varnish. Such boxes are very easily made. - -From the readiness with which the material can be obtained, this is an -elegant amusement for all who are of an ingenious disposition. - - -23.--DIAPHANIE, OR STAINED GLASS. - -This simple, but really beautiful invention, can easily be acquired by -carefully reading the following directions, and by practice, the effect -of gorgeous stained glass can be given to common window glass, with -moderate expense. The materials required are plates of clear glass, -free from specks or bubbles, designs, groundings, and borderings which -are printed expressly for the purpose, and in transparent colors; a -roller which is employed to press the paper closely on the glass, so as -to remove the bubbles of air; transfer varnish, to fasten the prints -upon the glass; clearing liquid, which is used after the paper has been -removed, to render the work transparent and brilliant; the washable -varnish, which protects the designs from damps, and renders them -capable of being cleaned; and three camel’s hair brushes to apply the -varnish, &c. There are three hundred sheets of designs published for -this work, consisting of subjects, borderings, and groundings. - -A window generally consists of parts of several sheets, as it should -contain a medallion or subject, a border, and the whole of the -remaining space filled up with grounding paper. Among some of the best -subjects, we may mention “The Virgin and Child.” “The four Evangelists -with architectural niches.” “The Adoration of the Magi, with -architectural borders.” “St. Peter and St. Paul.” “The Annunciation.” -“St. John the Baptist.” “St. Joseph.” “Mater Admirabilis.” “Adoration -of the Magi.” “Boar hunt.” “Deer reposing.” “Two marine views.” “The -Laborer’s Return.” “Winter scenes,” &c. For these suitable groundings -and borderings must be selected according to the taste of the worker, -who must, however, remember that the beauty of the work depends upon -perfect harmony in coloring and design. - -The materials being all collected, thoroughly cleanse and dry your -sheet of glass, and lay it flat upon a folded cloth. Then cut out the -medallion, or subject (unless the paper is to be applied in one piece), -and fasten it to the glass by thoroughly damping it on the wrong side -with a wet sponge, giving it a plentiful coating of transfer varnish -on the printed side, laying it face downwards upon the glass, and -firmly pressing it down with the roller, commencing at the centre, and -gradually passing over the edges. - -The border must be the next fixed. Then damp the printed side of the -grounding paper, and lay it over; raise one end of the glass, so that -the light passing through will enable you to see the position of the -subject and border. Trace round them carefully with a pencil, remove -the grounding paper, and cut it out a little within the line, so that -the ground may slightly overlap the subject; give the coating of -varnish, and apply it to the glass, as before described, pressing it -down with the roller, so that no blisters are to be seen. - -Take care to keep the back of the papers damp during this operation, -and when it is finished wash them over with the sponge and water. It -is well to interpose a piece of damp paper between the roller and the -design, as this prevents the varnish adhering to it. The work now -requires to be left for four-and-twenty hours, so that the varnish may -become dry and hard; it is then ready for the next operation--rubbing -off the paper. This is done by wetting and rubbing in a circular -direction, with a sponge or the hand. - -After this the work again must be allowed to dry; after which rub -it with the hand so as to remove all loose particles, and give it a -coating of the clearing liquid, which should be laid on with a flat -brush. After again remaining for a day to harden, the washable varnish -is applied, and the work is completed. - -If these directions are carefully followed, a perfect transparency will -be produced, which it will require an experienced eye to detect from -real stained glass. - -Transparencies in thin silk or muslin can be made by tightly stretching -the material on to a frame. The designs are then subjected to two -coatings of the clearing liquid applied on the wrong side, and when -dry, one of the transfer varnish to the colored side. This is then well -pressed down by the roller. When quite dry, if the picture appear at -all cloudy, it will be necessary to apply the clearing liquid again, -then varnish, and the transparency is finished. Be careful, however, -not to remove the work from the frame until perfectly dry. This work is -especially adapted for hall windows, by the side of the front door, or -in the door. - -We have seen beautiful specimens of this work done by a twelve-year-old -miss. - - -24.--PAINTING ON GLASS. - -Some of the works which profess to teach the art of painting on glass, -contain directions for staining large windows in churches and halls; -others merely give the process of producing the more common paintings, -such as are carried about the streets for sale. These seem to have -been much in vogue about a century since, as all the “Young Artists’ -Assistants” of that day contain the mode of painting them. They direct -us to fix a mezzotinto print upon the back of a sheet of glass, and to -remove the paper by wetting and rubbing, leaving the impression of the -print, which is afterwards to be painted in broadwashes, the ink of -the print giving the shadows. The picture being then turned over, the -glazed side becomes the front, and the colors first laid on, are, of -course, nearest the eye. This mode of painting resembles the style of -Grecian painting, that being painted from the back, and the shading is -the ink of the engraving. - -The methods by which glass is stained are scientific; they require -some knowledge of chemistry, and such apparatus as must preclude the -practice of this branch of art as an amusement. It may be interesting, -however, to know something of the process. The glass being at first -colorless, a drawing is made upon it, and the painting is laid on -with mineral substances, the vehicle being a volatile oil, which soon -evaporates. The sheets of glass are then exposed to a powerful heat, -until they are so far melted that they receive the colors into their -own substances. Enamel painting is done on the same principle. This -is a time of great anxiety to the artist, as with all possible care -valuable paintings, both in glass and enamel, are frequently spoiled in -the proving, or vitrification. The art seems to have been lost during -several centuries; but it has of late been successfully revived; and -large windows have been executed for churches and Gothic halls, which -almost vie with the fine old specimens in the cathedrals in point of -color, while they far excel them in other respects. - -The branch of the art which may be treated as an accomplishment, is -the decoration of glass, flower-stands, lamp-shades, and similar -articles, with light and elegant designs. Flowers, birds, butterflies, -and pleasing landscapes afford an extensive range of subjects, which -are suitable to this style of ornamental painting. The glasses may be -procured ready ground. The outline may be sketched in with a black lead -pencil; the lead can be washed off with a sponge when the colors are -dry. The whole of the colors employed must be transparent, and ground -in oil; opaque, or body colors, will not answer the purpose. - -They may be purchased in small bladders, only requiring to be tempered -with fine copal or mastic varnish, and a very little nut oil, to be -ready for use. Blue is produced by Prussian blue; red, by scarlet or -crimson lake; yellow, by yellow lake or gamboge; green, by verdigris, -or mineral green, or a mixture of Prussian blue and gamboge; purple, by -a mixture of lake and Prussian blue; reddish brown, by burnt sienna; -and all the other tints may be obtained by combinations; for white, -or such parts as are required to be transparent, without color, the -varnish only should be employed. A very chaste and pleasing effect may -be produced by painting the whole design in varnish, without color. - -It is an advantage to this style of painting that but few colors are -required; as from the nature of the subjects, and their purpose as -ornaments, brilliancy is more desirable than a nice gradation of tints. -The work must, of course, be carefully dried, but may afterwards be -cleaned with a sponge and cold water. - - -25.--PAINTING ON VELVET. - -Painting on velvet as well as on glass is an old art revived. No art -that is really beautiful in itself will pass away entirely. As these -paintings are very pleasing to the eye, and easy of execution, it is -well to know how to paint them. The following directions are taken from -a reliable English work. - -The colors for this style of painting are sold at the drawing material -warehouses in a liquid state, and prepared for use. In addition to -these, a brilliant rose-color is obtained from the pink saucers, by -dropping a little weak gum water upon the color, and rubbing it with -a brush. A deep yellow may also be produced by pouring a few drops of -boiling water upon a small quantity of hay saffron. - -It is necessary to mix gum water with all the colors made, to prevent -their spreading into each other; gum dragon is the best for this -purpose. The brushes used are called scrubs; they consist of a small -stick, with a camel’s-hair brush cut off quite short at one end, and at -the other, a brush of bristles of a much harder description. A small -box of black lead is necessary, and a piece of list rolled tightly -round, to the diameter of about two inches, to be used as a sort of -brush with the black lead, for making outlines in the manner we shall -presently direct. A piece of linen rag, to wipe the brushes on, should -also be provided. - -The most brilliant flowers, fruits, shells, birds, &c., are well -adapted to this style of painting. The outline of the subject may be -sketched in pencil on the velvet, which is of such a very delicate -nature, that the greatest nicety is necessary to keep it in a state -of neatness. Care should also be taken that the sketch is correctly -made, as an error cannot be effaced by rubbing out, as on paper. It is -a safer method, however, to make the sketch on drawing-paper, and to -prick the outline very closely with a fine needle; then, the velvet -being previously nailed on a flat piece of wood of a proper size, the -pricked pattern may be laid over it, the roll of list dipped into the -black lead powder, and rubbed regularly over the pattern from side to -side; be careful to touch every part, and on removing the pattern, a -perfect outline in black dots will appear on the velvet. - -Where a set of articles of the same pattern is undertaken, this is a -very good plan, as it insures accuracy, and saves the trouble of making -separate sketches. - -Even those who have no knowledge of drawing on paper, may produce a -design on velvet with ease and correctness, by tracing off against a -window, or by means of tracing paper, any drawing or print which they -wish to copy, and pricking the tracing on the velvet in the manner just -described. In order to keep the margin of the velvet from being soiled -in the progress of painting, a piece of thick paper should be laid -over the whole, and an aperture cut in the middle, sufficiently large -to expose the part to be worked on. Each brush should be kept for that -color alone, to which it has once been appropriated. - -A small quantity of the color about to be used should be poured into a -little cup, and a drop of gum-water added, and stirred with the stick -of a pencil prior to its being taken on the brush. The mode of its -application is so simple, that a short description of the execution of -a single flower will suffice to give an idea of the process of painting -almost any other subject on velvet. A very small portion of color is to -be taken upon the brush, and the darkest part of the leaf touched with -it; the brush is then to be dipped in water, and the color gradually -softened to the edge; each leaf ought to be colored separately, and the -darkest parts in the centre of the flowers may be finished with a small -brush without softening. India ink is used to make the dark shadows of -crimson flowers. The veins, and all the petals of flowers, and all the -fine lines, should be done with a pen. Each leaf, as it is shadowed, -should be brushed with the hard end of a brush that way of the velvet -in which the pile runs most easily, and then in the contrary direction, -so as to set it up again to become dry. A deeper shade should never -be added to a leaf or flower until the color previously laid on is -perfectly set, or the two colors will spread, and run into each other; -this will be prevented by the gum, if sufficient time can be allowed -for each shade to dry before a subsequent one is applied. - -When the piece is finished, and quite dry, it should be brushed over -with a small, round brush, about two inches in diameter, with hard -bristles of an equal length, to raise up such parts of the pile as may -have been flattened in the process of painting. - -Toilet sets, sofa cushions, fancy tables, pincushions, and a variety of -articles may be ornamented in this way. - - -26.--CASTING IN PLASTER, SULPHUR, &c. - -Taking the impression of coins, metals, &c., is, independently of its -utility, a most interesting amusement. This art is of considerable -importance to collectors of antique coins, &c. It is often difficult -and always expensive to purchase superior specimens, of which, however, -exact models may be obtained by casting, without the slightest injury -to the originals. The mould is made in the following manner:-- - -Take a strip of paper, a quarter or third of an inch wide; roll it -twice tight around the rim of the coin or gem, of which a cast is -intended to be taken, and fasten the end with very stiff gum-water, -which will hold it instantly. Rub a very little oil, with a -camel’s-hair pencil, over the coin, in order to prevent the plaster -from sticking; then mix some fine plaster of Paris, with as much -water as will make it almost as thick as treacle; apply it quickly to -the coin, on which it will be held by the paper rim. It sets almost -instantly, and may be taken off in a few hours; but the longer it -remains undisturbed the better. The mould which is thus obtained is -the reverse of the coin; that is, the impression is concave, like a -seal. When the moulds are so dry that they will not wrinkle a piece of -paper laid flat upon the surface, let them be well saturated with the -best boiled linseed oil, placing the moulds with their surface upward, -that the whole of the oil may be absorbed. They must be covered from -dust, and nothing should touch their surface, lest they suffer injury. -Moulds, well prepared in this manner, and dried about two days after -being oiled, will stand a long time for the casting of either plaster -or sulphur. When used, either Florence oil or a little hog’s lard (the -latter to be preferred) should be applied very tenderly over the mould -with a little of the finest cotton wool, and the cotton wool, without -lard, afterwards passed lightly over the surface, to leave as little as -possible of the unctuous matter upon the mould, that the casts may be -the finer. Put paper around them, as was before done to the coin; pour -on plaster in the same manner, and a facsimile of the original will be -produced. - -Good casts may be made of sulphur, melted in an iron ladle, either -pure, or colored with a little red lead or vermilion, powdered and -stirred up with it. The moulds and casts are made in the same manner -as with plaster of Paris, only that the sulphur must be poured on the -mould when hot, and water, instead of oil, must be used, to prevent -adhesion. Sulphur makes the best moulds for plaster casts, and _vice -versa_--as similar substances can seldom be prevented, by either water -or oil, from adhering, in some degree, to each other. Plaster cannot be -used twice; that is, old or spoiled casts cannot be powdered and again -employed; for the moment the material is moistened, being a species of -lime, it is no longer plaster without being reburnt. - -Another way of making casts of almost any color, is with a strong -solution of isinglass; it must be used when quite hot; and it is so -thin that a box, exactly fitting the rim of the coin, is required, -otherwise it will escape. It may be colored with saffron, wood, &c. - -Very beautiful impressions may be taken by pouring melted wax upon the -metal, which comes off easily when the wax and metal are perfectly -cold; but any one attempting this had better try it first upon a penny, -or other coin of little value. - -Impressions may also be taken in wax, which, for this purpose, should -be rendered pliable by kneading it with the hand before the fire, a -little oil having been previously mixed with it. When softened to about -the consistency of putty, lay it and press it close down on the coin, -the form of which will then be perfectly obtained. - -The following is another mode of taking impressions: Procure tin or -lead foil as thin as possible, place it on the coin, and with a pin’s -head, or any small, smooth instrument, work it into every part; then -take it off, revert it into a shallow box, and pour plaster into its -concave side; a durable plaster cast is thus obtained, covered with tin -foil, which will resemble silver. - - -27.--ENGRAVED BOXES. - -The box should be white or light straw-color, in order to show the -faint impression to advantage. It should be varnished five or six times -in succession, and suffered to dry thoroughly each time. While the last -coat of varnish is yet so fresh that your finger will adhere to it, the -engraving must be put on, the picture side next to the varnish. The -engraving must be prepared in the following manner:-- - -All the white paper must be cut off close to the edges of the -engraving, which must be laid on a clean table, with the picture -downward, and moistened all over with a clean sponge. It must then be -placed between two leaves of blotting paper, to dry it a little. Before -putting it on the box, take great care to have it even, and determine -exactly where you wish it to be. Lay one edge of the print, picture -downward, upon the varnish, and gradually drop it to its place, passing -the hand successively over the back of the print in such a manner as -to drive out all the air, and prevent the formation of blisters. Then -carefully touch it all over with a linen cloth, so as to be sure every -part adheres to the varnish. Leave it until it is thoroughly dry. -Then moisten the back of the engraving with a clean sponge, and rub -it lightly backward and forward with the fingers, so as to remove the -moistened paper in small rolls. When the picture begins to appear, take -great care lest you rub through, and take off some of the impression. -As soon as you perceive there is danger of this, leave it to dry. In -drying, the engraving will disappear, because it is still covered by a -slight film of paper. You might think it mere white paper; but give it -a coat of varnish, and it will become quite transparent. Should you by -accident have removed any part of the engraving, touch it with India -ink and gum-water, in order that no white spots may appear; but when -you put on your second coat of varnish, you must take care to pass very -lightly over the spots you have retouched. The box should be varnished -as many as three times after the engraving has been placed on it, and -suffered to dry thoroughly each time. The white alcoholic varnish is -the best. It should be put on in the sunshine, or near a warm stove. -After the last coat is well dried, sift a little pulverized rotten -stone through coarse muslin, and rub it on with linseed oil and a soft -rag; after being well rubbed, cleanse the box thoroughly with an old -silk handkerchief or soft linen rag. Some persons say that a very thin -sizing of nice glue should be put on the box before it is varnished at -all; others say it is not necessary. This work requires great patience -and care; but the effect is very beautiful, and pays for the trouble. - - - - -=SOLITAIRE GAMES OF CARDS.= - - -There are very few games one person alone can play. Mrs. Cheney has -compiled a collection of these games, under the name of “Patience,” -which are very desirable. These games are an acquisition to any home. -They amuse an invalid, and often act as a sedative to men wearied of -business cares, who desire some simple amusement before sleeping. They -do not produce the feverish excitement of games of chance and skill -played against an opponent. Yet they can become a social pleasure, -by others looking on and sharing in the interest of the game, and -the pleasure of success. Boys and girls would do well to learn them, -as they will not divert the mind from study, yet may help to pass -pleasantly an idle hour, besides exercising the _patience_. The -publishers have allowed us to give the directions of some of the games; -we also will add “The Army Solitaire,” and when you play it, think of -the pleasure it has given to many a weary soldier, in diverting his -mind from the hardships of war. Our famous generals often played it -the night before a battle, and if successful, looked upon it as a good -omen. We will add a few simple social games. - - -1.--THE LEGITIMIST. - -TWO PACKS. - -This name is of French origin, but it seems to have no special -adaptation to the game. It may have been applied to it from some old -royalist, who solaced his years of exile with the company of mimic -kings and queens. It requires close attention, but is not otherwise -difficult. - -Take a king and place it at the left. Then, having shuffled your cards -well together, begin to lay them off. You place in succession, in a -horizontal row, next the king, the queen, the knave, ten, nine, eight, -seven, and six, as they appear from the pack. On these you form the -families of thirteen cards each, piling downwards, not following suit, -and ending each family with the number next to the bottom card, so that -you will finish, if successful, with a row of piles, whose top cards -number from the ace to the seven, inclusive. Put the cards that you -cannot immediately use in stock. You can take up this stock, re-shuffle -it, and re-lay it twice. - -You must be very careful to observe when your families are complete, -for as each one ends with a different number, you will be likely to put -on too many cards if you are inattentive. - - -2.--THE SULTAN. - -TWO PACKS. - -[Illustration] - -This is, perhaps, the most curious and interesting of all the games of -Solitaire, and, if successful, it forms a pretty picture of the sultan -or king of hearts, surrounded by his eight queens. As it is rather -difficult to understand the arrangement, we have prepared a little -diagram to illustrate it. - -Take out the ace of hearts and all the kings. Place one king of hearts -in the centre. Just above him place the ace of hearts, and below him -the other king of hearts. On each side of the ace place the kings of -clubs, who represent war. On each side of the first king of hearts are -the kings of diamonds, representing the treasury; and on the lower -line, each side of the second king of hearts, are the kings of spades, -representing the industrial forces. - -Then shuffle the remaining cards, and lay off from the pack. Put the -first four cards on one side off the square formed by the kings, -placing the ends of the cards towards the square. Put the next four -cards on the other side in a similar manner; these eight cards form the -divan. - -Leaving the sultan untouched, form the other families by placing the -aces on the kings, and so piling in regular succession, according -to suits, ending with the queens. Place all cards which you cannot -immediately use, in a pile on the table, which is called the stock. You -can use the cards you are laying off from the packs, or the top card of -the stock, or any card in the divan, in forming your families. When a -card is taken from the divan, you may fill its place, either by the top -card from the stock, or by the next card from the pack, as you think -most likely to be favorable to your purpose. - -When you have exhausted the pack, you can take up the stock and use -it as a pack, always keeping your divan full. This you can do twice. -Some skill is required in placing the cards in the divan, and in -selecting them for use, and constant care is needed that no opportunity -in placing a card in the families escape you. You will, after a little -experience, generally be rewarded with success. - - -3.--FRENCH SOLITAIRE. - -ONE PACK. - -This game is very simple, and well adapted to invalids who cannot make -much effort. - -Shuffle the cards well. Lay the four aces as they come in a row. Place -the other cards as they appear from the pack, on the aces in order, -without following suit; as, ace, deuce, three, four, &c.; this is -called putting the cards in families. - -Place the cards which do not fit on these, in due order in four piles -below, and whenever the top card will go on the upper line, in regular -sequence, you can use it, which will thus free the card beneath it. - -The skill consists in deciding on which of these four piles to place -the cards from the pack, and which card to use, if you have two top -cards of the same number. Of course you must not, if you can help it, -place a higher card on a lower; but if you have already four piles, -this will often be unavoidable. You must then endeavor to get off the -higher cards, to free those beneath. According to the old, strict rule, -of not looking to see what cards are beneath the top card, it becomes -an excellent exercise of memory to recall in which pile are the cards -you want at the moment. It is not well to place many cards of the same -number in one pile. If you can complete the families in the upper row -to the kings, you have succeeded in this game; if not, you have failed. - -You may make this game still easier by taking out the aces, and placing -them in the upper row, before beginning the game; or you may make it -more difficult by following suit in the families, in which case you are -entitled to take up the lower piles, re-shuffle them, and re-lay them -twice. - - -4.--THE ARMY SOLITAIRE. - -ONE PACK. - -The army game is a decided favorite with all who like solitaire games; -we have never _seen_ any printed directions, yet there may be in some -book we have not had access to. We prefer it to any other game of -solitaire, and we hope these directions will be sufficiently plain to -interest our readers to try it. - -Shuffle the cards thoroughly. Then deal off the first card, whatever -it may be, and place it on the upper corner of the left hand side of -an imaginary square. This is called the foundation card, on which to -form a family. For instance, if it were the six of diamonds, the next -card to place upon it would be the seven of diamonds, as the family -must be formed in regular succession, according to suit. Whenever -you come across, in playing the cards, the six of spades, hearts, or -clubs, these are the foundation cards (as the first card dealt gives -the requisite value of the other three foundation cards, or as some -call them, the four towers of the fortress), and can be placed in the -other three corners, to form a square. On these build your towers, as -we directed in diamonds. If you succeed in forming the four towers or -families in suit, and in succession, you have conquered. - -When you deal a card that cannot be placed on the corner families in -succession, place it on the sides of the square, between the foundation -cards, as three of clubs, and nine of spades, eight of diamonds, king -of hearts, and one can be placed in the centre of the square, as the -ace of diamonds; these five cards are called the reserve forces, and -on these you can place any card in downward succession (suits need not -be followed), which cannot be used on the towers. For instance, if you -deal off the deuce of hearts, or any other deuce, place it on to the -three of clubs; or any eight, place it on to the nine of spades; or -king, place it on to the ace, so on; but with every card turned, first -look at your foundation cards, or towers; never lose an opportunity to -build up these. All cards that cannot be played on to the four towers -or the five reserve cards, may be placed on one side as stock. - -Whenever any one of the five reserve corps cards are vacant from being -used to build up the towers, or a vacancy made by being able to place -reserve cards on the other reserve corps, replace from the stock, and -by taking a card from the stock, a desirable card to use on the towers -may be freed. - -The great skill of this game consists in the judicious arrangement of -the reserve corps; if you have two top cards on different piles, of -the same value, you should carefully consider on which pile it is best -to place the card dealt of proper value, for future use. - -If you can complete your towers in the first play, without shuffling -your stock, you have gained a great victory; the stock can only be -shuffled and played over once. If the towers cannot then be built, the -game can be commenced anew. Sometimes the cards deal out so perversely -that even skilful play and patience cannot build the towers. - - - - -=THE TOILET.= - - -There are many boys and girls who pride themselves on their utter -disregard of their personal appearance, most fully comprehending the -old phrase “that beauty unadorned is adorned the most,” or perhaps -think it a mark of genius to appear so occupied with study as to -neglect their person. Such boys and girls are repulsive to both God and -man. One of the first laws Nature teaches us, is perfect cleanliness. -Look at the birds and squirrels; indeed, all wild animals are taught -by instinct to take a daily bath, if possible. Tame animals are less -cleanly than wild ones in their habits, as far as our observation goes. -They look to man to cleanse them. But God teaches the untamed beast and -bird laws of cleanliness. Look at the woods! God sends the rain to wash -them, and the winds to sweep them, and the sun to brighten them. The -Creator of all gives to every boy and girl the mind to know how to take -good care of their own persons, and if they neglect the laws of health, -just so sure will come bodily suffering. Besides, it is a Christian -duty, as well as a social duty, of every boy and girl, to make the most -of all their personal attractions, and to preserve every agreeable -quality they may have been endowed with, to the latest period of their -lives. _It is not vanity_. It is a duty we all owe to ourselves, and -we owe it to others. Habits rightly formed in youth will often prolong -life, and add tenfold to any personal attraction. - -We trust all boys and girls who read this book, will not pass over this -chapter on the toilet. We will try and give them some useful hints and -recipes. - -In the first place, every boy and girl, no matter how young, should -strive to make their sleeping and dressing apartment attractive. -_Perfect neatness_ is an _essential_ quality in every room. Never leave -any article of clothing on a chair, table, or floor, which can be -either neatly folded and placed in a drawer, trunk, or closet shelf, or -hung on some nail placed for that purpose. Never leave a draw partly -open. We once knew a young girl who was always leaving her drawers -open, and articles of dress hanging from them. One Christmas, before -a room full of friends, she received from the Christmas tree a little -bureau, with every drawer partly open, and things hanging out of each -drawer. Of course it was soon known to all _why_ she received such a -gift. That lesson she _never_ forgot. We must confess it also cured us -of the careless habit of leaving drawers partly open. We hope our young -friends will take this lesson to heart, and profit by it. - -When you rise in the morning, always (even if you can afford plenty of -servants), throw the clothes of your bed carefully over the foot-board, -or some chair, to give your bed a sufficient chance to be well aired--a -most necessary requisite for health. Before leaving your room, even -in midwinter, open your window. Never allow your bed to be made till -thoroughly aired. Though you are not blessed with even a competency, -you can make a plain room attractive. A few pictures on the walls, and -by covering a plain pine toilet table with pretty, cheap chintz, and -exercising a little ingenuity in making pretty articles of furniture -out of old boxes. But always be a foe to all dust; keep a dusting cloth -at hand. After washing, if you cannot have a chambermaid, arrange your -washing apparatus neatly, and carefully spread your towels to dry, if -clean. There are so few, comparatively, in America, who can afford the -constant attendance of servants, we desire all boys and girls to learn -how to care for themselves. - - -1.--THE BATH. - -In olden times, in this country, baths were but little used. It was -considered a luxury but few could possess. Now there is scarcely a -decent house built without a bathroom. In England and France, “there -was a time when many ladies had a most hydrophobiacal dread of water; -they thought it injured the delicacy of the complexion. Their ablutions -often consisted in wiping the cheeks with a cambric handkerchief, -dipped in elder flower or rose water.” - -A daily bath is now the rule rather than the exception, and its effect -is admirable. A cold bath, from sixty to seventy degrees, is, to most -persons, the most health-giving and invigorating process one can -undergo; but beyond its invigoration, it is of no essential service in -cleansing the skin. No one can preserve a purely clean skin by the use -of cold baths only, though the purifying effect is increased by the use -of rough towels, which help to remove the impurities from the surface -of the skin. The skin is constantly throwing off fine dust like scales, -and these, blending with other foreign matter, stop up the pores, and -prevent the skin from performing its natural functions. - -Therefore soap should be used, because the alkali in it assimilates -with the oily exudations of the skin, and removes impurities. - -It has been said that soap is calculated to irritate the skin, and -injure the complexion. It is not true, according to our knowledge. Some -of the most beautiful complexions we ever saw were washed with soap -daily. Great care should be taken that the soap is of a _good quality_. - -If any unpleasant sensations are experienced after its use, it is -easily removed by rinsing the skin with water slightly acidulated with -lemon-juice. - -Once a week a warm bath, at about one hundred degrees, should be -used, with plenty of soap, to be sure and cleanse the skin from all -impurities. Sea-water baths are invigorating, but not cleansing--a warm -bath is required after a short course of them. The same remark applies -to sea-salt baths, now much used. The friction of coarse towels is -very beneficial. Shower baths are not generally desirable, as but few -constitutions can bear them. - -Milk baths and perfumed baths are absurdities, which a very few silly -women indulge in; but nothing equals pure salt water. - -Of late years the practice of taking Turkish baths has been introduced. -Doubtless these baths are the best in existence for a thorough -cleansing of the pores of the skin. But no one should venture to take -them, except after having first had medical advice, or those who -possess strong constitutions; for there are states of health to which -they would be injurious in the highest degree. We consider them a great -luxury. - -We also recommend, most heartily, the sponge bath for daily use. Use a -large circular sponge. - -It is always best, before taking any bath, to wet the top of the head; -boys and men can wet the sponge, and, holding their heads over the -bath-tub, thoroughly souse their heads and necks. It prevents the -blood rushing to the head suddenly. A hair glove is excellent to rub -the body. Boys and men should exercise with the dumb-bells after their -morning bath; it increases their muscular strength. - -In all our directions with regard to the bath, it must be borne in -mind that we only refer to those who are in a moderately sound state -of health; otherwise their medical attendant should be consulted. -Sea-bathing is admirable to all those who can bear it; but persons of a -bilious temperament, or with heart disease, and even some with apparent -health, may suffer serious ill consequences from a single bath. Some -constitutions cannot bear the plunge into any cold water. All who have -a quick reaction from a sea-bath and cold water bathing are benefited. -The delicious glow it gives is most charming. We have known many young, -vigorous persons suffer from sea-bathing; but it was their own fault, -from remaining in the water too long; ten minutes is sufficient. - - -2.--COMPLEXION. - -We will only give a few words of advice, as an assistance in the -preservation of the complexion. - -Rise early, and go to bed early. Take a plenty of exercise. Keep the -pores of the skin open by perfect cleanliness. Be moderate in eating -and drinking. Do not often frequent crowded assemblies, and _shun -cosmetics, and washes for the skin_. We will give a few harmless -recipes. But most of the powders and washes used dry up the skin, and -in the end make it rough. - -Be careful always in washing to wipe your skin dry, particularly your -hands; rub them briskly for some time. If hands are left moist after -washing, they will chap, crack, and become red. Honey is excellent to -rub over chapped hands, or anoint them with cold cream or glycerine -before retiring to rest. - -If you desire to make your hands delicate, wash them in hot milk and -water for a day or two; on retiring to rest rub them with palm oil, and -put on gloves; wash them well in the morning. Lime water, lemon-juice, -or sour milk will remove the sunburn from hands. Above all, keep the -nails scrupulously clean. - -It is repulsive to see a lady or gentleman, however well-dressed they -may be, with nails in any degree shady. We were once, in travelling, -impressed with the beauty of a young lady sitting near us. We spoke of -her to a young gentleman sitting by us. He exclaimed, “Look at her -hand! did you ever behold such a little black row?” She had just drawn -off her glove, and diamonds glistened on her taper fingers; yet “that -little black row” cast a shade over her beauty. - -The nails should be pared only once a week, after washing, as the nail -is then soft. Round them nicely at the corners, and press the cuticle -at the bottom of the nail carefully down with the towel after washing. -Never bite your nails. It gives a stumpy appearance to the nail. Also, -never scrape the nail; it makes them wrinkle. - -Warts young people are sometimes troubled with; the best cure is -to purchase a stick of lunar caustic,--which is sold in a case or -holder,--dip the end in water, and touch the wart twice a day; cut away -the withered part before applying the caustic a second time. - -There are two kinds of freckles. “Cold freckles” are constitutional, -and we do not know of any remedy. “Summer freckles” are caused by the -winds and the sunshine. The cause assigned for this is, that the iron -in the blood, forming a junction with the oxygen, leaves a rusty mark -where the junction takes place. The obvious cure is to dissolve the -combination. We have had given to us several recipes which are said to -be excellent. We will give the best of them. - - -3.--RECIPE TO CURE FRECKLES. - -Into half a pint of milk squeeze the juice of a lemon, with a spoonful -of brandy, and boil, skimming well; add a dram of rock alum. - - -4.--A CURE FOR FRECKLES. - -Scrape horse-radish into a cup of cold sour milk; let it stand twelve -hours, strain, and apply two or three times a day. - - -5.--A CURE FOR FRECKLES. - -Mix lemon juice, one ounce; powdered borax one quarter dram; sugar, -half a dram; keep a few days in a glass bottle, then apply occasionally. - - -6.--A CURE FOR PIMPLES. - -Many of our young people are much troubled with an eruption upon the -face. It often proves a great annoyance to them; but there is a simple -remedy, which, if it does not effect a complete cure, will obviate the -trouble in a great degree, without the least injury to the health or -skin. - -To one grain of corrosive sublimate add one ounce of rose water; -filter, and apply twice a day. - - -7.--HAIR. - -It is impossible for a lady to possess anything that so adds to her -charms as a good head of hair. “It is a crown of beauty.” This accounts -for the enormous amount of advertisements of infallible hair tonics -and restorers. Beware of such advertisements. We will give you some -few simple and most essential rules to preserve the hair. Also some -recipes (easily and cheaply made) of the most excellent pomatums. The -skin of the head is delicate, therefore especial care should be taken -in brushing the hair, and in keeping the scalp as clean as possible. -The brush should be of moderate hardness. The hair should be separated, -in order that the head itself may be well brushed, as by so doing the -scurf or loose skin will be removed; if suffered to remain it becomes -saturated with perspiration, and weakens the roots of the hair, causing -it to fall off. To retain a beautiful head of hair, it ought to be -brushed twenty minutes in the morning, and ten minutes when dressed -in the middle of the day, and a like period at night. In brushing or -combing it, begin at the extreme points; and in combing, hold the -portion of hair just above that through which the comb is passing -firmly, so that if it is entangled, it may drag from that point, and -not from the roots. We have known the finest heads of hair ruined by -careless combing and breaking the hair. - -It depends upon the nature of the hair whether pomatum is required. -Those whose hair is naturally oily and glossy need nothing to make it -so; but dry hair requires it. Pure salad oil, scented, is excellent, -and bear’s grease. An excellent pomade is made of beef’s marrow, after -it is clarified; take six tablespoons of the marrow, heated, and six -tablespoons of scented castor oil, to one tablespoonful of brandy or -rum. Stir these ingredients half an hour, until it is beaten to a -cream; then place it in your jars. - - -8.--CARROT POMADE. - -This is another excellent recipe. Two thirds beef’s marrow, one third -leaf lard unsalted, one carrot grated fine, simmered together for two -or three hours. - -These pomades should be applied with the hand or a soft brush, and -rubbed into the hair thoroughly. Be careful and not oil the hair often, -for an over oiled head is offensive. It is well to rub the hair at -night with a piece of flannel, so that the oil used in the day may -be removed. Every month the hair should be shampooed. A few drops of -ammonia in rain water will cleanse it well; put the whole hair into -the solution, and wash it; then cleanse it with clear milk-warm water, -and clip all the ends of the hair without fail. Every split end will, -if not cut off, deaden the hair. Another good cleansing recipe is, -one ounce of powdered borax, a small bit of camphor, dissolved in a -quart of boiling water. With any recipe for cleansing, the hair must -be rinsed thoroughly with clear spring water. All boys and gentlemen -should wash their heads all over, hair and all, every morning, and wear -ventilated hats. Gentlemen become bald sooner than ladies from wearing -close hats so much. - - -9.--BANDOLINE. - -A French recipe, is excellent--because it is harmless--to use in -dressing hair to keep back any refractory locks. - -_Recipe._ Simmer one ounce of quince seed in a quart of water, forty -minutes; strain cool, add a few drops of scent, and bottle, corking -tightly. - -Another way of making “Bandoline” is with Iceland moss. Take a quarter -of an ounce, boiled in a quart of water, and a little rectified spirits -added, so that it may keep. - -A weak solution of isinglass is the only curling fluid that is harmless. - - -10.--COLD CREAM. - -Is excellent for a lip salve. The recipe is a pint of sweet oil, half -an ounce of spermaceti, and two ounces of white wax, melted together -over the fire and scented; or take a pint of oil of sweet almonds, one -ounce of white wax, half an ounce of spermaceti, and half a pint of -rose water, beat to a paste. - - -11.--RECIPE FOR CAMPHOR ICE. - -Half a cake of white wax, a good inch of a pure spermaceti candle, a -piece of camphor as large as an English walnut, a tablespoonful of -sweet oil, mix and simmer all together; if too soft, add more wax, if -too hard, add more oil. This is excellent to use in cold weather for -lips and hands. - -This being prepared for a home book, we give a few recipes for the use -of the toilet, which we know are good. - -We will give one more most excellent recipe for a cooling and healing -salve. - - -12.--CUCUMBER SALVE. - -Half a pound of pure lard unsalted, a heaping quart cup of cucumbers -sliced as for eating; let them simmer an hour, so as not to boil, then -strain into cups. - - -13.--TO LOOSEN STOPPERS OF TOILET BOTTLES. - -Let a drop of pure oil flow round the stopper, and stand the bottle -near the fire. After a time tap the stopper with the handle of a hair -brush; if this is not effectual, use a fresh drop of oil, and repeat -the process. - - -14.--TO REMOVE A TIGHT RING. - -When a ring happens to get tightly fixed on a finger, take a piece of -common twine, soap it thoroughly, and then wind it round the finger -as tightly as possible. The twine should commence at the point of the -finger, and be continued till the ring is reached; the end of the twine -must then be forced through the ring. If the string is then unwound, -the ring is almost sure to come off the finger with it. - - -15.--HAIR WASH. - -As much borax as a pint of hot water will absorb, three tablespoonfuls -of best olive oil, twenty drops of almond essential oil. This recipe we -recommend most heartily. It must be well shaken before using. - - -16.--A CURE FOR POISON. - -Sweet oil is a cure for the poisonous bite of serpents, spiders, &c.; -also for being poisoned by ivy and dogwood. Bathe the part bitten or -affected, and take a teaspoonful internally. If a horse is affected, it -will require eight times as much to affect him. All persons sensitive -to poison whenever they visit the woods, on their return should wash -hands and face in vinegar and salt, and take camphor inwardly. - - - - -=HOME READING.= - - -The subject of reading cannot be omitted in a work devoted to the -interests of the home. Books have such a large share in developing -and sustaining the home life, that their influence can hardly be -exaggerated. At the same time it is not possible, in a comprehensive -work like this, to treat of the subject as its importance demands. We -can only throw out a few general hints, which may be suggestive to some. - -In the first place, we would say to all young persons into whose hands -this book may come, _read something daily_. And by this we mean, not -the careless looking through a novel for the amusement of a leisure -hour, but the faithful, thorough mastery of another’s thought. It is -of less consequence that that thought should be new, or specially -valuable, than that the habit should be formed of intelligent reading. -A poor book well read will usually teach a young person more than a -good one read carelessly. We are not saying, let it be understood, -that a book should always be read from beginning to end; there is a -habit of quick perception of the general tone and value of a book, -which, to a student in search of facts for special use, is of the -greatest assistance; but this comes later. The power of attention and -concentration should first be gained. And for this purpose, secondly, -it is important that you should _form an opinion of what you have -read_. Never lay aside a book until you can state intelligibly the -author’s purpose and meaning in it, and how far, as it appears to you, -that purpose has been attained. It is an excellent plan to write a -short abstract of the plot of a story, or the facts of a biography; -but whether this is done or not, do not be contented to let what you -have read pass through the mind like water through a sieve. Compel -everything to yield you some tribute of suggestion, if not of direct -instruction. Do not be satisfied with anything less than a definite -opinion; if you are in the wrong, the correction of a maturer mind will -help you to judge more truly the next time. - -_Do not confine yourself to one kind of reading._ If you are fond of -novels, that is no reason why you should read them exclusively. Perhaps -acquaintance with a different class of books may develop a taste for -them; at anyrate you cannot afford to read entirely for amusement. -It is neither our province nor our wish to condemn novel-reading; -the excessive practice of it will, we believe, be best checked by -acquaintance with books of greater value. There are histories as varied -in incident as any novel. There are books of travel which combine the -romance of adventure with the instruction of facts. There is poetry -in all its forms, without some knowledge of whose best examples your -education cannot be considered even passable. The fact is rather that -there is so much of each class, which a cultivated person is expected -to be familiar with, that the great difficulty is in selection. In -order that you may divide your time profitably among these different -studies, it is well to take the advice of some competent person as to -_what is the best book for your purpose on a given subject_. In this -manner you will save much time and patience, while if you take up the -first book on the topic in question which comes to hand, you may, by -an injudicious choice, lose your interest in the whole matter. On -any historical question, for instance, it is better to read at first -an author who gives a concise and general view of the events of the -period, and afterwards those entering more minutely into details. -It is well, too, before intrusting yourself to the guidance of any -historian, to ascertain the estimation in which he is held by competent -critics, that you may thus understand how to separate the truth from -exaggeration and special pleading. - -_Have several kinds of reading for every day._ Do not give yourself up -entirely to one class of books at a time, or you will either tire of -them, or your judgment will become confused in regard to them. It is -well to have some book of history, or travels, or metaphysics, another -on religious subjects, and a third for entertainment simply--a _good_ -novel, if possible. - -In this way much more knowledge is gained without fatigue, than when -the mind is kept exclusively to one theme. - -_Committing to memory a few lines every day_, is a habit which cannot -be too strongly urged. It need not be made a tedious matter, by giving -up one’s whole time and attention to it as a study; it can best be -done when walking, or sewing, or engaged in household work, and will -become, after a little, a pleasure instead of a task. Besides the -daily acquisition of something worth remembering, there will be gained -also a power quite as valuable, of observing the characteristics and -style of various authors, the delicate differences of words, and the -construction of sentences. It may safely be said that those writers who -have been most celebrated for beauty and perspicuity of style, have -owed this, in no small degree, to the early habit of committing to -memory the works of the best authors. - -In conclusion, we would beg our young readers to make friends of books. -They will cheer many an hour that would otherwise be lonely; they are -kind, ever ready, yet unobtrusive comforters in perplexity or sorrow; -they represent that which is best and truest in all ages, and are the -highest expression of itself, of which humanity is capable. - - - - -=THE SICK ROOM.= - - -We cannot leave this book without giving a few simple rules for nursing -the sick. Most of our young people, and many old, are ignorant of the -commonest principles. - -Never wear a rustling dress or creaking shoes in waiting on the sick. -Be careful not to shake the bed, or fidget near it, so as to touch, -disturb, and needlessly fatigue the invalid. Few noises are more -irritating in sickness than noise from the grate. The startling effect -of putting on coals may destroy the effect of an opiate. It is better -to put them on one by one. In voice and manner be _gentle_, and in -spirit _cheerful_ and _hopeful_. Do not depress by tears, but control -looks, words, and actions. Say nothing in the room, or even outside -the door, which you would not wish the sick to hear. Ask questions -but rarely, and never occasion a needless effort to gratify your own -curiosity. In giving nourishment with a spoon, be careful to raise the -bowl of the spoon so as not to drop anything, or annoy the sick person -by untidy feeding. Be sure to have cups, spoons, and glasses clean. -Make everything as attractive as you can from the nicety and freshness -of the dish. Do not allow jellies or rejected dainties to remain in -the room. The time may come to any boy or girl when they may desire -to watch by a sick bed of a parent or friend, and the above rules may -assist them. - -If the sick person should take a dislike to you, be not disheartened at -it; but if possible resign your place by the bedside. It may be that -you were clumsy, and awkward, or over-anxious. It may be only one of -those unaccountable fancies which sometimes takes possession of the -sufferer, and which it is our duty to treat with care and consideration. - - -1.--COOKING FOR THE SICK. - -Beef tea. Take one pound of beef, without any fat, cut it in very small -pieces, and put it in a bottle; cork it and put it into a kettle of -water, and boil it until the juice is exhausted; this will do for very -sick people who can only take a teaspoonful of nourishment at one time. -Take a pound of lean beef, cut it up fine in a quart of cold water, let -it boil an hour, then salt it, and put in a pinch of cayenne pepper, -strain it, and it is ready for use. This given to a person troubled -with sleeplessness (from general debility), about a half cup full just -before retiring, will generally enable the patient to sleep. - - -2.--PORT WINE JELLY. - -Take a half pint of port wine, one ounce of isinglass, one ounce of gum -arabic, one ounce of loaf sugar; let it simmer for a quarter of an -hour, stirring it till the gum and isinglass are dissolved, then pour -it into a mould. When cold it will be quite stiff. - - -3.--TOAST WATER. - -Brown thoroughly, but not burn to a cinder, a small slice of bread; put -it into a pitcher, and pour over it a quart of water which has been -boiled and cooled; after two hours pour off the water; a small piece of -orange or lemon peel put into the pitcher with the bread improves it. - - -4.--TO PREPARE RENNET WHEY. - -Get a rennet, such as is used for cheeses. Then take a piece two inches -square, or a little larger, rinse it first in cold water, then pour on -to it two table-spoonfuls of hot water, and let it stand a half hour in -a warm place. Take three pints of milk, and heat it blood warm. Then -pour in both the rennet and water, and stir it in well. Cover and let -it stand in a warm place, to keep the milk of an even temperature; it -must not be moved until it turns to a curd; then cut up the curd with -a spoon and strain it, and boil up the whey once. It is then ready for -use. If in an hour it does not turn to a curd, take out the rennet, and -put in some more freshly prepared. It will then surely curd. - - -5.--FLAX-SEED SIRUP. - -This we know to be an excellent remedy for a cough. Boil one ounce of -flax-seed in a quart of water for half an hour; strain, and add to the -liquid the juice of two lemons and half a pound of rock candy. If there -is a soreness and general weakness from the cough, add half an ounce of -powdered gum arabic. - - -6.--MUCILAGE OF SAGO. - -Take an ounce or a table-spoonful of sago, steep in a pint of water, -in a pan placed on the back of the stove for two hours, then boil -for fifteen minutes, stirring it all the time. This mucilage can be -sweetened with sugar and flavored with lemon juice, or milk can be -added. - - -7.--APPLICATIONS FOR THE SICK.--REFRESHING LOTION. - -Mix one table-spoonful of vinegar, one of eau de cologne, and one of -water. Dip a linen rag or a handkerchief into this preparation and lay -upon the head. It refreshes a patient. - - -8.--RECEIPT FOR CROUP. - -One tea-spoonful of powdered alum mixed with molasses or lard, and -sometimes water; make a child with croup swallow it; it is a quick -emetic. - - -9.--REMEDY FOR SORE THROAT. - -Take a tea-spoonful of chlorate of potassium and dissolve in a tumbler -of hot water, and gargle the throat every two hours. - - -10.--BURNS. - -Dissolve alum in water, and bottle ready for use; or common lime-water; -either remedy applied at once will relieve a burn and draw out the -fire. Pour the solution into a bowl, and hold the burnt place, if -possible, into it, or wet cloths with it. Sweet oil and laudanum can be -added to the lime-water. - -We simply give a few remarks for ordinary troubles, which may be -useful; but we cannot leave this article without giving some useful -rules for making _good bread_, which few make, and every young girl -should learn how to do, as good bread is essential to the health of -every household. An experienced housekeeper has kindly prepared for us -the following article. - - - - -=DIRECTIONS FOR MAKING BREAD, YEAST &C.= - - -Holy Writ assures us that bread is the staff of life, and experience -fully proves the assertion. Yet many of us know not how to make this -needed support. Every girl, no matter what her station in life may be, -should learn how to prepare it in its _highest excellence_. - -The word _bread_ is derived from brayed grain, from the verb to bray, -or pound; indicative of the method of preparing the flour. - -Dough comes from the Anglo-Saxon word _deawian_, to wet or moisten. -Loaf is from the Anglo-Saxon _lif-ian_, to raise or lift up, as raised -bread. Leaven is derived from the French verb _lever_, to raise. - -Dwellers in country towns and villages are forced to prepare the -leaven, or yeast; so we append a receipt which never fails to make good -bread. Wash and pare six good-sized, white-fleshed potatoes, grate them -raw, on a lemon grater. Pour over them three quarts of boiling water; -it will thicken up like starch. Add one table-spoonful of salt and half -a cup of sugar. When the mixture is lukewarm, pour in one cupful of -yeast. Set the pan beside the stove, and in six hours it will be light -enough to use. Let it stand over night in a cool place; next morning -cork it tightly in a jug. Keep it in the cellar or ice-house; but be -sure that it does not freeze--that kills the life of it. Home-made -yeast requires double the quantity of baker’s yeast. One teacupful of -this yeast will make three loaves of bread and a pan of biscuit. - -Potatoes added to the bread increases its bulk and quality. Boil six -common-sized potatoes in two quarts of water, with one table-spoon of -salt. When perfectly salt, mash fine on a plate, leaving no little -particles. They can be rubbed through a colander and reduced to a pulp; -turn it into the bread-pan, and pour over the water in which they -were boiled. Sift eight quarts of flour, and when the potato-water is -cooled, so as to be a little warm to the touch, stir in half the flour; -then add one teacupful of the yeast. When that is thoroughly mixed up, -put in the rest of the flour, making it thick enough to knead stiffly. -Do this in the evening, and place the pan in a warm room in winter, a -cool one in summer. Early next morning it will be risen finely. Another -pan should have been tightly covered over it, and it will rise up into -the pan. Knead it thoroughly on the moulding board, chopping it with a -chopping-knife, or pounding with a pestle. Bread must be kneaded for -an hour at least, if one desires the best quality. Holes in the slices -of bread show that it was not well made. The superiority of the French -bread-makers is owing to this cause. In many bakeries the dough is -prepared by machinery. After the process of kneading is finished, rolls -can be made, and baked for breakfast. They are prepared by rolling -the dough in the shape of a rolling-pin, then cutting off a small -portion, and rolling that in the same shape. Dip the sides and tops in -melted butter, place in a pan, and put them in a warm place for twenty -minutes; then bake in a hot oven twenty minutes. The melted butter -causes them to break apart perfectly, and to brown handsomely. - -The remainder of the dough is placed near the stove to rise a second -time. It must be closely watched--_ten minutes’ neglect will sour it_. - -To be sure a teaspoonful of saleratus will sweeten it; dissolve it in -warm water, and mix it in so there will be no yellow spots; but, if -used, it takes away the fresh sweetness of the bread. Making bread is -not like cake or pie-making--_it demands close attention_; will not be -neglected without injury. It requires some brains to make good bread, -and that is one reason why so many families rarely know what the best -quality of bread is. If it sours, turn in the saleratus; if it is -half-kneaded, and half-risen, and the oven is ready, why, bake it, -and thus very poor bread is the result! Bread cannot be set aside for -dish-washing or sweeping. It must be of the _first consequence_. - -When it is risen for a second time, and blubbers appear, flour your -moulding-board, turn out the dough, cut it into as many parts as you -desire loaves of bread, and knead, pound, or cut each loaf _well_; then -have your bread-pans buttered, and put in the dough, kneading it into -the corners of the pan. Prick it all over with a fork, place near the -stove for fifteen or twenty minutes, or until it has filled the pans -to the brim. Have your oven so hot, that if a sprinkling of flour is -thrown in, it will brown quickly, but not burn; then set in the pans. -Three quarters of an hour, in a properly heated oven, will bake bread. -Don’t burn your crusts, but watch the oven, and in twenty minutes after -putting them in, look at them and turn the pans round, for usually one -side of an oven bakes the fastest. When it is baked, take it from the -pans directly, else the sides will become moistened and clammy. Spread -a clean towel on the table or shelves, and stand the bread on it. If -the crust is too thick and brown, wrap the loaves in a clean towel wet -with cold water; this softens it. - -If these directions are closely followed, and a good brand of flour is -used, no girl can fail to make A No. 1 bread. - -No lady can teach her servants unless she has learned the alphabet of -cookery herself, and bread may be called the A B C’s of the kitchen. - - -1.--WAFFLES. - -Take one quart of milk; melt in the milk a large spoonful of butter; -beat up four eggs, and add to this mixture a little salt; add to the -slightly warm milk a small gill of yeast, flour sufficient to make a -batter just right for a waffle iron, or a little thinner to bake on -a griddle iron. The batter for waffles is also nice baked in tins as -muffins. Some elder person can direct, the first time you make this -recipe, the proper thickness of the batter. - - -2.--A CREAM TOMATO SOUP. - -Twelve tomatoes, skinned and cut up, cook thirty minutes (or a quart -of canned tomatoes, ten minutes will cook it). When cooked, stir in -quarter of a teaspoonful of soda; when done foaming put in two large -crackers, rolled fine; one quart of milk, salt and pepper to taste; -stir in a piece of butter nearly the size of an egg; let it all boil up -once, then serve for dinner. - - -3.--BREAKFAST CAKE. - -Three table-spoonsful of sugar, two of butter, two eggs, one teaspoon -of soda dissolved in a cup of milk, two teaspoons of cream of tartar -mixed into a pint of wheat flour, beat well and bake quickly. - - -4.--MOLASSES GINGERBREAD. - -Three cups of flour, two of molasses, one of boiling water; dissolve in -this, butter the size of an egg, half a teaspoonful of soda, dissolved -in a little hot water, one large spoonful of ginger, and one of -cinnamon. Bake in bread tins until done, which can be ascertained by -pricking it with a broom corn; if none of the gingerbread adheres to -the stick, it is done. This is the way to ascertain if any kind of cake -is done. - - -5.--PLAIN COOKIES. - -One cup of molasses, one half a cup of milk (sour if possible), -dissolve a teaspoonful of soda in the milk. One table-spoonful of -butter, flour sufficient to make it stiff to roll out and cut in any -shape desired. - - -6.--MOONSHINE CRACKERS. - -One quart of flour, one table-spoonful of butter, a teaspoonful of -salt, rub these into the flour and turn it on to the moulding board; -turn into it a small tumbler of ice-water; knead the water in little -by little. Then pound it with the rolling pin fifteen minutes, roll as -thin as possible, and cut out as you do cookies; round cutters are the -best for crackers; mark with a jagging iron, and bake ten minutes. - - -7.--NEW YEAR’S COOKIES. - -Rub three quarters of a pound of butter into a pound of flour. Take a -half pint of boiling water and pour over a pound and a half of light -brown sugar in a bowl; dissolve a small teaspoonful of soda in two -large spoons of hot water. Add flour _only_ sufficient to roll out very -thin; cut it out in oblong shapes with a jagging iron; bake _quickly in -a hot oven_. In New York they mark these cakes with mottos,--Christmas -and New Year’s. - - -8.--SPONGE CAKE. - -Two cups of fine-powdered sugar, two cups of flour, six eggs, one large -lemon, or one and a half of small size; beat the yolks of the eggs -and the sugar and grated peel of the lemon together; beat the whites -separately, and stir into the sugar, &c., with the flour; this makes -one good-sized loaf, or two small ones; be careful and not have too hot -an oven. - - -9.--LOAF CAKE. - -Two cups of light wheat dough, one of sugar, half a cup of butter, two -eggs, half a teaspoonful of soda, one grated nutmeg, two teaspoonfuls -of ground cloves, two of cinnamon; stoned raisins can be added, half a -cupful; mix all together. This makes one loaf. - -Neatness is essential in cooking. Wash your hands often. Baking badly -spoils the best of cake and bread. Learn of an experienced person the -proper degree of heat. - - - - -=POLITENESS.= - - -We will give a few simple rules, which we hope all will read and -remember. - - 1. Talk but little in the presence of your elders, unless - spoken to. Learn to be a good listener. - - 2. Never enter a room, church, or hall first, with an - elder person; let them go _first_. - - 3. On entering a house or room, always speak _first_ to - the _lady of the house_, and always take leave of her _first_. - - 4. Never take the most comfortable seat or position - in a room, if there are older persons present. - - 5. _Let the golden rule Jesus Christ gave us ever be - your rule of action._ - - - - -Transcriber's Notes - - -In the text version and underscore has been used to denote _Italics_, -and equals signs to denote an =Ornamental Font=. - -The text contains inconsistent hyphenation which has been left as -printed. - -Minor corrections to obviously incorrect punctuation have been made. - -Corrections: - - p. iv. Embroidery in Lame of Velvet and Gold corrected to match - LAMÉ in chapter heading. - - p. 17. tumeric changed to turmeric. - - p. 25. enterest is apparently an obsolete form of interest, so - left as printed. - - p. 43. presant changed to present. - - p. 46. managment changed to management. - - p. 48. attentention changed to attention. - - p. 52. You’re changed to Your. - - p. 55. polyphnoist changed to polyphonist. - - p. 55. bee should he heard changed to bee should be heard. - - p. 69. Maderia changed to Madeira. - - p. 83. may he planted changed to may be planted. - - p. 100. unles changed to unless. - - p. 122. stiches changed to stitches. - - p. 157. ladel changed to ladle. - - p. 157. must he used changed to must be used. - - p. 185. difierences changed to differences. - - p. 187. sugur changed to sugar. - - p. 195. teasponful changed to teaspoonful. - - p. 195 wheat flower changed to wheat flour. - - - - - -End of Project Gutenberg's Home Arts for Old and Young, by Caroline L. 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Smith - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Home Arts for Old and Young - -Author: Caroline L. Smith - -Release Date: May 30, 2016 [EBook #52197] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOME ARTS FOR OLD AND YOUNG *** - - - - -Produced by Chris Curnow, Chris Jordan and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="chapter"> -<h1> <span class="smcap">Home Arts</span><br /> - <span class="smaller">FOR</span><br /> - <span class="small">OLD AND YOUNG.</span></h1> - -<p class="center mt4"> BY<br /> - <span class="big"> MRS. CAROLINE L. SMITH.</span><br /> - (<em>AUNT CARRIE.</em>)</p> - - -<p class="center mt4"> ILLUSTRATED.</p> - - -<p class="center mt4"> BOSTON:<br /> - LEE AND SHEPARD, PUBLISHERS.<br /> - NEW YORK:<br /> - LEE, SHEPARD AND DILLINGHAM.<br /> - 1873.<br /> -</p> - - -<hr class="chap" /> - -<p class="center"> Entered, according to Act of Congress, in the year 1873,<br /> - <span class="smcap">By</span> LEE AND SHEPARD,<br /> - In the Office of the Librarian of Congress, at Washington. -</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p> -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<div class="center"> -<table border="0" summary="TOC"> -<tr><td class="tdc vt " colspan="2">CHRISTMAS.</td></tr> -<tr><td> </td><td class="tdr vt smaller">PAGE</td></tr> -<tr><td class="tdl vt">How to make a Christmas Tree</td><td class="tdr vb"><a href="#Page_13">13</a></td></tr> -<tr><td class="tdl vt">The Christmas Bran Pie</td><td class="tdr vb"><a href="#Page_19">19</a></td></tr> -<tr><td class="tdl vt">Twelfth Night</td><td class="tdr vb"><a href="#Page_21">21</a></td></tr> -<tr><td class="tdl vt">The Christmas Bag</td><td class="tdr vb mb2"><a href="#Page_22">22</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">AMUSEMENTS FOR CHRISTMAS HOLIDAYS.</td></tr> -<tr><td class="tdl vt">Shakespeare Reading Clubs</td><td class="tdr vb"><a href="#Page_23">23</a></td></tr> -<tr><td class="tdl vt">Private Theatricals</td><td class="tdr vb"><a href="#Page_27">27</a></td></tr> -<tr><td class="tdl vt">Charades</td><td class="tdr vb"><a href="#Page_30">30</a></td></tr> -<tr><td class="tdl vt">Con ju-gate</td><td class="tdr vb"><a href="#Page_32">32</a></td></tr> -<tr><td class="tdl vt">Dumb-found</td><td class="tdr vb"><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl vt">So-ro-sis</td><td class="tdr vb"><a href="#Page_34">34</a></td></tr> -<tr><td class="tdl vt">Lamentable</td><td class="tdr vb"><a href="#Page_35">35</a></td></tr> -<tr><td class="tdl vt">Proverbs</td><td class="tdr vb"><a href="#Page_37">37</a></td></tr> -<tr><td class="tdl vt">Tableaux Vivants</td><td class="tdr vb"><a href="#Page_38">38</a></td></tr> -<tr><td class="tdl vt">Tableaux of Statuary</td><td class="tdr vb"><a href="#Page_39">39</a></td></tr> -<tr><td class="tdl vt">Lights and Shades</td><td class="tdr vb"><a href="#Page_41">41</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">VENTRILOQUISM.</td></tr> -<tr><td class="tdl vt">What is Ventriloquism</td><td class="tdr vb"><a href="#Page_44">44</a></td></tr> -<tr><td class="tdl vt">The Theory of Ventriloquism</td><td class="tdr vb"><a href="#Page_46">46</a></td></tr> -<tr><td class="tdl vt">Practical Rules and Illustrations</td><td class="tdr vb"><a href="#Page_50">50</a></td></tr> -<tr><td class="tdl vt">Polyphonic Imitations</td><td class="tdr vb"><a href="#Page_55">55</a></td></tr> -<tr><td class="tdl vt">To Imitate an Echo</td><td class="tdr vb"><a href="#Page_57">57</a></td></tr> -<tr><td class="tdl vt">Concluding Remarks</td><td class="tdr vb"><a href="#Page_57">57</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">NATURAL MAGIC.</td></tr> -<tr><td class="tdl vt">Æolian Harp</td><td class="tdr vb"><a href="#Page_61">61</a></td></tr> -<tr><td class="tdl vt">Magic of Acoustics</td><td class="tdr vb"><a href="#Page_62">62</a></td></tr> -<tr><td class="tdl vt">To show how Sound Travels through a Solid</td><td class="tdr vb"><a href="#Page_63">63</a></td></tr> -<tr><td class="tdl vt">Theory of a Voice</td><td class="tdr vb"><a href="#Page_63">63</a></td></tr> -<tr><td class="tdl vt">Singular Example of Superstition</td><td class="tdr vb"><a href="#Page_63">63</a><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">GARDENING, FLOWERS.</td></tr> -<tr><td class="tdl vt">How to plant Seeds</td><td class="tdr vb"><a href="#Page_70">70</a></td></tr> -<tr><td class="tdl vt">The Queen of Flowers, the Rose</td><td class="tdr vb"><a href="#Page_75">75</a></td></tr> -<tr><td class="tdl vt">Flower Beds</td><td class="tdr vb"><a href="#Page_83">83</a></td></tr> -<tr><td class="tdl vt">Carnations</td><td class="tdr vb"><a href="#Page_87">87</a></td></tr> -<tr><td class="tdl vt">Fuchsias</td><td class="tdr vb"><a href="#Page_87">87</a></td></tr> -<tr><td class="tdl vt">Pansies</td><td class="tdr vb"><a href="#Page_88">88</a></td></tr> -<tr><td class="tdl vt">How to plant Hardy Bulbs</td><td class="tdr vb"><a href="#Page_89">89</a></td></tr> -<tr><td class="tdl vt">Japan Lilies</td><td class="tdr vb"><a href="#Page_91">91</a></td></tr> -<tr><td class="tdl vt">Cape Bulbs</td><td class="tdr vb"><a href="#Page_92">92</a></td></tr> -<tr><td class="tdl vt">How to grow Bulbs in Winter</td><td class="tdr vb"><a href="#Page_93">93</a></td></tr> -<tr><td class="tdl vt">Garden Insects</td><td class="tdr vb"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl vt">Some Useful Hints</td><td class="tdr vb"><a href="#Page_99">99</a></td></tr> -<tr><td class="tdl vt">Moss Baskets</td><td class="tdr vb"><a href="#Page_101">101</a></td></tr> -<tr><td class="tdl vt">Hanging Baskets</td><td class="tdr vb"><a href="#Page_104">104</a></td></tr> -<tr><td class="tdl vt">Artificial Rockeries</td><td class="tdr vb"><a href="#Page_107">107</a></td></tr> -<tr><td class="tdl vt">Ferneries</td><td class="tdr vb"><a href="#Page_107">107</a></td></tr> -<tr><td class="tdl vt">Ivies</td><td class="tdr vb"><a href="#Page_109">109</a></td></tr> -<tr><td class="tdl vt">Pressed Flowers</td><td class="tdr vb"><a href="#Page_110">110</a></td></tr> -<tr><td class="tdl vt">Strawberries</td><td class="tdr vb"><a href="#Page_113">113</a></td></tr> -<tr><td class="tdl vt">Grapes</td><td class="tdr vb"><a href="#Page_115">115</a></td></tr> -<tr><td class="tdl vt">How to arrange Sea Mosses</td><td class="tdr vb"><a href="#Page_117">117</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">HOUSE AND HOME ARTS.</td></tr> -<tr><td class="tdl vt">Knitting</td><td class="tdr vb"><a href="#Page_120">120</a></td></tr> -<tr><td class="tdl vt">How to knit a Stocking</td><td class="tdr vb"><a href="#Page_121">121</a></td></tr> -<tr><td class="tdl vt">Baby’s Knitted Shirt</td><td class="tdr vb"><a href="#Page_124">124</a></td></tr> -<tr><td class="tdl vt">Baby’s Blanket</td><td class="tdr vb"><a href="#Page_125">125</a></td></tr> -<tr><td class="tdl vt">Border to a Blanket</td><td class="tdr vb"><a href="#Page_125">125</a></td></tr> -<tr><td class="tdl vt">Knitted Bed-quilt</td><td class="tdr vb"><a href="#Page_126">126</a></td></tr> -<tr><td class="tdl vt">Baby’s Blanket</td><td class="tdr vb"><a href="#Page_127">127</a></td></tr> -<tr><td class="tdl vt">Sofa Cushion</td><td class="tdr vb"><a href="#Page_128">128</a></td></tr> -<tr><td class="tdl vt">Table Mats</td><td class="tdr vb"><a href="#Page_128">128</a></td></tr> -<tr><td class="tdl vt">Carriage, or Bed-room Mat</td><td class="tdr vb"><a href="#Page_129">129</a></td></tr> -<tr><td class="tdl vt">Knitted Moss</td><td class="tdr vb"><a href="#Page_129">129</a></td></tr> -<tr><td class="tdl vt">Plain Needle-work and Useful</td></tr> -<tr><td class="tdl vt">Hints for Young Ladies</td><td class="tdr vb"><a href="#Page_130">130</a></td></tr> -<tr><td class="tdl vt">Embroidery in Spangles and Cannetille</td><td class="tdr vb"><a href="#Page_135">135</a></td></tr> -<tr><td class="tdl vt">Embroidery in Lamé of Velvet and Gold</td><td class="tdr vb"><a href="#Page_136">136</a></td></tr> -<tr><td class="tdl vt">Embroidery in Feathers</td><td class="tdr vb"><a href="#Page_137">137</a></td></tr> -<tr><td class="tdl vt">Cork Work</td><td class="tdr vb"><a href="#Page_137">137</a></td></tr> -<tr><td class="tdl vt">Black Landscape</td><td class="tdr vb"><a href="#Page_142">142</a></td></tr> -<tr><td class="tdl vt">Vegetable Flowers</td><td class="tdr vb"><a href="#Page_142">142</a></td></tr> -<tr><td class="tdl vt">Ornamental Seed Work</td><td class="tdr vb"><a href="#Page_143">143</a></td></tr> -<tr><td class="tdl vt">How to impress Leaves on Velvet</td><td class="tdr vb"><a href="#Page_144">144</a></td></tr> -<tr><td class="tdl vt">Paper Pillow</td><td class="tdr vb"><a href="#Page_145">145</a></td></tr> -<tr><td class="tdl vt">Imitation of Carved Ivory</td><td class="tdr vb"><a href="#Page_146">146</a></td></tr> -<tr><td class="tdl vt">Diaphanie or Stained Glass</td><td class="tdr vb"><a href="#Page_148">148</a></td></tr> -<tr><td class="tdl vt">Painting on Glass</td><td class="tdr vb"><a href="#Page_151">151</a></td></tr> -<tr><td class="tdl vt">Painting on Velvet</td><td class="tdr vb"><a href="#Page_153">153</a></td></tr> -<tr><td class="tdl vt">Casting in Plaster, Sulphur, &c.</td><td class="tdr vb"><a href="#Page_156">156</a></td></tr> -<tr><td class="tdl vt">Engraved Boxes</td><td class="tdr vb"><a href="#Page_159">159</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">SOLITAIRE GAMES OF CARDS.</td></tr> -<tr><td class="tdl vt">The Legitimist</td><td class="tdr vb"><a href="#Page_161">161</a></td></tr> -<tr><td class="tdl vt">The Sultan</td><td class="tdr vb"><a href="#Page_163">163</a></td></tr> -<tr><td class="tdl vt">French Solitaire</td><td class="tdr vb"><a href="#Page_165">165</a></td></tr> -<tr><td class="tdl vt">The Army Solitaire</td><td class="tdr vb"><a href="#Page_166">166</a><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">THE TOILET.</td></tr> -<tr><td class="tdl vt">The Bath</td><td class="tdr vb"><a href="#Page_171">171</a></td></tr> -<tr><td class="tdl vt">Complexion</td><td class="tdr vb"><a href="#Page_174">174</a></td></tr> -<tr><td class="tdl vt">Recipe to cure Freckles</td><td class="tdr vb"><a href="#Page_175">175</a></td></tr> -<tr><td class="tdl vt">A Cure for Freckles</td><td class="tdr vb"><a href="#Page_176">176</a></td></tr> -<tr><td class="tdl vt">A Cure for Freckles</td><td class="tdr vb"><a href="#Page_176">176</a></td></tr> -<tr><td class="tdl vt">A Cure for Pimples</td><td class="tdr vb"><a href="#Page_176">176</a></td></tr> -<tr><td class="tdl vt">Hair</td><td class="tdr vb"><a href="#Page_176">176</a></td></tr> -<tr><td class="tdl vt">Carrot Pomade</td><td class="tdr vb"><a href="#Page_178">178</a></td></tr> -<tr><td class="tdl vt">Bandoline</td><td class="tdr vb"><a href="#Page_178">178</a></td></tr> -<tr><td class="tdl vt">Cold Cream</td><td class="tdr vb"><a href="#Page_179">179</a></td></tr> -<tr><td class="tdl vt">Recipe for Camphor Ice</td><td class="tdr vb"><a href="#Page_179">179</a></td></tr> -<tr><td class="tdl vt">Cucumber Salve</td><td class="tdr vb"><a href="#Page_180">180</a></td></tr> -<tr><td class="tdl vt">To loosen Stoppers of Toilet Bottles</td><td class="tdr vb"><a href="#Page_180">180</a></td></tr> -<tr><td class="tdl vt">To remove a Tight Ring</td><td class="tdr vb"><a href="#Page_180">180</a></td></tr> -<tr><td class="tdl vt">Hair Wash</td><td class="tdr vb"><a href="#Page_181">181</a></td></tr> -<tr><td class="tdl vt">Cure for Poison</td><td class="tdr vb"><a href="#Page_181">181</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt">HOME READING.</td><td class="tdr vb"><a href="#Page_182">182</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdl vt">THE SICK ROOM.</td></tr> -<tr><td class="tdl vt">Cooking for the Sick</td><td class="tdr vb"><a href="#Page_187">187</a></td></tr> -<tr><td class="tdl vt">Port Wine Jelly</td><td class="tdr vb"><a href="#Page_187">187</a></td></tr> -<tr><td class="tdl vt">Toast Water</td><td class="tdr vb"><a href="#Page_188">188</a></td></tr> -<tr><td class="tdl vt">To prepare Rennet Whey</td><td class="tdr vb"><a href="#Page_188">188</a></td></tr> -<tr><td class="tdl vt">Flax-Seed Sirup</td><td class="tdr vb"><a href="#Page_189">189</a></td></tr> -<tr><td class="tdl vt">Mucilage of Sago</td><td class="tdr vb"><a href="#Page_189">189</a></td></tr> -<tr><td class="tdl vt">Applications for the Sick.—Refreshing</td></tr> -<tr><td class="tdl vt">Lotion</td><td class="tdr vb"><a href="#Page_189">189</a></td></tr> -<tr><td class="tdl vt">Recipe for Croup</td><td class="tdr vb"><a href="#Page_190">190</a></td></tr> -<tr><td class="tdl vt">Remedy for Sore Throat</td><td class="tdr vb"><a href="#Page_190">190</a></td></tr> -<tr><td class="tdl vt">Burns</td><td class="tdr vb"><a href="#Page_190">190</a></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt" colspan="2">DIRECTIONS FOR MAKING BREAD, YEAST, &c.</td></tr> -<tr><td class="tdl vt">Bread</td><td class="tdr vb"><a href="#Page_191">191</a></td></tr> -<tr><td class="tdl vt">Waffles</td><td class="tdr vb"><a href="#Page_194">194</a></td></tr> -<tr><td class="tdl vt">Cream Tomato Soup</td><td class="tdr vb"><a href="#Page_195">195</a></td></tr> -<tr><td class="tdl vt">Breakfast Cake</td><td class="tdr vb"><a href="#Page_195">195</a></td></tr> -<tr><td class="tdl vt">Molasses Gingerbread</td><td class="tdr vb"><a href="#Page_195">195</a></td></tr> -<tr><td class="tdl vt">Plain Cookies</td><td class="tdr vb"><a href="#Page_196">196</a></td></tr> -<tr><td class="tdl vt">Moonshine Crackers</td><td class="tdr vb"><a href="#Page_196">196</a></td></tr> -<tr><td class="tdl vt">New Year’s Cookies</td><td class="tdr vb"><a href="#Page_196">196</a></td></tr> -<tr><td class="tdl vt">Sponge Cake</td><td class="tdr vb"><a href="#Page_197">197</a></td></tr> -<tr><td class="tdl vt">Loaf Cake</td><td class="tdr vb"><a href="#Page_197">197</a></td></tr><tr><td colspan="2"> </td></tr> -<tr><td colspan="2"> </td></tr> -<tr><td class="tdc vt">POLITENESS.</td><td class="tdr vb"><a href="#Page_198">198</a></td></tr> -</table></div> - - -<hr class="chap mb4" /> - -<p class="center huge"><b> HOME ARTS</b><br /> - -<span class="smaller"> FOR OLD AND YOUNG.</span> -</p> -<hr class="chap mt4" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p> - - - -<p class="ph1">HOME ARTS.</p> - - - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<h2><a name="Christmas" id="Christmas"></a><span class="gesperrt">Christmas.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">We</span> beseech all our youthful readers <em>not</em> to pass by -our Christmas chapter.</p> - -<p>We wish we possessed an abler pen, that would induce -every family in the land, rich or poor, to celebrate the -birth of our Saviour Jesus Christ, who gave his life for -us. Even if some learned men think the twenty-fifth of -December is not the day Christ was born, what does it -concern us? We know Christ brought love and charity -into the world, therefore in gratitude we should celebrate -his birth; the exact period is of but little consequence.</p> - -<p>Seldon informs us that the Christian church, desirous -of abolishing the Saturnalia of the Romans, a festival -instituted in honor of Saturn, appointed a festival in -honor of her Divine Master, Jesus Christ, to supersede -it. But the observance of the day did not become general -until about the year 500. The reason why the -evening before Christmas day is celebrated, is, that in the -primitive church the day was always observed as the -Sabbath, and like it, preceded by an eve, or vigil. It -was once believed that if we were to go into a cow-house<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -at twelve o’clock, on the night before Christmas, all the -cattle would be found kneeling. Many firmly believe the -bees sing in their hives Christmas Eve, to welcome the -approaching day.</p> - -<p>We deck our houses and churches with evergreen, because -at this sacred time the earth, then wrapped in darkness, -was, as it were, clothed in living green by the birth -of Jesus Christ, our Saviour; fit emblems are they, -of the never-dying spirit of our Lord and Master.</p> - -<p>The laurel is used with other evergreens at Christmas, -because of its use among the ancient Romans, as the -emblem of peace, joy, and victory. In the Christian -sense it may be applied to the victory gained over the -powers of evil by the coming of Christ. The mistletoe -is used in all Christmas decorations by the English. Its -berries and its green are very beautiful. It is a parasitic -plant, and grows on the oak tree. A branch of -mistletoe is often hung over a door-way on Christmas -Eve, and if a gentleman can kiss a lady as she passes -under the mistletoe, he has on <em>that</em> evening a right to the -privilege.</p> - -<p>The evergreens mostly used in America are hemlock, -spruce, laurel, and the varieties of ground pine. The -bright red bitter sweet berries gathered in the fall add -to the beauty of the wreaths.</p> - -<p>Many have asked the meaning of initials affixed to -crosses on that day, such as I. H. C., and I. H. S. The -former stands for three Latin words: “Jesus Humanitatis -Consolator”—Jesus the Consoler of mankind; -the latter, “Jesus Hominum Salvator”—Jesus the Saviour -of Men. On some very ancient crosses are found<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -I. N. R. I., “Jesus Nazarenus, Rex Judæorum”—Jesus -of Nazareth, King of the Jews.</p> - -<p>“Yule” was a name anciently given to Christmas, and -it was the custom to select a large log to burn on Christmas -Eve, for in those days the old-fashioned fireplaces -would hold very large logs of wood. The festivities of -that night lasted until the log burned out. This log was -called the “Yule log.”</p> - -<p>The Scandinavians watched the declining rays of the -sun from early spring even to December, with great anxiety, -and erected slanting dolmens to detect the first -certainty of its approaching return; and when informed -that its face was once more turned towards their habitations, -over which their enemy, the snow, had already -usurped his authority, they brought the “Yule log” to -the fire, and danced, and sung, and shouted, and drank, -the grand carouse of all the year, making the frozen -air jubilant with their Christmas carols under the -mistletoe.</p> - -<p>Our Pilgrim Fathers had suffered so much persecution -from the Church of England, that they abolished all -church festivities. Their persecutions made them austere -in all things. They looked upon church festivals as devices -of the evil spirits, forgetting that He who gave us -the bright sun, lovely flowers, and sparkling streams, -rejoices to see man cheerful as well as good.</p> - -<p>Our Pilgrim Fathers suffered much for our good, and -now our noble free country can afford to have many festivals.</p> - -<p>The celebration of Christmas is fast winning its way, -even in New England. The beautiful custom of decorating<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -our homes and our churches yearly increases throughout -the land. What can be more appropriate than to -celebrate the birthday of our Saviour with garlands and -songs, and the affectionate interchange of gifts.</p> - -<p>God gave us his only begotten Son; we in humble -imitation give gifts to our loved ones. God’s deeds -seem consistent with this day. He, whose birth we celebrate, -gave his life for us. Can we restrain our hands -from relieving, our hearts from sympathizing with the -poor, the bereaved, and the distressed?</p> - -<p>The custom of giving presents at Christmas originated -in Germany. It was derived from the ancient feast of -Sol. The children of many Americans, who remember -Christmas, hang up their stockings Christmas Eve, thinking -“Santa Claus” will come in the night and fill them -with gifts. Some, to avoid being roused at too early -an hour, have taken a large bag, as a receptacle for presents, -and the father or mother of the family in due time -distribute the presents. Others have had a table spread -with their gifts of love, or place their gifts carefully -under the breakfast plates, or on the chairs at the table. -But the German custom of Christmas trees is by far the -most desirable. We wish it was universal here. The -writer of this assisted in preparing almost the first tree -in our portion of New England, but since then the Christmas -tree has spread far and wide; a tree more productive -of pleasure and fun was never before planted.</p> - -<p>We will give some simple directions for the arrangement -of the Christmas tree, hoping to induce some families, -who have felt a Christmas tree was too expensive, to -plant it this year. This tree is within the means of the<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -poor as well as the rich, by the exercise of the united -skill of any family.</p> - -<p>We think all such festivals and family meetings assist -in making “the home” the dearest spot on earth.</p> - - -<h3>1.—HOW TO MAKE A CHRISTMAS TREE.</h3> - -<p><span class="smcap">The</span> first thing to be considered is how to obtain a -suitable tree.</p> - -<p>If you are not near any woods, and intend to purchase -an evergreen from a nursery of trees, the “silver fir” -is decidedly the best adapted for that purpose. In the -large cities, trees of all kinds can be easily bought; they -are carried through the streets for sale. If you go to -the woods, the common spruce is the most suitable. -The hemlock is the prettiest green, but its boughs are -not sufficiently firm to bear any considerable weight. -If a spruce cannot be found, hemlock can be used by -nailing narrow slats of wood across the tree and under -the branches, as a support. Paint the slats green, and -they do not show; in that way candles and presents can -be firmly fastened to its branches.</p> - -<p>If the tree is not perfect in shape, nail on here and -there an extra branch, until it becomes symmetrical.</p> - -<p>Take a small round tub, or half of a small cask. -Place your tree in the centre and brace it firmly, and fill -the cask with sand. Cover the cask with green moss; it -is the prettiest green for the purpose. It can be covered -with little branches of hemlock if moss cannot be procured, -or even a green floor mat can be placed around it.<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -Another simple way to fasten a tree firmly, is to take a -suitable block of wood, and have a hole made in the centre -just to fit the stem of the tree, and cover the block -with moss, or paint it. Then place your tree either in -the centre or corner of your room where it is to be, first -spreading a white cloth over the floor, which will not -only protect your carpet, but add to the brilliancy of your -tree when it is lighted. Some use a small tree, and -place it in the centre of a table; the presents too large -and heavy for the tree, are placed upon the table. When -your tree is firmly placed in the right position, fasten on -your candles with little tins, cut in the form of a diamond, -with two very acute angles, and bent in the centre -to form a right angle; push one point into your tree, and -on the other fasten your candle or taper. The latter is -the prettiest, and neatest to use. Buy the colored wax -tapers. If you prefer you can cut up candles. Tapers -or candles can be fastened also to your trees by wires, or -by melting one end of the candle, and while hot, fasten -it by the melted wax to the branch of the tree. Also -you can purchase tins prepared to hold the tapers, made -with a sharp point to fasten to the tree, and one to put -in the taper; that point must be heated before fastening -it to the candle. This tin has a hollow rim around it to -catch the melted wax.</p> - -<p>Trees can be lighted with gas, by unscrewing the centre -gas chandelier, and fastening on a gas pipe reaching to -the floor, with branches or arms of different lengths, -according to the size of the tree, longer at the bottom, -shorter at the top. Fasten your tree firmly close to the -centre pipe; the branches of the tree should hide it.<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -The branches of the gas-pipe should be wound with gold -or green paper, and the branches of the tree placed, if -possible, over them. This makes a brilliant tree, and is -much easier to light, and does not require to be constantly -watched. But wax tapers are more appropriate.</p> - -<p>When your tree is firmly fastened and the lights all -arranged, hang on your ornaments with wires and ribbons, -commencing with the top of the tree first.</p> - -<p>We will give a few simple directions for making ornaments, -which may be useful to those who cannot afford -to purchase.</p> - -<p>To form gilded balls, take nuts, such as walnuts, filberts, -and English walnuts (the latter nut can be opened -and filled with anything you please, and then glued together -again). Fasten a long tack or nail into the end -of the walnut to hold it by, and afterwards to suspend to -the tree. Wash the nut all over with the white of an -egg, laid on with a feather. Then roll it in leaf gold till -it is well covered. Be careful you do not breathe over -the leaf gold, or it will fly away from you. A cheaper -way is to take a sheet of gold paper, and cut a piece -sufficiently large to cover the nut. Brush it with paste, -then fasten it round the nut, rolling it over and over in -your hand, to fill in every crevice. Apples covered with -gold paper look very tempting; a smooth-skinned apple, -of medium size, can be used, and the gold paper should -be cut in sections, so that it will fit the apple smoothly.</p> - -<p>Pretty little ornamental bags can be made of English -walnuts. After the shells are well cleaned, varnish and -paint or gild them in stripes, then bore holes in each<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -half shell at the top and bottom, and fasten them together -with narrow ribbon. Another prettier way is to -take pieces of colored silk or ribbon, and fasten together -at the side, then take half of one side of a nut, and glue -the silk firmly all around the inside edge; hem the top -of the silk and run in a string, or simply take strong -saddlers’ silk and run all around, to draw it up. Thus -is formed a pretty bag, which can be filled with candy; -lace bags, filled with candy and parched corn, are ornamental. -Take oblong pieces of coarse lace, run into the -meshes bright colored worsted, then fasten them into a -bag firm with the same worsted, and draw them up -at the top with worsted. Birds’ nests add to the -attraction of the tree. Take some halves of unboiled -egg-shells; dip them in white of egg (but first you must -have some moss ready), make a hollow of moss in your -hand, and put the half shell in it. The moss will adhere -to the outside. Take care that your moss be thick -enough to hide the white of the shell. Line the inside -with down or cotton wool, and put sugar-plum eggs in it. -These nests look charming in the dark foliage of a tree. -Small flags are a great addition; we would suggest that -flags made to represent the national banner of other nations -would be pleasant work for both boys and girls, -illustrations of all of which can be found in any large -atlas.</p> - -<p>For horns of candy, get some white cartridge paper, -cut squares, ornament them with pictures, mottoes, gold, -silver, and fancy paper; shape them into a horn, and -paste them firmly; cut off the top point and bind the -rim with paper or ribbon, also paste on a loop of ribbon -to fasten to the tree, and fill them with candy.</p> - -<p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p> - -<p>Glittering crystals, made of alum, are very pretty. -To make them, dissolve alum in hot water until it will -hold no more, then strain it off. Then take bonnet wire -and form little baskets, sprays of leaves, little wreaths, -or make the wreaths of tiny sprigs of spruce, fir, or take -raisin stems (a slightly rough surface is necessary), suspend -these by a network of string tied across the top of -a deep basket; the dissolved alum must cover each article -entirely; let them remain undisturbed over night. -Remove them carefully the next morning, and you will -find them glittering with minute crystals, resembling diamonds. -If powdered turmeric is added to the hot alum -solution, the crystals will be bright yellow. Litmus -will cause them to be of a bright red. Logwood will -turn them purple. The more muddy the solution the -finer will be the crystals.</p> - -<p>Sprays of mock coral, also tiny baskets of the same -material, add to the tree’s beauty. To make them, take -bright red sealing-wax, powder it, and dissolve it in alcohol. -Then take your twigs, sprays, or anything you -wish to imitate coral, and dip them in the above mixture -until they are well dyed.</p> - -<p>Baskets made of moss and filled with natural flowers, -add a fresh beauty to the tree. Balls made of cake, and -frosted all over, look like snow balls. Pop corn balls -make quite a show. Bits of cotton wool, covered with -diamond powder, and scattered over the tree, imitate -snow.</p> - -<p>Take gold paper, cut it in strips a quarter of an inch -wide, and an inch and a half long. Take one of the -strips and fasten together with paste, forming a ring;<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -then take another strip and pass it through the ring just -formed, and fasten it together with paste; continue this -process until you have made a long chain. A number -of these chains, festooned from branch to branch, resemble -chains of gold.</p> - -<p>Fairies always please children, and are easily made. -Purchase some small, jointed wooden or china dolls, and -different colored tarlatans for dresses, and form the wings -of white tarlatan, or of white linen banking paper. Take -butterfly wings for a pattern; sew on gold and silver -spangles on dress and wings, or paste on tiny stars of -gold and silver paper. Cut little strips of gold paper, -and roll them up, as you do paper lamp-lighters, for the -wands. Fasten them with thread or wire to the hand of -the fairy. The crown of the queen can be made of gold -paper, cut in strips long enough to go round the head, -and cut it in points in front, and paste it round the head. -Fasten wire round the waists of the fairies, leaving one -long end to wind around the branches of the trees. Thus -they look as if they were flying.</p> - -<p>Many pretty things can be made from egg-shells, such -as pitchers, bowls, goblets, and tiny cradles; ornament -them with gold paper and little colored pictures.</p> - -<p>There are hundreds of little glittering toys, which can -be purchased for a few pennies, such as brass beads, little -looking-glasses, glass balls, gilded toys, &c., too numerous -to mention; odd bits of tin hung among the -branches glitter very prettily.</p> - -<p>Every member of a family preparing a Christmas tree, -should use his or her wits to contrive little inexpensive -ornaments; even the little ones, with some instruction,<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -can make many pretty things, and it will add tenfold to -their pleasure to feel they have assisted in ornamenting -their precious tree; only let them <em>think</em> they can do it, -and most assuredly it will be done.</p> - -<p>In making presents, every member of the family -should strive to find out the wants and tastes of those to -whom they intend to give presents, thinking only of giving -pleasure, and not of personal gratification of their -pride or love of show. The golden rule our blessed -Saviour gave us should be ever uppermost in our minds. -Love should be the presiding genius of every home -festival.</p> - -<p>God works upon our hearts in many and various ways. -Often the simplest thing in life may awaken us to a right -sense of his goodness and mercy. So in home influences, -if a Christmas tree every year can add one link -to the chain which binds us in love to one another, should -we not be paid for weeks of labor? Every child thus -early taught thoughtfulness for others, must feel the good -effects through life.</p> - - -<h3>2.—THE CHRISTMAS BRAN PIE.</h3> - -<p><span class="smcap">The</span> bran pie is often used in England, in place of the -Christmas tree, or as an addition to the “Twelfth Night” -party.</p> - -<p>It is within the means of every family, as its contents -can be inexpensive or expensive, according to the taste -and means of the maker.</p> - -<p>First, a large wooden bowl should be obtained, or any<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -large tin pan or dish. This can be covered with white -cloth or not, as the maker pleases; a wreath of evergreens -around the edge is an improvement.</p> - -<p>The contents of the pie may be sugar hearts, rings, -kisses, or any bonbons, mock rings, or gold rings, indeed, -any article which can be easily tied up in a small bundle. -It is desirable that there should be many articles in this -pie that will cause fun and laughter. Blanks, such as an -empty box, or some trifle rolled up in many papers. A -bright piece of silver, called a lucky piece, or a half-sixpence, -enclosed in a nut-shell, and like all the rest of the -articles, tied up in paper, adds to the sport. All these -bundles should be placed in the large bowl or dish and -covered with bran. A large spoon can be laid on the -top of the pie.</p> - -<p>This pie should be placed on the table, after a Christmas -dinner or supper, the guests or family all remaining -in their seats around the table. If there are many little -ones, it can be arranged beforehand, and have a servant, -or some member of the family, place the pie at the front -door, and ring the bell furiously and blow a trumpet; -also place a paper on the top of the pie, on which is -written, “A present from Santa Claus.” As soon as -the bell is rung, the ringer must disappear at once, as -children are wide awake at Christmas. We had a bran -pie brought in that way; the children rushed to the door, -and in their eagerness to see Santa Claus, ran past the -pie some distance, looking eagerly on all sides; when -they returned, one little boy declared he saw him whisking -round the corner of the street. When the pie is on -the table, everybody is invited to partake. Each in turn<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -takes a spoonful; whatever bundle the spoon touches is -theirs; the bundle must be opened at once and exhibited -before the next person dips. The very inappropriateness -of some of the gifts helps to create laughter, and there -is a good deal of amusement in the after exchanging, or -refusing to exchange, when the pie is all distributed.</p> - - -<h3>3.—TWELFTH NIGHT.</h3> - -<p><span class="smcap">In</span> England their festivities continue twelve days. -Twelfth Night is sometimes called “Old Christmas,” as -it was the day celebrated as Christmas before the almanac -was changed. The change was made by Pope -Gregory XIII., during the year 1752. Therefore Twelfth -Night has its own peculiar festivities. In some portions -of England they have a large gathering of friends. -During the evening two dishes of little frosted cakes are -passed round, one for the gentlemen and one for the -ladies. In each there is one cake with a ring, and one -with a broken sixpence. The two who get the ring will -be married before the year is out. The broken sixpence -indicates an old bachelor or an old maid; but if the two -agree to join their broken sixpence, there is a chance for -them. So says the old tradition.</p> - -<p>A lady, whose early youth was spent in England, says -where she lived Twelfth Night was celebrated especially -by the children. At their social parties they -selected a king and queen, who regulated the festivities -of the evening. Sometimes the lady of the house prepared -cards, with various figures written or drawn upon<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -them, among them a king and queen. Each child drew -a card on entering, which designated the character he or -she was to represent. Of course the lady managed to -slip the cards of king and queen into the hands of those -best able to preside.</p> - -<p>In one of our small cities, where there are several -families who unite in keeping Twelfth Night every year, -they have but one ring, and whoever gets it must give -the party the next year.</p> - - -<h3>4.—THE CHRISTMAS BAG.</h3> - -<p><span class="smcap">Make</span> a large bag of thin white paper or silver paper, -fill it with sugar plums, and tie a string around the top, -to keep it fast. Then suspend it from the ceiling, or -from a large door frame, and provide a long, light stick. -Each little child is blindfolded in turn, and the stick put -into his or her hand. She is then led within reach of -the bag, and told to strike it. If she succeeds in her aim -and tears a hole in it, the sugar plums are scattered on -the floor, and the little ones scramble for them; but it is -by no means easy to strike a suspended object blindfolded; -generally many attempts are made unsuccessfully. -Each child is allowed three trials. The maker -of the bag can put in it tiny books, pincushions, or any -little toy, with the sugar plums. This bag would add -to a child’s party; it is often used at birthday parties. -An older person should always superintend, for some -children would be greedy or rude.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - - - - -<h2><a name="Amusements_for_Christmas_Holidays" id="Amusements_for_Christmas_Holidays"></a> -<span class="gesperrt">Amusements for Christmas Holidays.</span><br /> - -<span class="small">ADAPTED TO ALL AGES.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">Shakespeare</span> reading clubs, private theatricals, charades, -and tableaux are deservedly the popular home -amusements of the present day. They certainly -strengthen the lungs and memory, and improve the intellectual -tastes. These amusements are peculiarly adapted -to enliven long winter evenings. As some of our young -friends may not understand the <i lang="la" xml:lang="la">modus operandi</i> of these -amusements, we will try and enlighten them.</p> - - -<h3>1.—SHAKESPEARE READING CLUBS.</h3> - -<p><span class="smcap">Some</span> clubs read Shakespeare alone. It is most certainly -a noble study, and one we can never weary of. -Few can hope ever to excel in delineating Shakespeare. -Therefore it is well, if we meet together for social enjoyment -as well as improvement, to have a variety of plays, -such as Sheridan Knowles’ plays. Also, it is an admirable -way of learning to converse easily in German and<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -French to read plays in the different languages. In -reading these plays, the parts, in the beginning, should be -given to different members.</p> - -<p>The librettos of many excellent plays can be bought -for a very small sum, such as “Ion,” “Hunchback,” -“William Tell,” “Love’s Sacrifice,” and many other excellent -old plays. These small books are less cumbersome -to carry around. It is well before the club meets -to read any play, to have each person read over his or -her part, so as to be able to comprehend the character. -Therefore the play to be read at each reading should be -given out at the close of every meeting, and the parts -selected, each member having an equal share. Such -clubs are far more agreeable to its members, and less -likely to cause unpleasant rivalries, than clubs for private -theatricals, as private actors are often jealous, for human -nature, alas! is weak.</p> - -<p>We have known of some very successful clubs, where -discord and jealousy never appeared, and where harmony -reigned. We will give the manner of proceeding adopted -by one of them, as it may assist in the formation of -others. The club was started by some young ladies, with -a view of making home and winter evenings agreeable -to their brothers. A committee was chosen to form a -code of laws. Each one was to subscribe a small sum -to purchase the librettos of their plays. The following -rules were signed by all the members:—</p> - -<p>1. Each member of the club must take his or her -turn in choosing a play, and in giving out the rôle of -characters.</p> - -<p>2. Every member must take the characters given him,<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -and do his best, unless he can exchange parts with some -other member, with the consent of the one who selected -the play.</p> - -<p>3. The one who selects the play has a right to the best -character.</p> - -<p>4. The club shall meet once a week at the houses of -members, in alphabetical rotation.</p> - -<p>5. Whenever any member is unable to take his part -and cannot attend the meeting, he must provide some one -to take his character.</p> - -<p>6. No new member can be admitted without the vote -of the majority.</p> - -<p>7. Each member must study his or her part well, before -meeting with the club. If any two, or several, -should have difficult parts together, they must meet privately -and practise them.</p> - -<p>At first they merely read the plays; but soon they -partially acted them, and found them increased in enterest -thereby. They always had their little librettos by -them. Those who had ready memories rarely referred -to them, or a mere glance would be sufficient. Finally -they dressed in character, and admitted an audience composed -of their relatives.</p> - -<p>There is not necessarily anything awkward in having -the books in hand. Such little pamphlets can be easily -rolled up, and will scarcely be noticed. Under these -rules they became familiar with the best plays, without -wearying of them, and each member had an opportunity -of consulting his own taste.</p> - -<p>Before the winter closed the members of this club -found they could so easily learn their parts, that they rarely<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -were obliged to refer to their librettos. Constant practice -improved their memories. Often those whose parts were -associated together, would meet for private practice.</p> - - -<h3>2.—PRIVATE THEATRICALS.</h3> - -<p><span class="smcap">Private theatricals</span> amuse a large circle of <em>friends</em>, -and any club willing to undertake the presentation of -plays deserve the thanks of their audience.</p> - -<p>Even a simple farce requires much labor and frequent -rehearsals to be well acted, and one soon wearies of the -constant repetition of even witty sayings. The most -trivial character must be carefully studied, for one bad -actor often destroys the effect of the whole play. Then -the footlights, stage, &c., must be prepared. A few -directions, with a list of easy farces, may be of service. -All who live in cities can easily hire scenery, dresses, -&c., but for the benefit of towns and villages, we will -give a short account of how such things can be managed.</p> - -<p>Some lady can almost always be found who will give -the use of her house. A house should be selected which -has two parlors, connected by large folding doors or an -arch; one parlor being for the audience, and the other -for the stage. All the furniture and carpets should be -taken from the latter room. A rough staging should be -built (boards can be easily hired), and by boring a hole -in the floor, a gas pipe can be run up along the front of the -staging, with a sufficient number of burners. Tin shades<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -painted green (as they render the light softer, and more -agreeable to the eye), are an addition, for they keep the -light from the audience, and throw it directly on the -actors. A large floor cloth can be nailed on the stage -for a carpet. A drop curtain, so arranged as to be rolled -up quickly and easily, by means of a cord pulley at one -side of the stage, where the prompter sits, just out of -sight of the audience, is necessary. Scenery for the sides -and back parts of the stage can be roughly painted on -cloth; it answers every purpose of canvas, by being -strained when wet, over light wooden frames (made so -as to be easily moved); when dry, it presents a smooth, -hard surface.</p> - -<p>Each member should provide his or her own dress. -To give the required expressions to the faces, a box of -good water colors, some fine chalk powder, camel’s hair -pencils, and rouge saucers are wanted. To make frowns, -scowls, or comical expressions, such as a broad grin, -smirk, or simper, stand before a mirror and assume the -desired expression; then trace the wrinkles produced -with a fine brush of the brown tint; this will fix the -required expression on your face. Rouge is best applied -with the finger. Burnt cork is excellent for darkening -eyebrows and making moustaches, also for representing -leanness, which will be done by applying a faint tint just -under the eyes, on the sides of the cheeks, and under the -lower lip. A strong mark running from the corner of -the nose down towards the corner of the mouth on each -side marks age or emaciation.</p> - -<p>A few directions may be of use in regard to the preparation -of theatrical dresses. Powdered wigs can be made<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -of tow, ravelled yarn, or gray-colored horse hair; beards -and moustache of the same, or a piece of buffalo skin. -Ermine can be made of cotton flannel, with tags of lion-skin -cloth sewed on, or black tags painted. Pelisse wadding -is sometimes used.</p> - -<p>Crowns and sceptres are easily made of pasteboard -and gold paper. Velvet talma cloaks, capes, or even the -loose velvet sack, can be converted into cavalier cloaks -(the armholes in the sack must be fastened up on the -inside) by fastening them gracefully over one shoulder. -Then put on a large old-fashioned lace collar, ruffles -around the hand, a Kossuth hat, looped up on one side -with a paste pin or buckle, fastening a white or black -plume (taken from some lady’s bonnet), stockings drawn -over the pantaloons and fastened at the knees with bows -and buckles; and, lo! with but little trouble, you have a -fine cavalier of the olden times. With old finery and -little ingenuity, a theatrical wardrobe can be quickly -made, if all are willing to do their part, but the larger -share of the work is generally done by a few. Rocks -can be made by throwing plain gray blanket shawls over -ottomans, tables, &c. Rain may be imitated by dropping -peas in a tin pan; thunder, by rattling sheet iron; lightning -by means of a tin tube, larger at one end than the -other, and filled with powdered resin. The smaller end -of the tube should be open, the other end so managed -that the resin may sift through. Shake the tube over a -lamp, or blow the resin through a plain tube into the -flame of a lamp, and you will have a good imitation of -lightning.</p> - -<p>Dissolve crystals of nitrate of copper in spirits of<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -wine, light the solution and it will burn with a beautiful -emerald green flame. Pieces of sponge, soaked in this -spirit, lighted and suspended by fine wires over the stage -of theatres, produce the lambent green flames now so -common in incantation scenes. Strips of flannel saturated -with it, and wrapped around pieces of copper, will -form the swords and fire-forks brandished by the demons -in such scenes. Devices like the above are very simple, -and add much to the general effect.</p> - -<hr class="tb" /> - -<p>The publishers of this book have printed a large number -of small plays, adapted for private theatricals, called -“The Amateur Drama.” We will mention a few of -them that are good; the old comedies and farces are well -known to all.</p> - - -<div class="center"> -<table summary="Dramas"> -<tr><th colspan="2">DRAMAS IN TWO ACTS.</th></tr> -<tr><td class="tdl">Sylvia’s Soldier,</td> - <td class="tdl2">3 male, 2 female characters.</td></tr> -<tr><td class="tdl">Once on a Time,</td> - <td class="tdl2">4 male, 2 female characters.</td></tr> -<tr><td class="tdl">Down by the Sea,</td> - <td class="tdl2">6 male, 3 female characters.</td></tr> -<tr><td class="tdl">Bread on the Waters,</td> - <td class="tdl2">5 male, 3 female characters.</td></tr> -<tr><td class="tdl">The Last Loaf,</td> - <td class="tdl2">5 male, 3 female characters.</td></tr> -<tr><td colspan="2"> </td></tr> -<tr><th colspan="2">DRAMAS IN ONE ACT.</th></tr> -<tr><td class="tdl">Stand by the Flag,</td> - <td class="tdl2">5 male characters.</td></tr> -<tr><td class="tdl">The Tempter,</td> - <td class="tdl2">3 male, 1 female character.</td></tr> -<tr><td colspan="2"> </td></tr> -<tr><th colspan="2">FARCES.—MALE AND FEMALE CHARACTERS.</th></tr> -<tr><td class="tdl">We’re all Teetotallers,</td> - <td class="tdl2">4 male, 2 female characters.</td></tr> -<tr><td class="tdl">A Drop too Much,</td> - <td class="tdl2">4 male, 2 female characters.</td></tr> -<tr><td class="tdl">Thirty Minutes for Refreshments,</td> - <td class="tdl2">4 male, 3 female characters.</td></tr> -<tr><td class="tdl">A Little more Cider,</td> - <td class="tdl2">5 male, 3 female characters. - <span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></td></tr> -<tr><td colspan="2"> </td></tr> -<tr><th colspan="2">FARCES.—FEMALE CHARACTERS ONLY.</th></tr> -<tr><td class="tdl">The greatest Plague in Life,</td> - <td class="tdl2">8 characters.</td></tr> -<tr><td class="tdl">No Cure no Pay,</td> - <td class="tdl2">7 characters.</td></tr> -<tr><td class="tdl">The Grecian Bend,</td> - <td class="tdl2">7 characters.</td></tr> -<tr><td colspan="2"> </td></tr> -<tr><th colspan="2">ALLEGORIES.—ARRANGED FOR MUSIC AND TABLEAUX.</th></tr> -<tr><td class="tdl">Lightheart’s Pilgrimage,</td> - <td class="tdl2">8 female characters.</td></tr> -<tr><td class="tdl">The War of the Roses,</td> - <td class="tdl2">8 female characters.</td></tr> -<tr><td class="tdl">The Sculptor’s Triumph,</td> - <td class="tdl2">1 male, 4 female characters.</td></tr> -</table></div> - -<h3>3.—CHARADES.</h3> - -<p><span class="smcap">There</span> is no game that can afford so much amusement -to a circle of friends as that of acting charades. -It affords a scope for the exercise of both wit and ingenuity.</p> - -<p>A word must be chosen, in which the syllables may be -rendered into some kind of a lively performance, and the -whole word must be capable of similar representation. -Then the plan of action must be agreed upon. Old-fashioned -garments, gay shawls, scarfs, old coats, hats, -aprons, gowns, &c., must be looked up for the occasion, -and speedily converted into various and grotesque costumes, -suited to the representation to be made. By -exercising a little ingenuity, very fine charades can be -acted “impromptu.” Speed, in all preparations, is quite -necessary to success, as an audience is always impatient. -If it is determined to have charades at a party, the lady -of the house should arrange dresses, plan of action, and<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -subjects, beforehand. She can generally tell who can -assist her best. If all the arrangements can be made -without the knowledge of her guests, the effect will be -greatly increased. This is also an improving game for a -family of children. Write the plot and a simple dialogue, -and let them learn it; it will be a good exercise -for the memory, and teach them ease of manner; but -let them only act before a home circle.</p> - -<p>A talented friend of ours has a very pleasant way of -acting charades in her own family circle, which is well -adapted for large family circles, such as assemble together -on Thanksgiving, and during Christmas holidays. This -lady unites her family with a few other pleasant friends.</p> - -<p>For a good charade party, twelve or more persons are -desirable, and two rooms, connecting by sliding or folding -doors, are the most convenient, though two connecting -by only a single door will do, if the party is not a -large one.</p> - -<p>First, two persons should be chosen managers; then -the managers must choose sides, so that the company -will be about equally divided. The sides then take separate -rooms, to become, alternately, actors and audience; -the managers draw lots to see which side shall act first. -Those that are to begin, first choose a word, then proceed -to represent it. A common way is to divide the -word into syllables, and present one at each scene, then, -after having gone through the word, if the other side -cannot guess it, a scene is given to represent the whole -word. When all is ready for a scene, the door is thrown -open for the others to look in and guess it. Frequently -a whole word is given at once in one scene. The manager<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -must always announce whether one syllable or more -is given. After giving the audience time to guess it or -give it up, the parties change rooms, and the other side -must act; they will, of course, have their word selected -and all arrangements made, as they had sufficient time -while waiting for the others.</p> - -<p>In acting the word, each party must try to mystify the -other, yet the syllable must be well represented; but -there can be by-play to divert the audience from the real -word. The party that guesses the whole word the soonest, -are considered the conquering party. Care must be -taken not to let the actors know if the audience guess the -word before it is fully acted.</p> - -<p>Sometimes in the place of words, proverbs are acted. -Each word is acted in turn, or two words are acted in -one scene; if the latter, before the scene is acted, some -one of the actors can inform the audience that they will -act two words of the proverb.</p> - -<p>A few directions for acting certain words and proverbs, -and a short list of words and proverbs easy to be acted, -may be an assistance to our youthful readers.</p> - -<p>If a word or syllable can be represented by action, it -should be seldom spoken; but in some cases syllables -must be spoken to give an idea of the word. Some prefer -acting charades entirely in pantomime.</p> - - -<h3>4.—CON-JU-GATE.</h3> - -<p><em>Con.</em> Arrange a school, one of the actors dressing as -a country schoolmaster; let the scholars all have books -in their hands, conning their lessons in loud whispers.</p> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - -<p><em>Ju.</em> The same school can be retained. One of the -actors, dressed as a German Jew pedler, can come to the -school to sell pens, pencils, paper, chalk, &c. He can -talk in a broken Jewish manner. The <em>Jew</em> should be -prominent in this scene.</p> - -<p><em>Gate.</em> This syllable, instead of the common representation -of a gate, made with a small clothes-frame, &c., -can be represented by having the whole company of actors -dress in odd garments, and walk about the room in -couples, each with a different gait, hobbling, striding, -pompous, &c.</p> - -<p><em>Conjugate.</em> Let the same schoolmaster assemble his -unruly school, and give out verbs to be conjugated; the -scholars, to make the scene ridiculous, should mix up -languages and conjugations in a medley.</p> - - -<h3>5.—DUMB-FOUND.</h3> - -<p><em>Dumb.</em> Let a certain number of the actors be seated -in a row, when the door opens, or the curtain is drawn -aside; let them remain perfectly silent for two moments, -then let them silently rise and walk out of the room. Or -as they sit silent, some actor can come in and ask questions -to each, receiving only a vacant stare in answer; -he then can rush out of the room, calling them a stupid -set; it would be too plain to call them dumb.</p> - -<p><em>Found.</em> This can be made very amusing by arranging -a court scene, judge, jury, and lawyers, and a prisoner’s -box, in which an actor, dressed as a servant-girl, can<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -be seated as the criminal accused of stealing a pocket-book. -Witnesses can be examined. After the court has -gone over the case, and the lawyers make as much sport -as possible in their examination, a boy, dressed as a ragged -Irish boy, should rush in, pocket-book in hand, calling -on the judge to hear him. After ordering him to be -turned out, and much talk being made about turning -him out, at last, in a broken Irish voice, he must scream -out, “Plaase yer honor, it’s me that <em>found</em> it,” holding -aloft the pocket-book. The judge must request to see -the pocket-book. (A young boy once acting this part, -caused much laughter, by exclaiming, “Och, and indade -is the court honest?”) The judge having examined the -pocket-book, declares the girl innocent, and dismisses the -court.</p> - -<p><em>Dumbfound.</em> The room should be partially darkened, -and some of the actors seated around the room talking -as they please. One of the actors can be dressed as a -ghost. A giant ghost acted by dressing up an umbrella, -or a broom, arranging it with long white drapery of sheets, -and the person carrying it can raise the dressed-up umbrella -or broom as they enter the room. The ghost can -glide slowly around the room; its occupants should exhibit -silent horror, either by crouching down, contortions -of the face, or in any way possible, but not a sound -should be uttered.</p> - - -<h3>6.—SO-RO-SIS.</h3> - -<p><em>So.</em> One of the actors should be dressed as a schoolmistress; -some children can be seated by her with patchwork<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -in their hands. The mistress can teach them sewing, -while in another part of the room an actor must -hold some papers of seeds, and pretend to be sewing the -seeds in a box or pot of earth.</p> - -<p><em>Ro.</em> Place the actors all in a row; let them stand -gazing at the audience a moment, then all at the same -time make a low bow to the audience, and that scene is -over.</p> - -<p><em>Sis.</em> Have a school, and the master should call “sis” -to come and recite; any little girl can take the part of -“sis,” or some boy can complain of his “sis” to the -teacher.</p> - -<p><em>Sorosis.</em> Can be made very amusing by representing -an assembly of strong-minded women. The gentlemen -actors can dress in outlandish dresses, and act the part -of women. They can choose a president, and other -officers, &c.</p> - - -<h3>7.—LAMENTABLE.</h3> - -<p class="center">FRENCH CHARADE.</p> - -<p><span class="smcap">“L’amont”</span> can be acted well in pantomime by representing -an old deaf man, and his young wife; the old -man with spectacles on nose, sitting in a large chair, -reading the newspaper, his young wife standing behind -the chair. A low tap is heard at the door. She starts -and listens; the door opens slyly and discovers a young -man. She starts with delight, but points to the old man, -motioning the young man to go. He makes gestures of -despair; then appears to have a sudden thought, bows,<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -and retires. Soon a loud knock is heard; she goes to -the door, and returns with a letter, giving it to the old -man; he reads, shakes his head, and hands it to her; she -looks at it, runs for his hat and coat, and motions him to -go. He leaves at one door, while <i lang="fr" xml:lang="fr">L’Aman</i> enters at -another. Then they act a lover-like scene, and the curtain -drops.</p> - -<p><em>Table.</em> She again appears with sleeves rolled up, -apron on, rolling-pin in hand, making cakes, the young -lover standing by, and now and then eating one of the -cakes. They hear a heavy step, and the lover runs for a -hiding-place. At last he springs under the table, and -she pulls a table cloth down around it, and goes on rolling -cakes. In comes the old man, hobbling along. He -looks around and suspects something, and begins a strict -search. Thus ends that scene.</p> - -<p><em>Lamentable.</em> The same actors appear, but the table is -turned over, and, behold! the old man has seized the -young lover, and is brandishing aloft a heavy cane, -while the young wife appears, weeping bitterly.</p> - -<hr class="tb" /> - -<p>The following words are easy to be acted:—</p> - -<ul> -<li>Back-bite.</li> -<li>Com-fort.</li> -<li>In-fan-tile.</li> -<li>Pa-pa-cy.</li> -<li>Fare-well.</li> -<li>Car-pet.</li> -<li>Bond-age.</li> -<li>Ann-ounce.</li> -<li>Sin-cere.</li> -<li>No-bil-i-ty.</li> -<li>Pen-i-tent.</li> -<li>Bride-well.</li> -<li>Brace-let.</li> -<li>In-firm.</li> -<li>Spec-ta-cles.</li> -<li>Per-mu-ta-tion.</li> -<li>Rail-way.</li> -<li>Trans-mute.</li> -</ul> - - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p> - - -<h3>8.—PROVERBS.</h3> - -<p class="center">SAFE BIND, SAFE FIND.</p> - -<p><em>Safe.</em> An actor takes the part of a distracted mother, -rushes around the room exclaiming, “My child is lost!” -“He must be drowned!” &c. Soon one of the actors can -rush in with a child, exclaiming, “Madam, your child is -<em>safe</em>, but I found him in a little boat, floating out to -sea;” other actors can rush in, all talking at once, some -scolding the child, others rejoicing he is safe.</p> - -<p><em>Bind.</em> The one acting the part of mother can be -seated with her work in her hands, and in her basket -some rolls of old cotton. Three children can come in -crying, one with a cut head (take some red paint, and -make a splash on the forehead to represent blood), exclaiming, -“O, dear, I’m killed, I know.” The other, -limping and crying, “O, my foot is broken! O, dear! -O, dear!” The other complaining of her hand, all talking -at once. The mother must order them to talk one at -a time, and she will bind up their wounds. Then she -can take her rolls of cotton and bind up the injured -parts.</p> - -<p><em>Safe.</em> The mother and children can be seated talking, -when a knock comes at the door. One child opens the -door and admits a pedler; after showing some trifles, he -declares he has some wonderful money safes, and exhibits -some boxes, and expatiates on the virtues of his safes. -The mother can purchase one for each child.</p> - -<p><em>Find.</em> The same mother can be seated as usual, when<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -the children must come running in, telling that one of -their number has lost his safe. They all hunt for it, and -look everywhere to find it, to no purpose.</p> - -<p><em>Safe bind, safe find.</em> The scene opens with a little -girl tied into a chair, reading a book. The mother must -come in arrayed for the street. On entering, she must -exclaim, “I am thankful I have at last found a way to -keep my child from being lost.” Then she must turn to -the audience, and ask them if they can tell her the -proverb. If they cannot guess, she must ask if she shall -tell them. Sometimes the audience require time to talk it -over before they are willing to own they cannot guess it.</p> - -<hr class="tb" /> - -<p>One example will sufficiently illustrate the manner -proverbs are acted. We will now give a list of some -proverbs adapted for action.</p> - - -<ul> -<li>Ill weeds grow apace.</li> -<li>Little pitchers have large ears.</li> -<li>Fine feathers make fine birds.</li> -<li>Union is strength.</li> -<li>Time unveils truth.</li> -<li>Black cats have black kittens.</li> -<li>Necessity is the mother of invention.</li> -<li>All is not gold that glitters.</li> -<li>Slow and sure.</li> -</ul> - - - -<h3>9.—TABLEAUX VIVANTS.</h3> - -<p><span class="smcap">Tableaux vivants</span>, as commonly represented, are so -well understood that no directions are necessary; but<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -some of our readers may not have heard of the illustration -of poems, &c., by a series of living pictures. This -is far more interesting than simply to personify some one -picture. Still another way is to represent the different -verses and scenes in a song in pantomime, while at the -same time some one who is a good musician sings the -verses of the song, as they are represented. For instance, -“The Mistletoe Bough;” first represent a room -decorated with green, a company assembled, gayly dressed -and dancing, while a lady or gentleman behind the scene -sings the verse represented in distinct tones, and so on -through the whole song; the last scene, representing -children in a lumber-room opening an old chest, and exposing -a skeleton, old flowers, &c. “Auld Robin Grey,” -“The Three Fishers,” “O, they marched through the -Town,” “She wore a wreath of Roses,” “The Minstrel’s -Return from the War,” are all excellent ballads to represent.</p> - - -<h3>10.—TABLEAUX OF STATUARY.</h3> - -<p><span class="smcap">This</span> is a new form of tableaux, and if well done, exceedingly -beautiful.</p> - -<p>To prepare and arrange groups of statuary requires -artistic skill, patience, and steady nerves; the -two last qualities are necessary for those acting as -statues.</p> - -<p>A lady who excels in preparing groups of statues, as -we can testify, has kindly permitted us to give to the -public her manner of preparing them.</p> - -<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p> - -<p>First, some effective groups of statuary must be -selected, and carefully examined. Then those persons -who are willing to gratify their friends by acting as -statues, can be arranged in the different groups according -to their fitness; those acting as statues, require marked -features, and in most groups fine figures to <em>build</em> upon, -as drapery conceals minor faults. All that can be prepared -before the evening, are the head gear and the articles -for drapery. A cap must be made of white linen or -cotton, closely fitting the head. Take candle-wicking, -and knit it on common sized ivory needles, wet it in hot -water, and iron it dry. Then ravel it out, and cut it into -the desirable lengths, and fasten it to the cap like a wig. -When placed on the head, this candle-wicking can be -arranged according to the statue to be represented, and -it will resemble the hair carved in marble. If expense -is not to be considered, the drapery should be made of -cotton flannel, as it hangs heavier, and is more easily -arranged than sheets, which are generally used to save -expense. From three to four sheets are often required -for the drapery of one person, as it is necessary to hang -in such heavy folds to look like marble. One is usually -doubled up and tied around the waist, the others folded, -tied, and pinned, to resemble the drapery of the statue -represented; rules are impossible to give, as the arrangement -can only be made by an ingenious as well as an -artistic person. Now comes the most disagreeable part, -that of painting all exposed parts, such as neck, face, -hands or feet, to resemble marble. First, common whiting -must be mixed smoothly in water, the consistency of -milk. This is put on with a shaving brush, and every<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -part wholly covered with this preparation; let that nearly -dry, then rub it in with the hand, then rub in lily white, -to give the flesh, besides the whiteness of marble, the soft -look of polished marble. The lips are finished at the -last moment. Old white stocking legs drawn over the -arms will save the trouble of painting them. Then the -statues are ready to be grouped for exhibition. Any -person who is nervous, restless, and easily inclined to -laugh, cannot act as a statue. It is not possible to realize -the beauty of such a group of living statuary, when -well done, unless it has been once seen. We advise -those attempting to get up exhibitions for the benefit of -some charitable object, to try a few groups of living -statuary; it is very effective to an audience.</p> - - -<h3>11.—LIGHTS AND SHADES.</h3> - -<p><span class="smcap">If</span> you wish to throw the background of a tableau into -shadow, place screens between the lights at the sides of -the stage and that part of the picture you wish to have -dark; <i lang="la" xml:lang="la">vice versa</i> with the foreground. Particular points -or characters may be more brilliantly lighted than others, -by placing at the side of the stage a strong light within -a large box, open at one side, and lined with bright tin -reflectors.</p> - -<p>Lights of different colors can be thrown successively -on a picture, and made to blend one with another, by -placing the various colored fires in boxes three feet -square, one at one side, and lined with reflectors. Those<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -arranged at the sides of the stage on pivots, can be -turned on, one after another, so as to throw their light -on the stage. Before one light has entirely vanished -from the scene, a different color should gradually take its -place.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Ventriloquism_Made_Easy" id="Ventriloquism_Made_Easy"></a>Ventriloquism Made Easy.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">Ventriloquism</span> we always supposed, like many other -arts, depended to a certain extent on natural talent, or -was a peculiar gift.</p> - -<p>Professional ventriloquists favor the idea that it is a -natural gift, in order to enhance their profits. But boys -of the present age are not so ready to believe in marvellous -gifts, and may have persevered in trying to imitate -famous ventriloquists, and to try was to succeed.</p> - -<p>A friend of ours once met a boy only ten or eleven -years old, who was an excellent ventriloquist, so far as -the power of throwing the voice into a closet or adjoining -room goes. On being questioned if he could explain -the power he had, the boy said he had heard Harrington -the ventriloquist some time previous, and having a desire -to possess the same acquirement, he passed in practice in a -garret all the spare time he could get for many days, and -at the end of that time was fairly startled himself at -hearing a voice come distinctly from an old chest of -drawers.</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> - -<p>The persevering little fellow had found out for himself -the true theory.</p> - -<p>We will give our young friends some plain and simple -rules and directions how to acquire the power of ventriloquism, -which we have obtained from a reliable English -work; many persons following these rules have obtained -proficiency in this art, according as they devoted time -and attention to the subject. The word ventriloquism is -derived from <i lang="la" xml:lang="la">venter</i>, the belly, and <i lang="la" xml:lang="la">loquor</i>, I speak; -literally signifying, belly-speaking.</p> - - -<h3>1.—WHAT IS VENTRILOQUISM.</h3> - -<p><span class="smcap">Ventriloquism</span> may be divided into two sections, or -general heads, the first of which may be appropriately -designated as Polyphonism, consists of the simple imitation -of the voices of human creatures, of animals, of -musical instruments, and sounds and noises of every -description, in which no illusion is intended, but where, -on the contrary, the imitation is avowedly executed by -the mimic, among which we may classify sawing, planing, -door-creaking, sounds of musical instruments, and other -similar imitations.</p> - -<p>Secondly, we have ventriloquism proper, which consists -in the imitation of such voices, sounds, and noises, not -as originally in him, but in some other appropriate -source, at a given or varying distance, in any, or even in -several directions, either singly or together, a process -exciting both wonder and amusement, and which may be -accomplished by thousands who have hitherto viewed the<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -ventriloquist as invested with a power wholly denied by -nature to themselves.</p> - -<p>Polyphony is very common, for there is scarcely a -public school which does not possess at least one boy -capable of imitating the mewing of a cat, the barking of -a dog, or the squeaking voice of an old woman. It is -very seldom that even a blundering attempt at ventriloquism -is heard, except from a public platform, simply -from the want of knowledge of how to proceed. The -art does not depend on a particular structure or organization -of these parts, but may be acquired by almost any -one ardently desirous of attaining it, and determined to -persevere in repeated trials.</p> - -<p>If a man, though in the same room with another, -can, by any peculiar modifications of the organs of -speech, produce a sound, which, in faintness, tone, body, -and every other sensible quality, perfectly resembles a -sound delivered from the roof of an opposite house, the -ear will naturally, without examination, refer it to that -situation and distance; the sound which he hears being -only a sign, which from infancy he has been accustomed -by experience to associate with the idea of a person -speaking from the house-top. A deception of this kind -is practised with success on the organ and other musical -instruments.</p> - -<p>The English Cyclopædia says “the <em>essence</em> of ventriloquy -consists in creating illusions as to the distance and -direction whence a sound has travelled.” How these -sounds are produced, we will now show.</p> - -<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p> - - -<h3>2.—THE THEORY OF VENTRILOQUISM.</h3> - -<p><span class="smcap">Many</span> physiologists aver that ventriloquism is produced -by speaking during the inspiration of air. It is quite -possible to articulate under these circumstances, and the -plan may be occasionally adopted; but the practical -experience of many performers prove that the general -current of utterance is, as in ordinary speech, during -<em>expiration</em> of the breath.</p> - -<p>Some think ventriloquism comprises a management of -the echoes; but echo only repeats what has been already -spoken. Baron Mingon, a famous ventriloquist, had an -automaton doll with which he could apparently converse. -He thus describes his <i lang="la" xml:lang="la">modus operandi</i>: “<i>I press my -tongue against the teeth, and thus circumscribe a cavity -between my left cheek and teeth, in which the voice is produced -by the air held in reserve in the pharynx</i>. The -sounds thus receive a hollow and muffled tone, which -causes them to appear to come from a distance.” The -Baron says, “It is essential to have the breath well under -control, and not to respire more than can be avoided.” -Ventriloquists often experience fatigue in the chest, and -have attributed it to the slow expiration of the breath. -Some are often compelled to cough during the progress -of exercitation.</p> - -<p>To attain an exact and positive knowledge of the -modifications of voice specified as ventriloquism, it is -important to be familiar with the distinctions of the -sounds uttered by the mouth; and to ascertain how the -organs act in producing those vocal modifications, it is<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -necessary to know how the breath is vocalized in all its -distinctions of pitch, loudness, and quality, by the ordinary -actions of the vocal organs. In ordinary language -we speak of noise, of common sound, and of musical -sounds. A quill striking a piece of wood causes a noise, -but striking successively against the teeth of a wheel, or -of a comb, a continued sound, and if the teeth of the -wheel are at equal distances, and the velocity of the -rotation is constant, a musical sound.</p> - -<p>Phonation, or the production of voice, is a result of -actions taking place under two distinct classes of laws, -namely: the ordinary mechanical laws of acoustics, and -the physiological laws of muscular movement. The -adjustment of the vocal mechanism to be brought into -operation by the current of air, is made by actions, under -the latter laws; and phonation is the result of the reaction -of the mechanism on the current of air by mechanical -movements under the former laws. Now the pitch -of the voice essentially depends on the tension of the -vocal ligaments; the loudness on the extent of the -excursion of these ligaments in their vibrations; the -duration on the continuance of the vocalizing causes; -the equality on the organization of the larynx, and also -on the form and size of the vocal tube. The form and -size of this tube can be altered in various ways. For -instance, by dilating or contracting the mouth; by contracting -the communication between the pharynx and -mouth, so as to constitute them distinct chambers, or by -dilating the opening so as to throw them into one, which -is chiefly attained by movements of the soft palate, and -by altering the form of the mouth’s cavity, which is<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -effected by varying the position of the tongue. Each of -these modifications of the vocal tube conveys a peculiarity -of quality to the voice, all, however, being local or -laryngeal sounds. Moreover, sounds can be produced in -the vocal tube, apart from the larynx. These, strictly -speaking, are not vocal sounds, though some of them -may be of a definite and uniform pitch, while others are -mere noises, as rattling, whispering, gurgling, whistling, -snoring, and the like. Now, as everything audible -comes under the classes of noise, sound, or musical -sound, and as each variety originates in the vocal apparatus -of man, it is obvious that <em>an ordinary vocal apparatus -is all that is required</em> for the achievement of the -feats of ventriloquy.</p> - -<p>A person in a house cannot judge by the noise of an -approaching carriage, with any certainty, whether it is -coming from the right or left. Thus it is in many other -sounds. <em>But we judge the direction sound has travelled -from its source on reaching the ear.</em> The ventriloquist -indicates, either directly or indirectly, the direction from -which he wishes his audience to believe the sound is -coming. Thus he directly indicates it by words, such -as, “Are you up there?” “He is up the chimney,” -“He is in the cellar,” “Are you down there?” &c. -He indirectly indicates it by some suggestive circumstance, -as an action or gesture, which is so skilfully -unobtrusive and natural as to effect its object without -being discovered. Thus, when the ventriloquist looks or -listens in any direction, or even simply turns towards any -point, as if he expected sound to come thence, <em>the attention -of an audience is by that means instantly directed</em><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> -<em>to the same place</em>. Thus, before a sound is produced, the -audience expect it to come in the <em>suggested direction</em>, and -the ventriloquist has merely by his <em>adjustment of vocal -loudness</em>, to indicate the necessary distance, when a -<em>misjudgment of the audience will complete the illusion -which he has begun</em>.</p> - -<p>The effect which is produced on sound by its travelling -from a distance, is observed to be,—</p> - -<p>1. That its loudness is reduced in proportion to its -distance.</p> - -<p>2. That its pitch remains unaltered.</p> - -<p>3. That its quality or tone is somewhat altered.</p> - -<p>4. That its duration remains unaltered.</p> - -<p>5. That the human speech is <em>somewhat obscured</em>, chiefly -in the consonant sounds.</p> - -<p>It must be remembered that the ventriloquist makes -the sound, not as it is heard at its source, <em>but as it is -heard after travelling from a distance</em>.</p> - -<p>Too much attention cannot be bestowed on the <em>study -of sound as it falls on the ear</em>, and an endeavor to imitate -it as it is heard, <em>for the secret of the art is, that as perspective -is to the eye, so is ventriloquism to the ear</em>. -When we look at a painting of a landscape, some of the -objects appear at a distance, but we know that it is only -the skill of the artist which has made it appear as the eye -has seen it in reality. In exactly the same manner a -ventriloquist acts upon and deceives the ear, by <em>producing -sounds</em> as they are heard from any known distances.</p> - -<p>We have given the acoustical theory of the effect on -the auric nerve, and the means are the organs of respiration -and sound with the adjoining muscles. The organs<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> -and muscles used are the diaphragm, the lungs, the -trachea, the larynx, the pharynx, and the mouth.</p> - - -<h3>3.—PRACTICAL RULES AND ILLUSTRATIONS.</h3> - -<p><span class="smcap">The</span> first voice a student of ventriloquism will strive -to acquire is what is called “The voice in the closet.” -To acquire this voice, which we so name for distinction’s -sake, speak any word or sentence in your own natural -tones; then open the mouth, and <em>fix the jaws</em> fast, as -though you were trying to hinder any one from opening -them farther, or shutting them; draw the tongue back in -a ball; speak the same words, and the sound, instead of -being formed in the mouth, will be formed in the -pharynx. Great attention must be paid to holding the -jaws rigid. The sound will then be found to imitate a -voice heard from the other side of a door when it is -closed, or under a floor, or through a wall. To ventriloquize -with this voice, let the operator stand with his back -to the audience, against a door. Give a gentle tap at -the door, and call aloud in the natural voice, inquiring, -“Who is there?” This will have the effect of drawing -the attention of the audience to a person supposed to be -outside. Then fix the jaw as described, and utter in the -“closet voice” any words you please, such as, “I want -to come in.” Ask questions in the natural voice, and -answer in the other. When you have done this, open -the door a little, and hold a conversation with the imaginary -person. As the door is now open, it is obvious that<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -the voice must be altered, for a voice will not sound to -the ear when a door is open the same as when closed. -Therefore the voice must be made to <em>appear</em> face to face, -or close to the ventriloquist. To do this, the voice must -not be altered from the <em>original note or pitch</em>, but be made -in another part of the mouth. This is done by closing -the lips tight and drawing one corner of the mouth -downwards, or towards the ear. Then let the lips open -at that corner only, the other part to remain closed. -Next, breathe, as it were, the words out of the orifice -formed.</p> - -<p>Do not speak distinctly, but expel the breath in short -puffs at each word, and as loud as possible. By so doing -you will <em>cause the illusion</em> in the mind of the listeners -that they hear the same voice which they heard when -the door was closed, but which is now heard more distinctly -and nearer on account of the door being open. -This voice must always be used when the ventriloquist -wishes it to appear that the sound comes through an -obstacle, but from some one close at hand.</p> - -<p>The description of voice and dialogue may be varied, -as in the following example:—</p> - -<p>“The Suffocated Victim.” This was a favorite illustration -of Mr. Love, the Polyphonist.</p> - -<p>A large box or closed cupboard is used indiscriminately, -as it may be handy. The student will rap or -kick the box, apparently by accident.</p> - -<p>The voice will then utter a hoarse and subdued groan, -apparently from the box or closet.</p> - -<div class="blockquot"> -<p><i>Student.</i> (Pointing to the box with an air of astonishment.) -What was that?</p> - -<p><span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span></p> - -<p><i>Voice.</i> O, let me out!</p> - -<p><i>Student.</i> Why! there is some one in here, I declare -(to box). Who is it?</p> - -<p><i>Voice.</i> I won’t do so any more. I am nearly dead.</p> - -<p><i>Student.</i> Who are you? How came you there?</p> - -<p><i>Voice.</i> You know very well who I am. Let me out! -Let me out!</p> - -<p><i>Student.</i> I tell you I don’t know you.</p> - -<p><i>Voice.</i> O, yes, you do.</p> - -<p><i>Student.</i> Tell me quick. Who are you?</p> - -<p><i>Voice.</i> Your old school-fellow, Tom ——; you know -me.</p> - -<p><i>Student.</i> Why, he’s in Canada.</p> - -<p><i>Voice.</i> (Sharply.) You know better; he’s here; but -be quick.</p> - -<p><i>Student.</i> (Opening the lid.) Perhaps he’s come by -the underground railroad. Hallo!</p> - -<p><i>Voice.</i> (Not so muffled as described in direction.) -Now, then, give us a hand.</p> - -<p><i>Student.</i> (Closing the lid or door sharply.) No, I -won’t.</p> - -<p><i>Voice.</i> (As before.) Have pity (Dick, or Mr. ——, -as the case may be), or I shall be choked.</p> - -<p><i>Student.</i> I believe you are a humbug.</p> - -<p><i>Voice.</i> Why don’t you let me out and see, before I -am dead?</p> - -<p><i>Student.</i> (Opening and shutting the lid or door, and -saying, the voice accordingly.) Dead! not you. When -did you leave Canada?</p> - -<p><i>Voice.</i> Last week. O, I am choking!</p> - -<p><i>Student.</i> Shall I let him out? (Opening the door.) -There is no one here.</p> -</div> - -<p><span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span></p> - -<p>Conversations can be held with pedlers at the door, or -with some one in the cellar or basement; and as a rule -the lower notes of the voice will be best for voices in the -basement, and formed as low in the chest as possible.</p> - -<p>The second kind of voice, or voice No. 2, we will call -it, is more easy to be acquired. It is the voice by which -all ventriloquists make a supposed person speak from a -long distance, or from or through the ceiling. In the -first place, with your back to the audience, <em>direct their attention</em> -to the ceiling, <em>by pointing to it</em>, or by looking intently -at it. Call loudly, and ask some questions, as -though believed a person to be concealed there. Make -your own voice very distinct, and as near the lips as possible, -as that will help the illusion. Then, in <em>exactly the -same tone and pitch</em>, answer; <em>but, in order that the voice -may seem to proceed from the point indicated, the words -must be formed at the back part of the roof of the mouth</em>. -To do this, the lower jaw must be drawn back and held -there, the mouth open, <em>which will cause the palate to be elevated -and drawn nearer to the pharynx</em>, and the sound -will be reflected in that cavity, and appear to come from -the roof. Too much attention cannot be paid to the -manner in which the breath is used in this voice. When -speaking to the supposed person, expel the words with a -deep, quick breath.</p> - -<p>When answering in the imitative voice, the breath -must be <em>held back, and expelled very slowly, and the voice -will come in a subdued and muffled manner</em>, little above -a whisper, but so as to be well distinguished. To cause -the supposed voice to come nearer by degrees, call loudly, -and say, “I want you down here!” or words to that<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> -effect; <em>at the same time make a motion downwards with -your hands</em>. Hold some conversation with the voice, -and cause it to say, “I am coming,” or “Here I am,” -each time indicating the descent with the hand.</p> - -<p>Let the voice, at every supposed step, roll, as it were, -by degrees, <em>from the pharynx more into the cavity of the -mouth</em>, and at each supposed step <em>contracting the opening -of the mouth</em>, until the lips are drawn up as if you were -whistling. By so doing, the cavity of the mouth will be -very much enlarged. This will cause the voice <em>to be obscured, -and so to appear</em> to come nearer by degrees. At -the same time care must be taken not to articulate the -consonant sounds plainly, as that would cause the disarrangement -of the lips and cavity of the mouth; and in -all <em>imitation voices</em> the consonants must scarcely be articulated -at all, <em>especially if the ventriloquist faces the audience</em>. -For example, suppose the imitative voice is -made to say, “Mind what you are doing, you bad boy,” -it must be spoken as if it were written, “ind ot you’re -doing, you ’ad whoy.” (It is rarely a ventriloquist -shows a full face to his audience, unless at a great distance -from them. It would help to destroy the illusion -if the jaws were seen to move.) This kind of articulation -is made by forming the words in the pharynx, and -then sending them out of the mouth by sudden expulsions -of the breath clean from the lungs at every word. This -is often illustrated by a ventriloquist pretending to talk -to a man on the roof.</p> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p> - - -<h3>4.—POLYPHONIC IMITATIONS.</h3> - -<p><span class="smcap">Mr. Love</span>, the great polyphonist, delighted in his youth -to imitate the buzzing of insects and the cries of animals. -Such accomplishments are easily acquired, and we think -if our young boy friends will follow our directions, they -will acquire at least polyphonic powers to amuse their -friends at home and abroad.</p> - -<p>To imitate a “tormenting bee,” a boy must use considerable -pressure on his chest, as if he was about to -groan suddenly, but instead of which the sound must be -confined and prolonged in the throat; the greater the -pressure, the higher will be the faint note produced, and -which will perfectly resemble the buzzing of the bee or -wasp. In all imitations of insect noises, the bee should -be heard to hum gently at first, so as in a private party -not to attract attention till the right pitch is obtained. -The sound will penetrate every corner of a large room. -To assist the illusion, the person imitating a bee should -pretend to try to catch the insect. To imitate the buzzing -of a blue-bottle fly, it will be necessary for the sound -to be made with the lips instead of the throat: this is -done by closing the lips very tight, except at one corner, -where a small aperture is left; fill that cheek full of -wind, but not the other, then slowly blow or force the -wind contained in the cheek out of the aperture; if this -is done properly, it will cause a sound exactly like the -buzzing of a blue-bottle fly.</p> - -<p>To make the above perfectly effective, the person imitating -a fly or bee, should turn his face to the wall;<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> -with a handkerchief strike at the pretended bee or fly, at -the same time pretend to follow his victim, first this way -and then that, and finally to “dab” his pocket handkerchief -on the wall, as though he had killed it; the sound -should be at times suddenly louder and then softer, -which will make it appear as it is heard in different -parts of the room.</p> - -<p>“The Spectre Carpenter.” The noise caused by -planing and sawing wood we often hear imitated. Yet -but few boys know how easily it is done. Much amusement -is often caused by this imitation. To imitate planing, -a boy must stand at a table a little distance from the -audience, and appear to take hold of a plane and push it -forward; the sound, as of a plane, is made as though you -were dwelling on the last part of the word <em>hash</em>. Dwell -upon the <em>sh</em> a little, <em>tsh</em>, and then clip it short by causing -the tongue to close with the palate, then over again. Letters -will not carry the peculiar sound of sawing; but -any bright boy, by carefully listening to the sound made -by carpenters, with these suggestions, can, with practice, -imitate the sound perfectly. To make the deception more -perfect, put some shavings in your pocket to sprinkle as -you pretend to saw, also a piece of wood to fall when -the sawing is ended. A friend of ours told us of a -negro, well known as a famous whistler about the streets -of Boston years ago, who would place both hands tightly -over his ears, incline his head downwards, and imitate -with great precision a music-box; but he said it pained -him to do this.</p> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p> - - -<h3>5.—TO IMITATE AN ECHO.</h3> - -<p><span class="smcap">It</span> is impossible for a ventriloquist to produce an echo -in a room of ordinary size, as the walls, being so near, -would cause the sounds to be blended, and would only -produce one impression on the ear; and yet a skilful -ventriloquist can with ease imitate, in a room, a mountain -echo. We will give the instructions, as it is very -amusing.</p> - -<p>Turn your back to the listeners; whistle loud several -short, quick notes, just as if you were whistling to a dog; -then as quick as possible, after the last note, and as softly -and subdued as possible to be heard, whistle about a -third the number of notes, but it must be in the <em>same -note or pitch</em>; this will cause the last whistle to appear -just like an echo at a great distance. This imitation, if -well done, causes much surprise to those listening. The -same thing can be done by shouting any sentence, such -as, “Halloa, you, there!” or, “Ship, ahoy!” Let -your voice be formed close to the lips; then quickly, -and in the <em>same pitch or note</em>, speak the same words very -subdued, and formed at the back of the mouth. This is -very simple, yet effective.</p> - -<h3>6.—CONCLUDING REMARKS.</h3> - -<p>“<span class="smcap">Any</span> person acquainted with the voices before described, -may imitate many others by <em>contraction and -expansion of the glottis, and by modifications of the cavity<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -of the pharynx and mouth</em>. The best way to practise is in -a room alone, to talk aloud, and, while so doing, to make -all sorts of <em>contortions with the muscles of the mouth and -jaws, first fixing the jaws</em> in the manner already described, -<em>then drawing the lips inward, next putting them forward, -at the same time placing the tongue in different shapes -and positions in the mouth</em>; also by speaking in the natural -voice, and answering in the <em>falsetto pitch</em>, which is the -imitating voice for women and children.”</p> - -<p>The ordinary compass of a voice is about twelve notes, -and a very good practice to the attainment of the art is -to call aloud in a certain note, <em>and then in the octave to -that note</em>; do this several times a day, changing the note -or pitch, loud at first, and by degrees decrease the sounds; -this kind of practice will assist any one in learning to -modulate the voice to appear to recede or come near by -degrees.</p> - -<p>We think enough has been said to enable <em>any boy</em>, sufficiently -persevering, to become a good ventriloquist.<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -“Always remember, that to <em>render a voice perspective, -the most essential thing is to attend to the study of sound -as it falls upon an ear; then imitate that sound by the -different contractions and expansions of the muscles of the -throat, mouth, face, and jaws</em>. During these various contractions -and expansions, draw in a long breath, and talk, -first rapidly, then slowly, but always with a <em>slow expiration -of breath</em>. Do this a dozen times consecutively for -several days, at the same time <em>elevate and depress the -roof of the mouth</em>, especially the back part, as this movement -causes the voice to appear near or at a distance.”</p> - -<p>We have now given our young friends the best practical -directions we could obtain from the rules given by a -skilful ventriloquist. All boys who have faithfully followed -our directions, should try their powers before some -friend. We think they will be astonished at their success, -and will be pleased to become a source of great -amusement to their friends as well as themselves. But -beware, boys, of <em>misusing</em> your power; always remember -the “golden rule,” and never frighten any person -seriously.</p> - -<p>Ventriloquism was well known, even before Christ; -but it was used only as a means to foster superstition, -and often took the form of divination. The statue of -Memnon will instantly suggest itself as a familiar example. -The gigantic head was heard to speak the moment -the sun’s rays glanced on its features. Undoubtedly -the magic words were pronounced by the attendant -priest, who must have been a ventriloquist. We could -give innumerable instances of its use among the ancients; -but we will close with an amusing anecdote we once -heard of a famous ventriloquist. He was passing through -a street with a friend, at the same time a load of hay was -passing along. The ventriloquist called the attention -of his friend and others passing along to the suffocating -cries of a man in the centre of the hay. A crowd -gathered round and stopped the astonished carter, and -demanded why he was carrying a fellow-creature in his -hay. The complaints and cries of the suffocated man -now became fainter, and he appeared to be dying. The -crowd, instantly proceeded to unload the hay into the<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -street, the smothered voice urging them to make haste. -The feelings of the people may be imagined, when the -cart was found empty. The ventriloquist and his friend -walked off, laughing at the unexpected result of their -trick.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Natural_Magic" id="Natural_Magic"></a>Natural Magic.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">The Æolian Harp</span> consists of an oblong box of thin -deal board, about five or six inches deep, with a circle -drawn in the middle of the upper side, an inch and a -half in diameter, around which are to be drilled small -holes. Along the upper side of the box seven, ten, or -more small strings, of very fine gut, are stretched over -bridges near each end, like the bridges of a violin, -and tightened or relaxed with screw pins. The strings -must be tuned to one and the same note, and the -instrument placed in some current of air where the -wind can pass over its strings with freedom. A window, -the width of which is exactly equal to the length -of the harp, with the sash just raised to give the air admission, -is a good situation. When the wind blows upon -the strings, with various degrees of force, different musical -tones will be sounded; sometimes the blast brings -out all the tones in full concert, and sometimes it sinks -them to the softest murmur. In many old castles these -harps were fastened in the windows, and their wild music -caused the ignorant to think they were haunted.</p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> - -<p>A colossal imitation of the instrument just described -was invented at Milan, in 1786, by Abbate Gattoni. He -stretched seven strong iron wires, tuned to the notes of -the gamut, from the top of a tower sixty feet high, to the -house of a Signor Muscate, who was interested in the -success of the experiment and this apparatus, called the -giant’s harp, in blowing weather, yielded lengthened peals -of harmonious music. In a storm this music was sometimes -heard at the distance of several miles.</p> - -<p>Simply tying waxed saddler’s silk to little sticks, and -pushing them into the crevices of windows, so as to receive -a draught of wind (the silk being strained tight), -will produce very sweet sounds.</p> - - -<h3>1.—THE MAGIC OF ACOUSTICS.</h3> - -<p><span class="smcap">The</span> science of acoustics furnished the ancient sorcerers -with some of their most complete deceptions. The -imitation of thunder in their subterranean temples did -not fail to indicate the presence of a supernatural agent. -The golden virgins, whose ravishing voices resounded -through the temple of Delphos; the stone from the river -Pactolus, where trumpet notes scared the robber from the -treasure which it guarded; the speaking head, which -uttered its oracular responses at Lesbos; and the vocal -statue of Memnon, which began at the break of day to -accost the rising sun, were all deceptions derived from -science, and from a diligent observation of the phenomena -of nature.</p> - -<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> - - -<h3>2.—TO SHOW HOW SOUND TRAVELS -THROUGH A SOLID.</h3> - -<p><span class="smcap">Take</span> a long piece of wood, such as the handle of a -broom, place a watch at one end, apply your ear to the -other, and the ticking will be distinctly heard.</p> - - -<h3>3.—THEORY OF THE VOICE.</h3> - -<p><span class="smcap">Provide</span> a species of whistle common as a child’s toy, -or a sportsman’s call, in the form of a hollow cylinder, -about three fourths of an inch in diameter, closed at both -ends by flat circular plates with holes in their centres. -Hold this toy between the teeth and the lips; blow through -it, and you can produce sounds, varying in pitch with the -force with which you blow. If the air be cautiously -graduated, all the sounds within the compass of a double -octave may be produced from it, and if great precaution -be taken in the management of the breath even deeper -tones may be brought out. This simple instrument or -toy, has indeed the greatest resemblance to the larynx, -which is the organ of the voice.</p> - - -<h3>4.—A SINGULAR EXAMPLE OF SUPERSTITION.</h3> - -<p><span class="smcap">The</span> following <em>true story</em> was related to me by one who -was personally acquainted with the facts. There was a -certain bend in one of our western rivers which was<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -avoided by every one, as it was supposed to be haunted -by the devil. At a certain hour in the evening, for many -years, terrible curses were distinctly heard. Suddenly -they ceased. A gentleman skilled in the science of acoustics, -hearing an account of the strange phenomena, determined -to ascertain the cause, and carefully examined -the river on each side for about a mile above and below -the bend. He ascertained that at about the time the -sounds ceased, an old fisherman, who had lived on the -opposite side of the river, full a mile from the spot where -the curses were heard, had died. He was told that the -fisherman was in the habit of crossing the river to a village, -where he found a market for his fish, and where -he spent his money for liquor; and that after drinking -freely on his way home, while rowing across the river at -night, he would swear terribly. This gentleman then -persuaded a friend to go down the river to the place -where the curses were formerly heard, while he remained -in a boat on the river at the point at which the old man -usually crossed. He then played on a bugle and sang -several songs. His friend soon returned, and with eager -delight exclaimed, “O, ——, such glorious music fills -the air, just where the curses used to be heard!” The -neighbors came rushing down to hear it, and some fell -on their knees, praying. They said, “the angels have -driven the devil away.” Mr. —— then asked what were -the songs they heard. His friend described them correctly, -and said he understood even the words, one of -them being the famous Marseillaise, another a German -song; the foreign words made the ignorant more sure -that the sounds were supernatural. Mr. —— then played<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -on the bugle, and sang again the same songs, while his -friend stood by; but his friend said the music was not -equal to that he had heard below, where the sounds had -really seemed heavenly.</p> - -<p>The peculiar configuration of the river banks had concentrated -the sounds, and the distance and the water had -softened them.</p> - -<p>The person who related this anecdote to me said that -he and his friend had often tried the experiment. Nothing -would convince the more ignorant neighbors that the -sounds were occasioned by merely natural causes. A -love of the supernatural is strong within us, and sometimes -leads us into grave mistakes.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Gardening_Flowers" id="Gardening_Flowers"></a>Gardening, Flowers.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">We</span>, as a nation, are not a happy, home-loving people. -The “spirit of unrest” pervades all classes.</p> - -<p>This enterprising, uneasy spirit, has been, and is of -benefit to us, as a comparatively new country, in settling -and breaking our wild western lands.</p> - -<p>But the time has come when it is well to curb that -spirit, and cultivate all quiet, home-loving influences.</p> - -<p>Therefore we beseech you, parents, to begin in earliest -infancy to cultivate a love of the beautiful in nature; -give your little ones flowers; and as soon as they are -able to play in the garden, give them a little spot of their -own to dig in; and when they can understand the process, -give them seeds to plant, and some few flowers to cultivate. -We can tell you of a happy cottage home, where -the children, from earliest infancy, have lived among -flowers. Each had their tiny garden, with spade, -hoe, trowel, and watering-pot. The father and mother -would also assist with their own hands in training vines, -roses, and shrubs, in artistic beauty. The good father -never went to his counting-room without some flowers in<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -his hand, or in the button-hole of his coat, the valued -gift from the tiny garden of one of his darlings. Years -passed and fortune favored them, but they never would -exchange their cottage home, with its vines, trees, and -shrubs, for all the stately mansions in the town. And as -the daughters married, and the sons left to seek their -fortunes, they would look back with intense longing to -their loved home; and joyous were their meetings around -the home Christmas tree.</p> - -<p>On Sundays they always, even in midwinter, ornamented -their social table with flowers, for they are God’s -smiles. Therefore, my friends, we speak from observation, -and from seeing the effect of an opposite course. -If you wish to lessen your doctor’s bill, and give the -beauty of robust health and happiness to your children, -girls or boys, give them a garden, and let them plant, -weed, and water it. If your children bring you even a -simple field daisy, express your pleasure to them, and let -them not see you cast it aside.</p> - -<p>A well cared for garden displays—and displays to -good advantage too—the love of home, domestic taste, -a wish to please, industry, neatness, taste, and all the -sweet household virtues that create a <em>happy</em> home.</p> - -<p>Horticulture confines itself to no rank, and it may form -the amusement or the pursuit alike of great and -small, rich and poor; only the kind of garden we -choose, and what we do with it, must depend on our -circumstances.</p> - -<p>Teach your boys the use of a pruning-knife, and how -to graft; then give them some trees to experiment upon. -You may save them from dissipation, by giving them a<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> -taste for horticulture. It is a happy, health-giving -employment.</p> - -<p>Decorate even your barn with graceful vines. The -poorest house can be made an agreeable place by transplanting -a few of the many simple wild vines. It is not -natural to love intensely a stiff, ungainly object.</p> - -<p>We have often thought, as we have roamed about the -farming districts of New England, and have seen the -many great, stiff, square houses, with not a graceful tree -or flower to relieve their nakedness (though now and then -a syringa, or lilac bush, or cinnamon rose, and perhaps a -stately old butternut, may be seen), the sons and daughters -of those households will surely emigrate. Utility is -our hobby. Some farmers think it waste time to plant a -flower, as it yields no fruit.</p> - -<p>Remember the old saying, “All work and no play -makes Jack a dull boy.” You that dwell in a city, strive -to have a small spot in the country to which you may -send your children in summer, to roam at will. We -heard a little child, in urging her mother to go into the -country in vain, cry out, “It is too, <em>too bad</em>, mamma. -We know God did not make the city for little children, -because he loves us.”</p> - -<p>Do not waste your money at fashionable watering-places. -Even in early years, take your children to the -woods and let them see nature in its wild state. There -is nothing like a day in the woods for refreshing us all, -in body and mind. The wild music of running brooks -is so lulling, the birds carol their “native wood-notes -wild” so sweetly, the strange blended odor of the damp -mould, the leaves, the wild flowers, and the prospect of<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -the distant meadow, are so delightful; the play of the -sunlight through the dense foliage, and on the sylvan -walks, is so beautiful, and the quiet is so marked, after -the hum and roar of a city, that the mind is tranquillized, -and both you and your children will be nearer to God, -and nearer to one another, for every hour thus spent. -Our whole country is full of wild beauty. Spend your -spare money in decorating your homes with trees, flowers, -and shrubs. The influence upon your children will be -far more beneficial.</p> - -<p>If your children wish for money to purchase seeds and -flowers for their gardens, if possible, give it cheerfully. -It is far better so spent, than in dress and toys. Let -them plan their own gardens, and experiment as much as -they please. A very pretty fence can be made round such -gardens by a number of stakes of equal lengths, pointed -at one end to drive into the ground, square at the top, -and painted green. Then place them at equal distances -around your garden, and bore holes about six or seven -inches apart for the twine, which should be brown linen. -Pass the twine through the holes, in lines all around the -garden. Plant vines which run rapidly, such as Cypress -Vine, Madeira Vine, Nasturtium, Maurandya, Barclayanna, -Dwarf Convolvulus, Mountain Fringe, &c. By -midsummer your simple fence will be very beautiful.</p> - -<p>Having spent many years in cultivating flowers, perhaps -a few practical directions from our own experience -may be of service to our readers. And we will give -some excellent suggestions taken from a famous florist.</p> - -<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p> - - -<h3>1.—HOW TO PLANT SEEDS.</h3> - -<p><span class="smcap">We</span> often think, because the seed we plant does not -germinate, that we have purchased poor seed, when the -fault is in the manner of planting.</p> - -<p>Nearly all kinds of flower seeds require transplanting, -therefore it is best to plant in boxes, pots, or hot-beds. -Old cigar boxes are convenient, and are easily handled, -but first bore holes in the bottom of the boxes, and in -your pots or boxes place either broken clam or oyster -shells, or pieces of old flower pots, as a drainage; then -take light, rich earth and sift it or rub it carefully in -your hands, to be sure there are no lumps; some bake -the earth to destroy any insects which may be in it, but -it answers the same purpose to pour boiling water upon -it. After you have filled your boxes or pots with this -prepared earth, sprinkle your seed carefully over it, and -sift over them light soil sufficient to cover them, moisten -them with warm water, and place the box where there is -but little light, and throw a piece of paper over the top. -Some use a piece of thick flannel; if you use flannel, -water your seeds without removing it, until your seeds -have sprouted. A warm place will start them best. -Let them remain thus several days, till the seeds have a -chance to swell, before you give them much light, and -keep the earth moist (a sponge is excellent to water them, -as it does not disturb the position of the seeds; also use -warm water); as soon as you see they are sprouting, -give them light, and air, if not too cold, or else the plant -will not have strength to grow well. Hot-beds are the<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -best, and can be made with but little expense, by taking -some old box; and if you do not possess an old window-sash, -you can purchase one of some builder for a trifling -sum of money, and fit it to your box by nailing strips at -the sides; dig a place the size of the box, and two or -three feet deep; fill it with horse manure, mixed with -straw, which is the most heating; then sprinkle soil over -the top about six inches deep; place your box on the top, -carefully heaping the earth around the outside, and your -hot-bed is made, in which you can start your seeds and -slips by either placing your boxes or pots in the earth -on top of the manure, and plant your seeds and slips -in them, or as many prefer, planting in the soil of your -hot-bed. After your seedling plants are of sufficient -size to transplant, if you first transplant them into small -pots, you can easily plant them in your flower beds without -disturbing the roots, and the plants will not require -covering; you must first dig a hole and pour water into -it, then carefully slip the plant, dirt and all, from the pots, -and place into the hole made for it, and press the earth -tight around it. Of course they must remain in the pot -till they are well rooted. In raising slips, you need to -mix in full half common scouring sand with the soil, and -they must be shaded from the light several days.</p> - -<p>All who care for flowers will desire to raise verbenas, -as they blossom all summer. If you wish to raise them -from seed, they should be sown in February or first of -March. One secret in raising fine verbenas is change of -soil. It would be better to plant them every year in a -different location, but if you renew the soil it will do to -plant them twice in the same bed, but never three years<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -in succession. Indeed, flowers as well as vegetables need -constant change of soil; they soon exhaust the earth. -Seeds are better that are raised in locations distant from -the place where they are to be sown. Flowers soon deteriorate -if you continue to plant over and over from seed -raised in the same spot; that is one of the reasons why -seeds from Europe are generally preferred by florists. -Japan Pink seed should be planted in March, in order to -have them flower the first year; they are hardy and -blossom also the second year. Pansy seed should be -planted as early as Verbenas. Ten Weeks’ Stock, Phlox -Drummondi, Double Zinnias, Lobelia, Petunias, Portulaca, -Salpiglossis, Candytuft, Larkspur, &c., should be -planted in April. If you desire to raise Picotee or Carnation -Pinks for the next year, and Canterbury Bells and -Fox Gloves, sow in April. Sow Asters of all kinds the -last of April or first of May. Some of the climbers, -such as Maurandya Barclayanna, Tropæolum, commonly -called Nasturtium, Cypress Vine, Thunbergia, &c., need -transplanting, and better be sown early. Sweet Peas -should be sown in the open soil about three inches deep, -early in April. It is better to soak the seed in warm -water before sowing. When they have germinated, and -as they begin to climb, fill in earth around them, and -water now and then thoroughly with soap suds. Mignonnette -should not be transplanted; sow the seed in the -open soil the first of May. Candytuft and Sweet Alyssum -are hardy, and the seed can be sown out of doors; -but if you have once had them, they will come up self-sown. -Look over your beds in spring, and take up such -plants, when you have the soil prepared and beds made,<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -then you can plant them back again where you desire. -Joseph’s Coat is a very brilliant plant; its leaves are all -shades of green, red, and yellow; the seed can be sown -either in or out of doors by the first of May, also Golden -Calliopsis. Balsams will grow better if the seeds are not -planted till the second week in May, out of doors.</p> - -<p>All the flowers we have mentioned are desirable, even -in a small garden; of course there are hundreds of varieties -of even annuals, but unless you have a gardener it -is impossible to raise them all, for it is desirable, even in -a small garden, to have some flowers raised by slips, or -bought from some green-house, such as Fuchsias, Double -Feverfews, Scarlet Geraniums, Bouvardias, Heliotropes, -Rose Geraniums, Lemon Verbenas, Monthly Roses, Hardy -Perpetuals, &c. Hardy Perpetual Roses are desirable in -every garden, they grow so thrifty and blossom all summer, -and with a little covering will live out all winter, -and if they are showered often, early in the spring, while -the dew is on the roses, with whale-oil soap suds, using -a syringe to shower them, it will prevent the usual damage -done by the slug. If you have a shady, moist place -in your garden, there you can plant your Lily of the -Valley, Double Blue English Violet, Forget-me-not, and -Pansy.</p> - -<p>Fuchsias also require some shade. Heliotropes and -Geraniums will bear enriching more than most plants; -frequent waterings with guano water are excellent. A -table-spoonful of guano to a gallon of water is sufficiently -strong. It also improves Pansies, Fuchsias, and -nearly all plants except Roses. Soap suds is better -for Roses and Verbenas, at least according to our experience.<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -Nearly all plants make a finer show in a garden -arranged either in beds, each variety by itself, or in -clusters. Before planting your garden in spring, it is -well to carefully consider the nature of each flower, and -arrange your garden so that each flower can be displayed -to advantage; never plant promiscuously; it is astonishing -what a difference landscape gardening will make in -the general aspect of even a small place. It is quite as -desirable as to arrange the colors in a picture to harmonize. -Even an old stump of a tree can be made -beautiful by planting vines around it, or by scooping out -the top and filling in soil, and planting Nierembergia, -Lobelia, Double Nasturtium, Variegated Myrtle, &c., in -it. Those we have mentioned blossom all summer, except -the Myrtle, the leaves of which are as beautiful as -many flowers.</p> - -<p>If we ladies would spend less time on our dress and in -arrangements for the table, and take that time for working -in our gardens with our children, we should not only -make our homes more attractive, but we should gain in -health and strength. Early every spring call a family -council to decide the arrangement of your flower -garden. Let your boys have a place to raise vegetables -as a pastime. Encourage them to diligence by promising -to purchase all they will raise; in that way they can earn -money to give to the poor, or for their Christmas presents; -even children will take far more pleasure in giving -what they have really earned with their own hands.</p> - -<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p> - - -<h3>2.—THE QUEEN OF FLOWERS, THE ROSE.</h3> - -<p><span class="smcap">This</span> beautiful flower deserves especial attention, and -is truly called the Poet’s flower. A rose is the type of -beauty in women. A lovely maiden is called a rose-bud. -A beautiful matron compared to a rose in full bloom. -Its delicate and refreshing perfume is always welcome to -an invalid. It adorns a bride, and is a tribute of love in -decorating the lifeless remains of our loved ones.</p> - -<p>Volumes could be written upon the beauties of the -rose. A child can cultivate this beautiful flower. If -you do not possess any ground, there always will be room -for at least one pot with a rose in your own room.</p> - -<p>Roses can be classified under three general heads.</p> - -<h4>No. 1.</h4> - -<p>Those that bloom only once in a season, such as Hybrid -China, Provence, Sweet and Austrian Briars, most -of the mosses, and all climbing varieties that are hardy -in New England and the Middle States. We do not -advise our young friends to cultivate this class, unless -they have large gardens. Madame Plantier is the only -variety which we retain in our garden. This rose is -a profuse bloomer, and one of the most perfect white -roses grown. We will mention some of the desirable -climbing varieties which can be used for “Pillar Roses.”</p> - -<ul><li>Queen of the Prairies, deep rose color.</li> -<li>Baltimore Belle, blush white, blooming in large</li> -<li><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>clusters.</li> -<li>Russeliana, crimson shaded to pink.</li> -<li>Madame d’Arblay, creamy white.</li> -<li>Gem of the Prairies, carmine, blotched white, very</li> -<li>full.</li> -<li>Superba, flesh color, clusters immense.</li></ul> - -<h4>No. 2.<br /> -THE HYBRID PERPETUALS, OR REMONTANTS.</h4> - -<p>This desirable class is of comparatively recent origin, -and obtained by hybridizing the Provence and Damask -varieties with the Ever-blooming, or China. They in a -measure combine the qualities of the two classes, but -less of the China, as the name Perpetual is a misnomer, -for the chief blooming ones in regular season of rose -flowering, unless especial care is taken to cut off every -flower as soon as they begin to wither, and keep the plant -growing freely, then these plants will blossom twice or -thrice in a season. Most of these Remontants are full -bloomers, and the flowers very perfect. We will give a -list of a few varieties we can recommend.</p> - -<ul> -<li>Auguste Mie, pale shade of rose, very full.</li> -<li>Baronne Provost, bright rose, very double.</li> -<li>Blanche Vibert, pure white, delicate grower.</li> -<li>Caroline de Sensal, blush, pink centre, free bloomer.</li> -<li>Géant des Batailles, reddish crimson, superb.</li> -<li>General Jacqueminot, bright crimson, very brilliant.</li> -<li>Jules Margottin, bright scarlet crimson.</li> -<li>Le Lion des Combats, <em>very dark</em> crimson purple.</li> -</ul> - - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<h4>No. 3.</h4> - -<p>The monthly, or ever-blooming class, are distinguished -by their delicate shining leaves and stems. This class -comprises four sub-classes, namely, the Noisette, Tea, -Bengal, and Bourbon.</p> - -<p>The Noisette are of rampant growth, usually flowering -in clusters. In the Southern States they need no covering -during the winter months, but in the North, East, -and West, if buried in winter, and properly trained, -they are often used as Pillar Roses, particularly the -beautiful La Marque, whose pure white buds are so valuable -to all florists. If planted in the ground in a green-house, -it will climb all over the walls. We will name -some varieties which we have cultivated, and know can -be successfully raised, even in New England.</p> - -<dl> -<dt>NOISETTE.</dt> -<dd>Aime Vibert, pure white, very full bloomer.</dd> -<dd>America, straw color.</dd> -<dd>Gloire de Dijon, blush white, buff centre.</dd> -<dd>Lamarque, large, white, shading to yellowish centre.</dd> -<dd>Minette, light crimson, very double.</dd> -<dd>Marshal Niel, very beautiful deep yellow.</dd> -<dd>Souvenir d’Anseleme, deep carmine.</dd> -<dd>Solfaterre, deep straw color.</dd></dl> - -<dl> -<dt>TEA.</dt> -<dd>Adam, rich rose, salmon shaded.</dd> -<dd>White Tea, the freest bloomer of all roses.</dd> -<dd>Camellia Blanche, pure white.</dd> -<dd><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>Devoniensis, blush, Magnolia fragrance.</dd> -<dd>Isabella Sprunt, clear canary yellow.</dd> -<dd>La Pactole, canary color, free bloomer.</dd> -<dd>Safrona, orange yellow.</dd></dl> - -<dl> -<dt>BENGAL.</dt> -<dd>Agrippina, bright crimson.</dd> -<dd>Bousanquet, blush white.</dd> -<dd>Louis Philippe, light crimson.</dd> -<dd>Madame Rohan, pure white.</dd> -<dd>Napoleon, blush, extra large.</dd> -</dl> - -<dl> -<dt>BOURBON.</dt> -<dd>Marshal Niel, a deep buff; the <em>king</em> of roses.</dd> -<dd>Bousanquet, rich blush, free bloomer.</dd> -<dd>Duc de Chartres, large, very double, crimson.</dd> -<dd>Hermosa, deep pink, <em>most desirable</em>.</dd> -<dd>Psyche, light rose, very double.</dd> -<dd>Souvenir de Malmaison, flesh color, very double, superb.</dd> -<dd>Sombriel, blush white, one of the best.</dd> -</dl> - -<p>There are comparatively but few varieties of roses -suitable for producing an abundance of flowers in winter, -and these would not be called the finest varieties for -summer culture. They are selected for their buds. -The Safrona for instance, is selected for its deep, saffron -colored buds; the full flower is but semi-double. We -will give the names of a few of the roses best adapted -for winter culture.</p> - -<dl> -<dd>Lamarque, white, tinged with straw color.</dd> -<dd><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>Safrona, saffron yellow, free bloomer.</dd> -<dd>Agrippina, rich deep crimson, free bloomer.</dd> -<dd>La Pactole, light canary-color, abundant bloomer.</dd> -<dd>Hermosa, rosy pink, most prolific variety.</dd> -<dd>Gloire de Dijon, large, full, buff, shaded to salmon.</dd> -</dl> - -<h4>CULTIVATION.</h4> - -<p>The best soil for the rose is a rather stiff loam, although -it is not particular about soil, but grows luxuriantly, -flourishes well in a fresh loam with a plenty of -pure air and sunlight. A stiff, clay loam will produce -better flowers, and of a deeper color, than a soil of a -light muddy character. If you desire many blossoms, be -careful to cut off every rose when it fades away. We -gather our roses so freely, we leave but few to wither. -In the spring roses should be pruned thoroughly.</p> - -<p>Many people have been discouraged in raising roses, -on account of the slug and other insects; but nothing -can flourish in this world, that is desirable, without care. -So with the rose. Early in spring, just as the buds are -starting, wash your roses in a solution of tobacco or -whale-oil soap. If the insects appear on the leaf, syringe -the bush freely, early in the morning or late at night, with -a solution of whale-oil soap. Sprinkle wood ashes or -charcoal dust around the roots.</p> - -<p>A gardener invariably recommends monthly roses, -rather than the so-called perpetuals. Those who purchase -perpetuals, without a previous knowledge of their -habits, are always disappointed in the few flowers they -produce after the first blooming. Their great virtue is -the hardy nature of the plant. The monthly roses bloom -at the South nearly the whole year. But what shall we<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -do with these delicate roses at the North during the winter? -The best way is to lay them down, and cover with -sods, or earth and manure. If the subsoil is gravelly or -sandy, they will surely keep, as a good drainage is necessary, -without it they cannot live. The way to lay -down a rose-bush is to dig a trench four or five inches -deep, up to the root of the rose, then bend your rose-bush -carefully into the trench, and peg it down. Cover -entirely root and branches by sods, placed grassy side -upwards, forming a hillock. Or cover it with earth or -sand, and straw or manure.</p> - -<p>The next important consideration is <em>the time at which -it is done</em>. Few amateurs have any idea of the amount -of freezing which even the tender tea roses will sustain -without injury. It often proves fatal to roses to be covered -too soon. It is well to cover the ground around the -roots of the roses with leaves or straw to prevent the -earth from freezing. In New England, the early or middle -part of November is generally the time to cover roses -for the winter; in the Middle States, in December. The -best rule is to let your roses remain uncovered, until the -ground can no longer be ploughed, or dug with a spade. -This covering can be removed as soon as vegetation -fairly starts in spring. Every plant thus saved possesses -a four-fold value over those planted out in the spring, as -the roots have been so little disturbed. Another way is -to dig a trench, line it with straw, and lay in your delicate -roses, then cover entirely with earth until spring. -Roses that have bloomed all summer should not be potted -for winter use. They need rest, and will not flourish in -warm rooms.</p> - -<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p> - -<h4>ROSES FOR WINTER BLOOMING.</h4> - -<p>Roses for winter blooming require a different treatment, -as one essential condition of free winter flowering -is, that the plant has abundance of active, or, as gardeners -term them, “working roots.” Plants are started for this -purpose either by cuttings struck in March, or else one -year old plants are used. These plants should be re-potted -frequently to prevent their becoming pot-bound. -They must never be allowed to dry or wilt in the heat -of summer, else the white, working roots will perish, -and before the plant can regain its vigor new ones must -be formed. You must not attempt to force your rose at -first; when you take it in for winter, a cool temperature -will be needful. It depends upon when you desire rosebuds -how you treat it. It must be pruned previous to -flowering. If you desire roses the first of January, -prune or shorten the shoots the first of November (earlier -for Christmas). They then can be placed in temperature -ranging fifty degrees to sixty degrees at night, with -only fifteen degrees higher during the day. Two year -old plants are better for new beginners, as they form -working roots sooner, having more fibres.</p> - -<p>In the summer the plants should be exposed to the -sun; but to keep them from drying, place the pots in -beds of sawdust, or refuse hops, tan, bark, or sand, -whichever is most convenient to obtain.</p> - -<h4>PREPARATION.</h4> - -<p>Our young friends may desire to raise their own roses, -so we will give them a few directions. The best time<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> -to take cuttings is from October to January. The wood -must be ripened; cuttings are usually made with three -or four eyes. These cuttings are best put into a cold -frame, or in a box prepared with equal parts of sand, leaf -mould, and loam; all they require is sufficient protection -not to freeze. Cuttings placed in such frames about the -last of October, will be rooted sufficient to pot by March. -Cuttings can be placed in rows quite near together, say -an inch apart, and the rows three inches apart. This -space allows you to press the soil firmly about each stem. -One thorough watering, when put in, to settle the soil -closely around them, will usually be all that is necessary -until they begin to root in the spring. Some varieties -will root much easier than others. As soon as they are -well rooted, they should be potted in two inch pots, -shaded and watered for a few days, and gradually hardened -off by exposing them to the air; in this way they -can be sufficiently rooted to plant in the open ground in -April or May. Layering is more easily done from about -the middle of June to the middle of September, always -using shoots of the young growth—that is, a growth -of three or four weeks old, or such as are not so much -ripened as to drop the leaves; or in other words, the cut -should always be made at that part of the shoot where -there are as green and healthy leaves below as above the -cut. This condition of the shoot is very important, in -order to produce a well-rooted layer.</p> - -<p>Another mode of layering, not in general use, is, to -place the layer where the incision is made, in a three or -four inch pot, sinking the pot in the ground to the level -of the rim; all the roots being confined in the pot, when<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -the layer is lifted, no check is given to them. Layers so -made may be planted out in the fall, and if a little mulching -is given round the roots, not one plant in a hundred -will fail; while if the layering is done in the usual way, -without pots, a heavy percentage is almost certain to be -lost during the winter. To the florist, without proper -means of propagation, this method of layering roses in -pots will be found very advantageous, as every layer so -made will make an excellent flowering plant by spring, -if kept in a green-house or cold-pit, during the winter, -and will prove nearly as valuable to the purchaser as -large one year old plants.</p> - -<h4>ROSE-BEDS.</h4> - -<p>Before planting a rose, be sure to find out its nature, -or you may have a tall bush where you would desire a -low shrub-growing rose. In arranging rose-beds, plant -the tall standards in the centre. Then a row of high -bush growing roses, then a row of half dwarfs, then a -row of dwarf-growing roses. If this selection of the -roses in such a bed is properly made, it will be pleasant -to the eye from June to October. Of course the roses -should be chiefly monthlies, or free-blowing perpetuals.</p> - - -<h3>3.—FLOWER BEDS.</h3> - -<p><span class="smcap">There</span> are a great variety of opinions as regards the -most effective way of planting flower beds. Some prefer<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> -to mix plants of different colors and varieties; others -prefer the ribbon style of planting, now so generally seen -in Europe.</p> - -<p>If the promiscuous style is adopted, care should be -taken to dispose the plants in the beds, so that the tallest -plants will be at the back of the bed; if the leader is -against a wall or background of shrubbery, the others -graduating to the front, according to the height. In -open beds, on the lawn, the tallest should be in the centre, -the others grading down to the front, on all sides, -interspersing the colors so as to form the most agreeable -contrast in shades. But for grand effect, nothing, in our -estimation, can ever be produced in promiscuous planting -to equal that obtained by planting in masses or in -ribbon lines. In Europe the lawns are cut so as to resemble -rich green velvet; on these the flower beds are -laid out in every style one can conceive; some are planted -in masses of blue, scarlet, yellow, crimson, white, &c., -separate beds of each, harmoniously blended on the carpeting -of green. Then again the ribbon style is used -in the large beds, in forms so various that allusion can -here be made to only a few of the most conspicuous.</p> - -<p>In a circular bed, say of twenty feet in diameter, the -bordering can be of blue. Lobelia, attaining a height -of six inches; next plant Mrs. Pollock Geranium (this -does not grow very thrifty out of doors in New England), -or Bijou Zonale Geranium, growing about nine -inches high. If you plant Mrs. Pollock, on the next -row to it plant Mountain of Snow Geranium; if the -Bijou plant, a circle of the red-leaved Achyranthus; -there are several varieties of this plant. Next the Coleus<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -Verschaffeltii; the centre being a mound of Scarlet Salvia. -Another style is to edge the bed with Alternanthera -Spothalata (leaves pink and crimson), which grows low -and thick for a border. Then the fern-like, white-leaved -Centaurea Gymnocarpa; next row, the Crystal Palace -Scarlet Geranium. Then Phalaris Arundinacea Picta, a -new style of ribbon grass; next Coleus Verschaffeltii; in -the centre a clump of Coma or Pampas Grass.</p> - -<p>There are a great many different ways of arranging -these ribboned beds. It is pleasant to exercise one’s own -taste, therefore we only give examples to teach our readers -how such beds can be prepared.</p> - -<p>Narrow beds along the margins of walks, ribbon lines -can be formed of low-growing plants, such as the White -Lobelia Snow-flake, or Gypsophilia, or Silver Leaved -Alyssum for the front line, followed next by Tom -Thumb Trapæolum; then, as a centre, or third line, -Fuchsia, golden fleeced; as a second marginal line on -the other side, Bijou Zonale Geranium, white-leaved, -with scarlet flowers, followed by a line of Blue Lobelia. -Shaded stars have a fine effect on a lawn; cut a star, and -plant it either with Verbenas, Petunias, Phlox Drummondii, -or Portulaca. The ends of the stars should be -white, and shaded to the centre, which should be dark, -each point having different colors, one shade of purple, -one shade of pink, one shade of red, then shades of -lilac, then shades of scarlet. The centre the darkest -shades. There are many pretty ways of forming the -beds of a small garden. We append one diagram of a -garden, and the flowers to plant it with according to our -taste.</p> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span></p> - -<div class="blockquot"> -<p>DIAGRAM.</p> - -<pre> - - H - - C B - - F A D - - I E - - G - -</pre> -</div> - -<p>A. Plant in the centre Scarlet Salvia, around that the -white Centaurea Gymnocarpa, bordered by Blue Lobelia. -(All these beds should have either a low border of box -or turf.)</p> - -<p>B. Heliotrope, with Sweet-scented Geranium at each -end.</p> - -<p>C. Verbenas, properly shaded.</p> - -<p>D. Dwarf Trapæolum, Sweet Geranium at the points.</p> - -<p>E. Varieties of Phlox Drummondii.</p> - -<p>H. On the point of the shield Lemon Verbena, the -remainder, Monthly Roses, border of Gypsophilia.</p> - -<p>I. On the point, one Lemon Verbena, the rest to be -filled with Monthly Carnations, bordered with Alyssum -Variegatum.</p> - -<p>F. Varieties of Zonale Geraniums.</p> - -<p>G. Varieties of Fuchsias (if there is not too much -sun). If so, plant Japan Lilies; border both F and G -beds with Double Feverfew. Perhaps a bed of roses,<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -arranged with standards in the centre, as we have described, -might be prepared for the centre bed A, and the -Salvia, &c., planted in the bed H, in place of the roses.</p> - - -<h3>4.—CARNATIONS.</h3> - -<p><span class="smcap">The</span> cultivation of the Carnation is very simple. It -is rooted from cuttings at any time from October to April, -and as the plant is almost hardy, it may be planted in -early spring with safety in the open ground. It is safe -to put them out as soon as cabbage plants are set out. -Many from ignorance keep their Carnations in a pot or -green-house until the last of May, thereby losing six -weeks’ growth.</p> - -<p>The Carnation cannot flourish in a wet soil, and care -should be taken to secure good drainage. As the Carnation -grows, if winter flowering is desired, the young -shoots that the plant throws out should be cut off; this -induces a steady growth. There are many fine varieties -for summer growth, and but few suitable for winter flowering.</p> - - -<h3>5.—FUCHSIAS.</h3> - -<p><span class="smcap">These</span> flowers are very easily cultivated from slips; -any amateur florist can make these slips grow, either by -planting in wet sand, or in a bottle of water. Their -lovely and graceful flowers add to every bouquet. They -require rich light soil, such as decayed leaves and peat,<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -moist atmosphere, and shade. Like the Lemon Verbena, -the plants will keep all winter in a cellar. There are -but few varieties that bloom well in winter. Bianca Marginata, -white, with crimson corolla. Speciosa, flesh-colored, -with scarlet corolla (this variety will bloom the -year round, if well cared for). Serratifolia, greenish -sepals, with orange scarlet corolla. These are recommended -for winter flowering by all florists. We will -mention a few varieties for summer culture.</p> - -<p>Elm City, crimson, very double. Venus de Medicis, -white, magenta corolla. Rose of Castille, sepals white, -corolla violet rose. Snowdrop, sepals bright scarlet, -corolla white, semi-double. Striata Perfecta, double -striped blue and crimson. Queen of Whites, double -white corolla. Charming, violet corolla, crimson sepals, -clusters immense. Lady of the Sea, corolla violet purple, -flowers two inches in diameter.</p> - - -<h3>6.—PANSIES.</h3> - -<p><span class="smcap">Who</span> does not love a pansy? They are easily raised -by seed and layers. The seeds should be planted in -March for summer culture, and in October for winter -use. The pansy requires a rich soil.</p> - -<p>The finest bed of English pansies we ever saw were -planted in the fall, in a bed of rich soil. Before the -winter snows the plants were covered lightly with manure -and straw through the winter. In the spring the -manure was carefully raked off, and the plants dug -around with a garden fork. They bloomed early in<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -spring; and, as we looked upon them by the morning -light, their bright faces seemed to say “Good morning!” -These lovely flowers look like happy children.</p> - -<p>Many persons in our country call the pansy, violet; -but the gardener only calls the sweet double blue and -white violet by that name. And this sweet violet hides -its head modestly under its leaves, and is the flower the -poet speaks of,—</p> - -<div class="blockquot"> -<p>“Meek and lowly, hiding ’neath its leaves of green.”</p> -</div> - -<p>The bright-faced pansy does not hide its head; it looks -you in the face as fearless as a sinless child. These violets -are in great demand from their delicious perfume. -These plants require shade and moisture. The best varieties -are the “double blue Neapolitan” Setsenbran, -single blue, very prolific. King of Violets, very large -blue. Double white Neapolitan; this does not bloom -freely. Sweet-scented Geraniums, Heliotrope, Lantanas, -Lemon Verbena, &c., are all easily propagated from slips. -The three first require often watering with guano water, -and with this treatment will fully repay all care.</p> - - -<h3>7.—HOW TO PLANT HARDY BULBS.</h3> - -<p><span class="smcap">October</span>, or the early part of November, is the time to -plant bulbs for next year’s flowering. Bulbs can be -raised in any sunny place, no matter how small the bed -may be; they require less care, for the beauty of the -flower, than any other class of plants. We will give -some plain and simple directions, hoping our young readers -may be induced to plant at least a few bulbs this fall.</p> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p> - -<p>The soil for bulbs should be rich and well drained; it -should also be dug deep. If water should lie on the surface -long the bulbs would rot. If the soil is poor, enrich -it with well-rotted stable manure, or with surface -earth from the woods, or decayed leaves. Cow manure, -of course, is the best. If the ground is stiff, and the -manure fresh, it is well to put a little sand around each -bulb. If the soil has too much clay, mix sand with the -manure.</p> - -<p>It is well to have your beds made so narrow that the -weeds can be destroyed, and the ground kept mellow, -without walking among the plants. Before the heavy -frosts of winter appear your bulb beds should be protected -with leaves. Over these throw a little brush, to -prevent the wind from uncovering your bulbs. If your -bulbs have been planted a year or two, cover them with -manure in the fall; the flowers in the spring will repay -you for all expense and trouble.</p> - -<p>Hyacinths and tulips should be planted about six -inches apart, the hyacinth four inches deep, and the tulip -three inches. The early varieties will often blossom the -latter part of March. Crocuses blossom even earlier. -They should be planted about three inches apart, and -two inches deep. Snowdrops—the first flower of spring—should -be planted in the same way as the crocus, or a -little nearer together. Narcissuses, including the daffodil -and jonquil, should be planted in the same manner as the -hyacinth. All these bulbs can be planted in beds where -you may desire to place either seedlings or any other -annual, which will blossom after these bulbs have done -flowering.</p> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<p>It is best to take up all your bulbs every third year, -when they are done flowering, and separate the newly-formed -bulbs from the old. Keep them in a dry place -till October, then replant as we have directed.</p> - - -<h3>8.—JAPAN LILIES.</h3> - -<p><span class="smcap">Of</span> all the valuable flowers that have been imported -from Japan or China, during the past twenty years, nothing -equals the exquisitely beautiful Japan Lily—<i lang="la" xml:lang="la">Lilium -Lancifolium</i>. No description can do anything like justice -to these flowers, or show the beautiful, frost-like white -of the surface, glistening like dew-drops; or the rubies -that stand out on the surface of one of the varieties, while -the end of the leaf is shaded like the exquisite pink, or -the inside of some sea-shells from India.</p> - -<p>There are nine varieties. The pure white and crimson, -Lancifolium Monstrosum rubrum; the pure white -Lancifolium Monstrosum album, and a delicate rose of -the same variety; then the dark crimson, Lilium Melpomene; -white, spotted with delicate salmon, Lilium Punctatum; -the pure white, with projecting glistening spots, -called Lilium Lancifolium album; Lilium Lancifolium -rubrum, white ground, spotted with crimson; Lilium -Lancifolium roseum, shaded and spotted with rose; and -Lilium auratum. This is sometimes called Golden-banded -Lily, and is truly the king of the lilies. The flower is -ten to twelve inches across, composed of six delicate -white ivory parts, each thickly studded with crimson -spots, with a golden band through its centre. In addition<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -to the beauty of these lilies, they are fragrant, and as -hardy as any of our common varieties.</p> - -<p>Strong bulbs send up flowering stems from three to five -feet in height, and begin to bloom about the middle of -August. Each flowering stem will have from two to a -dozen flowers, according to the strength of the bulb.</p> - -<p>Rich garden soil is all that is needed for these lilies. -Plant them in October or early in November, about a -foot apart, and five inches deep. The bulbs should remain -several years, if possible, without removal. These -must be the lilies that surpassed Solomon in all his glory. -Lilium Longiflorum is called very beautiful. The flowers -are snow-white, trumpet-shaped flowers. Lilium -Brownii, new variety, superb white.</p> - - -<h3>9.—CAPE BULBS.</h3> - -<p><span class="smcap">These</span> are so called from coming from the Cape of -Good Hope. The Gladiolus is the finest variety. These -bulbs are easily cultivated in New England and the Middle -States; they can be planted out as soon as all fear -of frost is passed. They will bloom by the last of July, -and by making successive plantings every two weeks to -the middle of July, they can be had in perfection until -the frost returns. Although they are not particular -about soil, yet if choice can be had, a sandy loam, peat, -or a soil of decomposed leaves, is better than a stiff clay -soil.</p> - -<p>In any soil, if it is well enriched, the flowers will increase -in size and beauty.</p> - -<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p> - -<p>These bulbs should be taken up as soon as the stems -begin to wither in the fall; but should the stalk of the -late plantings be yet green, the bulbs should be left adhering -to the stalk until dried, which will ripen off the -bulbs. They can be kept in winter under the stage of a -green-house, or in a frost-proof cellar or closet, or in -any dry place where potatoes will keep. It is impossible -to mention varieties; all are good, and new varieties -increase yearly.</p> - - -<h3>10.—HOW TO GROW BULBS IN WINTER.</h3> - -<p><span class="smcap">Bulbs</span> can be grown in vases, bowls, dishes, cornucopias, -&c., of whatsoever shape or form, from the small -ornament that will hold a crocus, to the large family -punch-bowl, capable of growing a dozen hyacinths. -Wire or rustic work of any kind, lined or not with zinc, -and filled with moss, will grow bulbs to perfection. A -zinc frame can be made to fill the whole front of any -window; and if filled with moss or sand, and planted -with hyacinths, lily of the valley, crocuses, snow-drops, -tulips, narcissus, and polyanthus, would in itself form a -complete miniature winter flower-garden. These, with -successive plantings, may be made so many connecting -links between our autumn flowers and the early spring -blossoms.</p> - -<p>Take a common soup plate, place in it as many strong -bulbs as it will hold easily, and fill in about half an inch -of water. In a few days the roots begin to spread, and -so clasp each other in the course of a few weeks, that<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -they form a natural support. If the bulbs and plate are -covered with moss, it improves the appearance. For -winter bloom successive plantings can be made every two -weeks, from September till January. After the early -part of December, hyacinths intended for glasses had -better be half grown in pots, then turned out and the -roots carefully freed from the soil in tepid water, then -placed in glasses. In this way they will blossom sooner. -The soil used to cultivate bulbs should be light and rich, -full half sand. Bulbs can be grown in moss by keeping -it damp. They can be raised even in clear sand. Take -any ornamental dish capable of holding moisture, and -fill it with sand in a pyramidal form. In the centre -plant a hyacinth, and at equal distances round it plant -three or more, according to the size of the dish; fill up -the space with crocuses, snow-drops, dwarf tulips, &c. -In planting, the bulbs should be covered with sand, all -but the tops. Then place the dish of bulbs in water five -minutes, in order to fix the bulbs firmly in their position. -Repeat this bath once a week, never allowing the sand -to become dry. Place it in the dark for two weeks, then -keep it in a cool, light, airy room.</p> - -<p>There is no bulb so well adapted to house culture as -the hyacinth. They grow easily in pots or glasses. -They will grow in almost any light, sandy soil; but just -in proportion as this is adapted to the plant, will the perfection -of their culture be attained.</p> - -<p>For pot growing, the hyacinth, to attain its greatest -beauty, should be grown in pots seven inches in diameter, -and the same depth. They will grow and blossom -in pots of four or five inches in diameter. Only one<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -bulb should be planted in a pot. Two or three can be -grown in larger sized pots. Put over the hole in the -bottom a good drainage, half an inch or more in depth, -on this either a handful of leaf mould, very old cow -manure, or the coarse part of the compost; then add the -prepared soil, filling up the pot to within an inch of the -top. On this place the bulb, covering it with soil all but -the top; press the earth gently around it, and shake the -pot slightly, to settle the soil, and finish with a good watering; -then either plunge the pots three or four inches -in some old hot-bed, and cover with leaves, or place -them in the dark, covered carefully, but in a dry place, -for several weeks, to allow the roots to make a vigorous -start. Water them very slightly at first, then gradually -inure them to the sunlight. As the flowers expand, place -a saucer under each pot, which must be kept filled with -water till the flowers begin to decay; then lessen the -water till withheld entirely.</p> - -<p>For planting in glasses, the last of October or early in -November will do. Use only rain or spring water. Fill -the glasses with water, and place the bulb so that the -roots will just come in contact with it; set them in a -dark closet, or on a shelf in a dry cellar, and let them -remain till the roots have started, usually in three or -four weeks; then remove them to any place which is -well lighted and warm, keeping them from the sun till -they look a deep green; turn them around now and then, -and change the water once in three or four weeks. If -you perceive the roots look slimy, and the water fetid, -carefully remove the bulb, and place the roots in clear -water of the same temperature; wash the roots gently; -cleanse the glass before replacing the bulb.</p> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p> - - -<h3>11.—GARDEN INSECTS.</h3> - -<p><span class="smcap">In</span> presenting this subject to our readers, it will be -difficult to decide where to begin, or where to leave off. -With the first warmth, aphides, or plant lice, in shoals -and nations, show their unwelcome presence on our roses, -geraniums, and almost all choice plants. Many of our -choice fruit trees are infested with these pests of the garden. -They are exceedingly prolific. Réaumur has -proved that one of these insects, in five generations, may -become the progenitor of nearly six thousand millions of -descendants. They fasten themselves in crowds on a -plant, and suck the life from it. Some live in the ground -and infest the roots of plants, such as verbenas and China -asters. We have often, on seeing a plant drooping, -saved it by taking up the plant, root and all, and washing -it in strong soap suds; replant it, after carefully -scalding the earth, and digging it in. The plant should -be protected from the sun for a few days, until the roots -start again.</p> - -<p>The best remedy for these plant lice is to syringe them -with a solution of whale-oil soap, or a mixture of soap -suds and tobacco water, used warm. Still another remedy -is a solution of half an ounce of strong carbonate -of ammonia in a quart of water. Where it is possible, -dip the infected branches into either of the above solutions, -holding them carefully in the solution several -minutes.</p> - -<p>A drying east wind makes insects abound, and rain -clears them away.</p> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span></p> - -<p>The rose-chafers, or rose-bugs appear about the second -week in June, and remain thirty or forty days. They -infest rose bushes and grape vines. They must be carefully -picked or brushed off into a basin of hot water, or -burned, as they increase thirty fold, and destroy both -fruit and flower.</p> - -<p>Caterpillars of many butterflies and moths are destructive -in a garden, and, when the perfect insects can be -caught, before they lay their eggs, one death will save -much killing. Whenever one is found resting quietly on -a branch, stem, or leaf, with the wings folded, it is most -likely a female about to lay her eggs, and it had better -be killed. If a butterfly or moth is found so placed, -dead, she will have laid her eggs; be sure to find and -destroy them. As the season advances, destroy every -chrysalis you find.</p> - -<p>Possibly some of our young readers have never seen a -chrysalis, and may not know what it is. We will try -and explain this to you. Every species of the butterfly, -or moth, is first a grub or caterpillar, crawling upon, or -in the earth. These caterpillars, when they have completed -the feeding stage, retire to some place of concealment, -under a leaf, beneath palings, or in interstices of -walls, spin a tuft of silky fibre, and entangle the hooks -of their hindmost feet in it. Then they form a loop, to -sustain the fore part of the body in a horizontal or vertical -position. Then they spin a band over the back; and -most caterpillars form a cocoon, in the shape of the letter -U, around the body. Then they cast off the caterpillar -skin, and become a chrysalis. In summer the -chrysalis state lasts from eleven to fifteen days. Later<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -it lasts all winter (while in this state these insects -remain dormant). At the proper time the chrysalis -bursts open, and a butterfly issues from it. We have -often found these cocoons, or chrysalides, and taken -them to our rooms to watch the coming forth of the -butterfly.</p> - -<p>Rose slug (Lelandin Rosæ), a light green, translucent -little fellow, varying from one sixteenth of an inch to -nearly an inch in length. There are evidently two -species or varieties, one of which confines its ravages to -the lower side of the leaf, the other eats it entire. The -first is by far the most destructive here. In a few days -after the plants are attacked they appear as if they had -been burned.</p> - -<p>The only remedy we have found is a preventive one, -which, in fact, ought to be used against all insect life. -We have spoken of this (and will not repeat) in our -rose chapter. The only remedy, whale-oil soap, is prepared -by florists by dissolving one pound to eight gallons -of water. They apply it <em>ten</em> days in succession, with a -garden engine or syringe. This must be done very early -in the morning, or late at night, as the slug shuns the -light of day, and hides under the leaf. With very young, -delicate roses, the solution is too powerful; hand work -will be necessary to pick them off. English sparrows, a -comparatively late importation, should be kindly treated -by all, as they are the best exterminators of injurious -insects. The ground, or blue aphis, and verbena mite, -are among our most subtle and dangerous of pests. -They work at the root, and often before we can see the -plant fading, they have taken its life. The florist’s remedy<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -is as soon as you see the least sign of drooping in -your Asters or Verbenas, the plants most afflicted by -them, water them copiously and persistently at the -roots, with tobacco water, the color of strong tea, and -apply it daily for one week. We often take up the plants -and wash the roots, but it is a harsh remedy: it will kill -or cure.</p> - - -<h3>12.—SOME USEFUL HINTS.</h3> - -<p><span class="smcap">We</span> have, in studying different books on horticulture, -found many opposing sentiments. Some seemed like -hearsay to all former experience, yet we ought to be -ready to receive all advice based upon positive experience. -We intend acting upon some new theories of -Peter Henderson, a famous gardener near New York. -We have always supposed it very injurious to take water -directly from a cold spring to water plants, and that rain -water or soft water must be used, at the same temperature -as the air in which the plants are growing. He says -it is a foolish dogma, as the water will take the same -temperature before the plant can be injured. Of course -if the plant was to stand in cold water it would injure it. -This will save much extra trouble; we ourselves shall -profit by his advice, as he ought to know, having faithfully -tried the experiment.</p> - -<p>We have always supposed it necessary for the health of -a potted plant to have a sufficient amount of bits of -oyster shell, &c., at the bottom for drainage.</p> - -<p>Mr. Henderson says, for fifteen years he has grown all<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> -his thrifty plants <em>without</em> the use of crock, charcoal, or -any other substitute, and he considers it useless trouble; -he thinks the moisture escapes freely from the sides of -the pot. He says when we wish to resuscitate an unhealthy -plant, we wash the soil from its roots, and put -in a <em>new</em> pot, where the drainage is perfect from the -sides. He has grown <em>millions</em> of healthy plants without -draining. He thinks old pots, whose pores are all filled, -often cause the death of a plant. He approves of frequent -change of pots, as it injures a plant for the roots -to become hard and woody. In most cases the slightest -tap on the edge of the pot is sufficient to turn out the -ball of earth. Be careful and not take too large a pot; -the size must increase gradually.</p> - -<p>Mr. Henderson thinks it is not unhealthy to sleep with -plants in the room, as we have always been taught. He -says it is a common practice for gardeners to sleep in -their green-house, and to be with their plants often at -night, and yet, as a class, they are vigorous men. He -himself, for three winters, slept on the floor of the hot-house, -without any injury, and that was more than a -score of years ago.</p> - -<p>Plants can easily be sent by mail, by first washing the -roots in water, then take them dripping and wrap them -in dry moss, then roll around them several thicknesses -of thick brown paper; the whole must be <em>tightly</em> rolled, -to prevent the dry air penetrating to shrivel the plant. -In this way plants can be sent even two thousand miles -at a cheap rate, as our postal laws only charge two cents -for four ounces, unless the package exceeds four pounds.</p> - -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> - - -<h3>13.—MOSS BASKETS.</h3> - -<p><span class="smcap">Take</span> a piece of the spring used in hoop-skirts, or a -rattan, and make a small hoop about eight inches in -diameter. Collect from the woods a quantity of the -long, feathery moss, and wind a heavy wreath of this -moss on a hoop, then cover a piece of the rattan or hoop-spring, -sufficiently long for the handle, with moss, and -fasten it to the hoop. Then take a solid bunch of this -moss, the size of the centre of the hoop, and push inside -of this moss-covered hoop; this forms a moss basket. -Take a common plate, and place this basket upon it, and -sprinkle it thoroughly with water. This basket can be -filled again and again with bright flowers, casting away -the flowers as they wither. The wet moss will keep -them fresh as long as if placed in a vase filled with -water. Now and then place this basket in a dish of -water, and sprinkle it, or let the rain fall upon it. This -will freshen the green tint of the moss.</p> - -<p>Baskets covered with the knitted moss, which in our -work department we have given the directions how to -prepare, are very pretty. A tin dish should be made to -fit it, and painted green; keep this filled with natural -flowers, or French artificial flowers, which imitate nature -perfectly, can be arranged in them, and if placed on a -bracket, or in some place where they will not be likely to -be examined too closely, they will easily pass for fresh -flowers.</p> - -<p>To form a pyramid of flowers, take three, four, or five -wooden bowls, according to the size you wish for your<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -pyramid; let them be a regular gradation in size; procure -some round pieces of wood, like ribbon blocks, -graded in size, glue the tallest into the centre of the -largest bowl so that it will stand upright, and up on -top of that glue the bowl next in size, and so on to the -smallest bowl. Varnish the inside several coats; paint -the outsides green, and cover with moss; some have a -stand made, and glued to the bottom of the largest bowl. -When filled with flowers it is a lovely sight. Baskets -made of tin and painted green, then covered with moss, -make the prettiest hanging baskets possible. Tin rings, -large enough to surround vases placed inside, and made -to hold water, with little wires across the top and painted -green, when filled with flowers, form the prettiest mats -in the world; the wires keep the flowers in place. I -saw one filled with only rosebuds, blue forget-me-nots, -and geranium leaves. It is an improvement to cover -the outside with moss. Crosses made in the same way -are very beautiful, and are appropriate to place on the -grave of any beloved friend. In that way flowers can be -preserved a long time, if there is a sufficient supply of -water to preserve them.</p> - -<p>There are innumerable ways of arranging flowers. -The poorest person can afford to purchase a tin basin, -and with a little common paste and moss, which can be -found in all country places, a pretty dish for flowers is -soon made. Shells make lovely vases. The large shells -sailors polish so exquisitely to resemble mother of pearl, -make elegant hanging vases; bore holes on each side and -hang them with strong cords.</p> - -<p>The month of September is not too late to make a fine<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -collection of mosses from mountains and valleys. Mosses -will have attained by this time a luxurious growth. -There are but few mosses that look well after being -pressed. The best way to preserve a collection of mosses -is to arrange them in some suitable box, as they grow, -and in the order you desire to keep them, and let them -dry slowly. If you wish to cover any box, basket, or -vase, it is better to paste them on, before they are -entirely dry, with common paste. The dry white and -gray mosses form very beautiful receptacles for flowers, -by covering the outside of any rustic basket with the -moss. Thread wire will fasten it firmly to any basket, -or rustic work. Paste or wire can be used to fasten it -on to boxes or bowls.</p> - -<p>We have seen a lovely rustic stand for flowers, formed -from a common wooden box (a large bowl is the more -desirable). The handle was formed from a barrel hoop. -The legs of the stand were made of gnarled branches of -trees. Then fine annealed wire was wound over the -whole. This served to hold the moss firmly to the box. -The beautiful curled white, gray, and green dry mosses -were then arranged all over the box, legs, and handle, so -as to give grace and beauty to this inexpensive stand. -This box was then filled with rich loam, and planted with -purple, white, and pink Maurandia, and variegated -Myrtle. These vines twined over the handle, and festooned -the sides of the box. Lobelias, Fuchsias, Nierembergias, -white and scarlet monthly Pinks, silver-leaved -Geranium, and King of the Scarlets, also one -white monthly Rose in the centre, filled the box with -bright flowers all summer. This inexpensive flower-stand<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> -was constructed by a boy during his school vacation, -and it formed a beautiful centre ornament to his -mother’s front yard. In the winter the good mother had -her boy’s work carefully removed and placed in her bay -window. There it blossomed, and spoke cheering words -to her of her absent darling, as she sat day by day, during -the cold winter months, sewing by its side.</p> - - -<h3>14.—HANGING BASKETS.</h3> - -<p><span class="smcap">Hanging baskets</span> are now in such universal use, that -the taste for them has extended to every town or village -in our land. All florists keep a supply of baskets, with -flowers planted and growing, ready for sale. These baskets -are quite expensive. We will give directions for -some equally pretty, but inexpensive, which any ingenious -boy or girl can make.</p> - -<p>Take a small wooden bowl, bore holes in the sides to -fasten in a cord, or screw in rings. Cover this with -cones, acorns, black beans, &c., in fact, any pretty seed -can be used to good effect; arrange them in different -forms, like flowers. Varnish with asphaltum varnish. -A cocoanut shell makes a pretty small basket. Either -of the above are pretty with the white and green dry -moss glued over the outside. Baskets can be made of -sticks of the oak or maple tree, choosing those of -the size of a man’s thumb, and cutting them of equal -lengths, eight, ten, or twelve inches, according to the -size of the basket desired. Then build your basket like -a log hut; interlace your fingers, and you will see the<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> -design. Nail these sticks firmly in place, fasten in a -wooden bottom. Heat a wire and thrust it through the -end of each stick, and bend it into a loop; suspend it by -cords fastened to these loops. This makes a durable -basket to hang out of doors; any boy of twelve could -make it.</p> - -<p>Rustic baskets can be made with or without a wooden -frame, but a wooden bowl is a good foundation; procure -from the woods a quantity of blasted branches, or other -crooked, rough, or knotty twigs. Soak them in hot water -or steam them, so as to make them pliable. Stain the -bowl with asphaltum or black varnish, then screw in -rings for the hanging cords to pass through. When the -varnish is dry, bend around the outside of the bowl one -of the twigs or blasted branches, and nail it securely at -the top edges on either side. Twine several pieces around -in this way, according to your taste, until the whole surface -is covered; finish by nailing one around the rim of -the basket for a border. Varnish the branches like the -bowl. The entire basket is then ready for use. All -kinds of shaped baskets can be made out of wire, painting -them green, and filling in moss in all the crevices; a -painted tin dish, placed in for the dirt, will surely prevent -any drip; thick moss is ordinarily sufficient. All kinds -of these baskets should be filled up with light, sandy -loam; a few bits of charcoal, and a piece of sponge in -the bottom, assist in keeping the soil moist. Light, -trailing vines should be trained to fall over the sides, -and loop in and out of rustic work. We will give a -short list of vines suitable for baskets.</p> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<dl> -<dd>Lobelia Erinus Paxtoni, an exquisite blue.</dd> -<dd>White and pink Gypsophila.</dd> -<dd>Panicum Variegatum.</dd> -<dd>Tropæolum, ball of fire.</dd> -<dd>Convolvulus Mauritanicus.</dd> -<dd>Variegated Myrtle.</dd> -<dd>Geranium Peltatum Elegans.</dd> -<dd>Nierembergia.</dd> -<dd>Linaria Cymbalaria.</dd> -<dd>All varieties of Maurandia Barclayana.</dd> -<dd>German Ivy.</dd> -<dd>Alyssum Variegatum.</dd> -<dd>Vinea Elegantissima Aurea.</dd> -<dd>Moneywort.</dd> -</dl> - -<dl> -<dt>PLANTS FOR THE CENTRE.</dt> -<dd>Centaurea Gymnocarpa.</dd> -<dd>Alternanthera.</dd> -<dd>Sedum Sieboldii.</dd> -<dd>Bijou Zonale.</dd> -<dd>Achyronthes Gilsoni.</dd> -<dd>Mrs. Pollock, &c.</dd> -</dl> - -<p>These baskets should be exposed to the sun at least -two or three hours daily, and in dry weather watered -freely. If the surface of the basket between the plants -is covered with moss, it will prevent the earth from drying -as soon, and the basket will look neater.</p> - -<p>Baskets of moss and wire can be every week dipped -into a pail of water.</p> - -<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p> - - -<h3>15.—ARTIFICIAL ROCKERIES.</h3> - -<p><span class="smcap">A well-formed</span> and flourishing rockery is an ornament -to every lawn.</p> - -<p>Petrified wood forms very beautiful rockeries, but as -our purpose is to assist our young friends to make their -own rockeries, we will leave the more elaborate to the -gardener.</p> - -<p>Save all the clinkers from your furnace coal, dip them -in a hot lime wash to color them pure white, their fantastic -shapes are thus more conspicuous; arrange them -in a mound according to your fancy; leave at suitable -distances cavities of six or eight inches deep, to be filled -with soil; in this plant your creeping plants; bright -colors should be selected for a white rockery. Dwarf -Scarlet Tropæolum, Scarlet Verbenas, Petunias, Golden -Moneywort, Lobelias, Scarlet Geraniums, Myrtles, -Coleus, German Ivy, &c., are used to good effect on this -rock work. Hydraulic cement instead of lime will -make a pretty drab color. If the rockery is protected -by some shade, it looks well to plant it with Ferns and -Lycopodiums.</p> - - -<h3>16.—FERNERIES.</h3> - -<p><span class="smcap">Is</span> it not, friends, very pleasant to have a bit of the -summer woods in our parlors in midwinter? Such a -pleasure is within the reach of us all, with but little -trouble and expense. Those who live in cities, and cannot -go into the country, surely must have some friend<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -who can supply them, or the materials can be obtained at -any public green-house. First you require a glass dome, -or what is still better, take five panes of glass, any size -you please, four to form the sides, one for the top; -fasten the glass together with a light wooden frame, then -take any tin dish, like a baking pan, or if round, a tin -plate or jelly cake pan, or a tin dish can be made to fit -it for a trifling sum of money; paint the tin green on the -outside. Then collect some pieces of broken flower pots, -or still better, bits of marble, granite, or any stone, and -scatter them around the tin dish, placing in the centre -some moss-grown stump or stick, and pile the stones -around it; then collect from the woods ferns, mosses, -partridge vines, with its bright red berries (indeed any -plant will grow in these ferneries which can be found in -moist places in the woods); take up a little of the leaf -mould in which they grow (they need but little soil), -arrange your plants, spreading the roots carefully over -the stones, scattering a little leaf mould on them, and -place your mosses around the whole. The tallest plants -should form the centre, but in arranging even ferneries, -it is more agreeable to exercise your own taste. Before -placing your globe or glass frame over your fernery, -sprinkle the plants thoroughly, then cover with the glass, -and let it remain a few days in the shade. You can -keep them where you please, but they grow better near a -window; be very careful not to water them too often; -once a month is generally sufficient; if too wet, they -will mould and die; when there is but little moisture on -the glass, it is well to raise the glass to ascertain if it is -dry. Our fernery has been made four years; it has<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> -required but little care; now and then we add a new -fern, some moss, or any suitable plant gathered from the -woods, and remove any dried ferns or leaves. It often -renews itself. Trailing Arbutus and partridge vines will -blossom in ferneries. It is always pleasant to the eye, -and no care after the first expense and trouble. Ivy and -Lycopodium grow well in ferneries, but the rare ferns, -&c., from green-houses do not flourish as well as those -plants taken from our native woods.</p> - - -<h3>17.—IVIES.</h3> - -<p><span class="smcap">English Ivies</span> are a great ornament to our rooms, and -are hardy, and require very little care. After the first -two years they grow quite rapidly, therefore it is well to -procure two-year old plants; train them on your curtains, -over your windows and pictures. Many make a -mistake by changing the pots very often, thinking they -require a very large pot, which is not so, for they do not -require as much earth as many plants, only keep them -moist, and have rich loam for the soil; it is well to water -them every month with guano water, prepared according -to the same rule given for flowers. The Poet’s Ivy -is very pretty, the leaf being quite small. The most -beautiful ivy we ever saw was one that never was removed -from its place, summer or winter; it filled a large -bay window, encircled the whole room, and wound -around many pictures; now and then a gardener came -and changed the soil, and the leaves were occasionally -washed.</p> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p> - - -<h3>18.—PRESSED FLOWERS.</h3> - -<p><span class="smcap">To</span> press flowers, to be arranged on paper like a -painting, you must take some plain white wrapping -paper (in Paris you can obtain paper prepared by a -chemical process to preserve the colors), and place your -flowers or leaves carefully between two sheets of the -paper. Then press them by placing a heavy weight over -them (letter presses are excellent), and leave them a day -or two, then change the paper; thus the juices of the -flowers are absorbed. It takes a week or two to press -perfectly, and in summer often longer. When dry, place -them in a book or some air-tight box, ready for use. A -year is required to make a varied and handsome collection, -as each flower has its own season for blossoming. -Wild flowers retain their colors better than cultivated; -but experience alone will teach you what flowers will retain -their color best. Many pretend to be able to preserve -all kinds of flowers, but it is impossible. I will -give a list of flowers which are known to retain their -color by this mode of pressing.</p> - -<p>All Geraniums (except the horse-shoe and sweet-scented) -preserve their color. They are very essential, -as their colors are brilliant and keep for years. All -yellow flowers, both wild and cultivated, retain their -color. The Violet and Pansy, Dwarf Blue Convolvulus, -Blue Larkspur, Blue Myrtle, Blue Lobelia, Heaths, the -small original Red Fuchsia, Wild Housatonia, and many -tiny blue, and even white flowers press perfectly.</p> - -<p>For green, Ivy, Maiden Hair, Ferns or Brake, Mosses,<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> -&c., retain their color best. Rarely a cultivated green -leaf presses well. Autumn leaves, if small, and the -youngest oak leaves, mix in well. Certain kinds of stems, -such as Pansy, and others of similar character, are best -adapted for pressing.</p> - -<p>After your collection is made, take some card-board, -without a polish if possible, and arrange your flowers as -you design to have them. Gum them to the paper with -tragacanth, using a camel’s hair brush, then press on -the paper and flower with a cloth, carefully absorbing all -moisture, as well as firmly pressing the flower on the -paper. Geraniums and some large flowers look better -if each leaf is glued on separately.</p> - -<p>In forming your bouquet, it is better to arrange the -stems first and work upwards. Baskets and vases of -moss with flowers are pretty. To form these you must -trace out with a pencil your vase or basket, and glue on -the moss. Then arrange your flowers.</p> - -<p>We have heard amusing criticisms on the coloring of -such bouquets from persons who mistook them for -paintings. Framed and covered with a glass, they make -ornamental pictures.</p> - -<p>It is a pleasant way of preserving mementos of -friends, places, or events. Flower albums or journals -are very beautiful. Wreaths arranged of different varieties -of Pelargoniums, mixed in with any pretty green, -and other little flowers, such as Lobelias, are very handsome, -and the colors are durable. Pansies of different -shades look well, and brilliant wreaths may be made of -all the varieties of flowers that hold their color. The -oval shape looks the best for wreaths.</p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p> - -<p>There are innumerable varieties of Ferns, Lycopodiums, -and Maiden Hair, both native and foreign, suitable -for pressing. By pasting each specimen on a separate -sheet, and interspersing specimens of our beautiful -autumn leaves, also on separate sheets, and fastening -them together, either bound as a book, or in a portfolio, -you will possess a beautiful and attractive book with but -little expense.</p> - -<p>Crosses can be arranged with Ferns, and shaded to -appear as if painted in perspective, and look like a cross -standing on a mossy bank, with flowers, &c., growing -around and over it. First draw and shade your cross, -as a guide, then take the small leaflets of the darkest -colored ferns you can procure, and glue them on carefully -where the cross should be in shadow darkest, then take -the brighter green Ferns (such as are gathered in -spring), and end with the white Ferns (which can only -be obtained in the fall), using them for the lightest -shade; be careful to cover every part, and shade it with -Nature’s colors as you would with paint. In a cross six -inches high, and suitably proportioned, full two hundred -of the tiny leaflets of the Fern may be used to good advantage -before it is completed. Then take wild Lycopodium, -if you can obtain it, if not, the finest of the cultivated, -and arrange it on your cross to look like a vine -growing over and hanging from it; also paste on to it -tiny little pressed Lobelias, and arrange small Ferns, -mosses, and any little flowers (wild ones are preferable) -around the base of the cross, to look like a mossy bank. -Different designs can be arranged in the same way.</p> - -<p>Be very careful in pasting on flowers and leaves, that<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> -every part, however small, is firmly fixed to the paper; -press them on after pasting with a dry cloth.</p> - -<p>September is the time to collect the beautiful white -ferns; the first slight frost turns the green fern white. -They should then be gathered at once, and carefully -pressed; when dry they resemble the skeleton leaves. A -vase of these forms a beautiful winter ornament. If you -defer gathering them till the heavy frosts come, they turn -brown.</p> - - -<h3>19.—STRAWBERRIES.</h3> - -<p><span class="smcap">A few</span> hints as regards the cultivation of strawberries -may be useful to both boys and girls; for fine berries -can be raised even on a small plot of ground, if the -soil be rich. Plants for a new bed should be set out -early in the spring; the roots will then grow strong, and -the plants will be better able to bear the cold of winter. -Some gardeners prefer to plant their strawberry roots in -August, or even late in the autumn, and if the winter is -mild, or deep snows cover the ground, the vines will live -and bear fruit the next summer. Some prefer to raise -strawberries in hills, but the most prolific vines are those -planted in beds about three feet wide, with a path between, -filled with straw, to keep the fruit from the -ground; it is well to cut off most of the runners. Of -course the beds should be kept free from weeds. There -are many new varieties, but the old Hovey’s Seedling -is as reliable as any, and very prolific. The Russell is -easily propagated; vines planted in April will often yield<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span> -fine strawberries in June. The Wilson is a profitable -strawberry for the market because of its large yield, but -it is hardly equal in flavor to the Hovey.</p> - -<p>The Hovey will soon run out if planted by itself; it -requires some other kind to be planted with it. The Pine -is usually the variety selected for that purpose. It is -useless to enumerate the several varieties, for nearly -every locality has its favorite strawberry. Some kinds -will scarcely bear a perfect berry in some locations, -while in a different locality the same plant will be loaded -with perfect fruit. Sometimes a healthy and vigorous-looking -bed of strawberry plants will produce but few -berries; then you must examine the blossoms, those -which bear fruit will have the berry formed in the flower, -while others will blossom freely, but do not bear -fruit; these are the male plants, and it is better to leave -but few of them in your strawberry beds. When you -plant the new roots, dig a hole with a trowel and fill it -with water, then spread out the roots and pack the earth -close around them; but when they are fully rooted, and -commence to grow, the earth should be kept loose around -them.</p> - -<p>Strawberry plants should be replanted every third year; -it is best to change the location of the bed if possible, or -at least to renew the soil. Boys or girls who raise and -gather from their own little garden a dish of strawberries, -will find great pleasure in presenting it to their -friends as fruits of their own labor.</p> - -<p><span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span></p> - - -<h3>20.—GRAPES.</h3> - -<p><span class="smcap">The</span> care of the grape vine is a pleasant occupation. -To gather the rich, ripe bunches of its delicious fruit -is a grand enjoyment. Almost every one can command -a spot of ground sufficient for the liberal support -of a grape vine. It may be planted in any unappropriated -corner about the house—a sunny spot is to be -preferred; but a vine may do well with but little direct -sunshine, if it is well sheltered and properly cared for. -It may be planted at the foot of a tree, the branches of -which are not near the ground, and it will find its way -high up the tree, and will yield large crops of fine fruit, -hidden among its own thick foliage and that of the tree, -provided the ground immediately about its roots can be -reached and kept warm by the sun’s rays.</p> - -<p>As it grows, it will endeavor to adapt itself to the circumstances -that surround it, and will take the direction -your taste or convenience require it to follow. Its flexible -branches are obedient to the gentle hand of the careful -cultivator. You may train it upon stakes six or eight -feet high, or upon a low trellis where the fruit will be -within easy reach of your hand. You may have the -fruit within a few inches of the ground, or by removing -all the lower branches of the vine, you can cause the ripe -bunches to hang in graceful festoons around and over the -window of your chamber, high above the reach of accident -and pilferers. The grape vine will do as it is bid, -which is much more than can be said of some young people, -whose eyes sparkle at the sight of its fruit.</p> - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p> - -<p>In preparing the ground in which to plant the vine, -reference must be had to the character of the soil. If -the soil is clayey and cold, or if the neighboring surface -is such as to turn an undue proportion of the rains upon -the place where you propose to plant your vine, care must -be taken to secure for the roots of the vine a sufficient -drainage. If the roots of the vine are surrounded by -wet and cold earth, the fruit will mature slowly, and will -be endangered by the early frosts. You will secure a -sufficient drainage by digging a hole three feet deep and -five or six feet in diameter, and throwing into it small -stones, fragments of bricks, or other like rubbish, to the -depth of about eighteen inches, and filling to the surface -with the soil. If the soil in which you propose to -plant your vine is light, no artificial drainage will be -necessary.</p> - -<p>Dig over the ground, and mix with it some well-rotted -manure or bone dust to the depth of your spade. The -plan of trenching and deep manuring is of questionable -advantage. The roots of the vine prefer to run near the -surface, but they will seek the rich soil wherever it may -be; and if they are drawn away from the surface of the -ground and out of their natural direction to the colder -soil below, the effect upon the fruit may be unfavorable, -both as to quality and quantity.</p> - -<p>In the ground thus prepared, set your young vine from -the nursery. First, drive down a stake to which you can -tie the young vine, then place the roots of the vine three -inches below the surface of the ground, carefully spreading -the roots so that they will be as nearly as possible in -the position in which they grew in the nursery.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>The beautiful operations of nature will then commence. -The roots of the vine will at once begin to adapt themselves -to their new home, and their delicate fibres will -firmly clasp the particles of the well-prepared soil; the -warm days of the early spring will draw the sap up -through the whole length of the vine; the buds will -open and exhibit their delicate tints, new shoots and -broad green leaves will follow, and you can soon eat the -fruit of your own labor, sitting beneath the shadow of -your own vine.</p> - - -<h3>21.—HOW TO ARRANGE SEA-MOSSES.</h3> - -<p><span class="smcap">While</span> our young friends are enjoying the pleasures -of the sea-shore, there is no more delightful employment -than gathering and preserving the beautiful flowers of -the sea.</p> - -<p>September is the time to collect the finest varieties of -sea-mosses. Before you commence to arrange them, -procure two pieces of deal board, about twenty inches -long and twelve inches wide; some light-brown paper, -and blotting paper, and white drawing paper. You will -need camel’s-hair pencils, long, slender darning-needles -(or common needles mounted on lucifer matches), a small -piece of alum, and old cotton or linen cloth.</p> - -<p>The best time for collecting the mosses is in the early -morning, when, on your return, there is leisure for immediately -laying them out. If you leave them until the -next day, the chances are that one half of them will be -spoiled. Do not collect many mosses at one time; for<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -these flowers of the sea fade, and even decompose very -fast, when roughly handled or carelessly gathered. If -you cannot arrange them at once, put them either in an -oil-skin bag, or a tin can, with sea-water. When you -are ready to arrange them, take your drawing paper and -cut it into large and small squares, or any size you desire. -Get some soup plates, or any shallow dish; fill -with fresh water; place a small piece of alum in each -dish. Now have your camel’s-hair pencils and darning-needles, -or needles mounted on matches, by your side. -Then float a piece of sea-moss in fresh water. If very -dirty or sandy, wash it first in clear water. Float it on -a piece of paper, which must be placed under it with the -left hand, while with your right hand you arrange the plant -in a natural manner, using your camel’s-hair pencils and -needles. Superabundant branches can be thinned out -with small, sharp-pointed scissors. When the specimen -is placed as you like it, cautiously raise the paper, that -the position of the plant be not altered, and let it rest -somewhere with sloping inclination, that the moisture -may run off, while other specimens are treated in the -same way. Do not leave them long thus, for they must -be pressed before the paper is dry. In drying them, you -must lay either old soft linen, or cotton over them, to -prevent its sticking to the upper paper when pressing; -as, in order to press it, you must first lay them in blotting -paper, and then in brown, and place them, thus -prepared, between your boards, and strap the two boards -tightly together. The blotting paper and old cloth must -be changed at least twice in drying large sea-weed. The -second day place a heavy pressure on the boards used in -pressing.</p> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p> - -<p>Sea-mosses are glutinous, and must be dried, and not -pressed; and, when finished and dry, then moisten the -under side of the paper, and press it gently. Others -will not adhere to paper, and therefore, when dry, should -be brushed over with a little isinglass, dissolved in gin, -laid on warm; and they will then be fixed closely to the -drawing paper.</p> - -<p>Another preparation is one ounce of oil of turpentine, -in which some gum mastic, the size of a nutmeg, has -been dissolved. This gives a gloss to the specimen, and -helps to preserve the color.</p> - -<p>The finest and rarest specimens are found in the lowest -tide pool, or cast up after a storm.</p> - -<p>We have seen these sea-mosses, or sea-weeds, exquisitely -arranged, representing flower painting.</p> - -<p>Take the pink and green sea-weed, and with practice, -moss-rose buds can be perfectly represented, also other -flowers. Be careful and select fine-grained, at the same -time <em>strong</em> paper.</p> - -<p>Every lover of nature should always possess a microscope. -Examine with it many tiny specimens, condemned -as too small to arrange in your album; it will -reveal to you such form and color, provision and harmony, -as the Almighty Creator conceals from the unseeing -eye, and reveals to patient and intelligent search.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="House_and_Home_Arts" id="House_and_Home_Arts"></a>House and Home Arts.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<h3>1.—KNITTING.</h3> - -<p><span class="smcap">Plain</span> knitting is but little noticed since knitting machines -were invented. At present crochet work has taken -its place, and fancy tatting. It will not be necessary for -us to give any especial directions for these kinds of work, -as nearly all our magazines give new directions in every -number. But both crochet and tatting require eyesight. -If a child is taught in early youth to knit well, all common -knitting can be done without eyesight. We can -<em>think</em> better if our hands are employed on plain knitting. -If our eyes have been overtasked, and cannot bear the -light, we can knit in the dark. We always keep some -common knitting, such as strips for a blanket, or stockings -for the poor, on hand; and it is astonishing the -amount of work accomplished in this way, as we can -knit, if a neighbor calls, for it does not prevent our conversing -freely, also we can knit and read.</p> - -<p>We earnestly advise our young readers to learn to -knit. Many persons in the present era are afflicted with -weak eyes, and dislike to be idle; the knowledge of knitting -would be a pleasure, also of netting, as that requires -less eyesight than other branches of work. We will<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> -give the directions for knitting a few fancy articles, also -the directions for knitting a common stocking, so that -our young girls can knit substantial stockings for the -poor. During the last war, when our young ladies were -called upon to knit stockings, how few knew how! So -many, who earnestly desiring to do their part, were -obliged to learn the rudiments of knitting!</p> - - -<h3>2.—HOW TO KNIT A STOCKING.</h3> - -<p><span class="smcap">First</span> select four smooth steel needles of a size suitable -for the woollen or cotton yarn you intend to use. -If you cannot tell yourself, the person of whom you -purchase your yarn can select suitable needles. Your -stitches should be cast on with double yarn. Knitting -them on is preferable; first form a loop on one needle, -then by knitting that loop with another needle, the required -stitches can be formed. Some persons prefer a -little elastic roll at the top; this is formed by knitting -eight or ten rows round plain, then turn directly back -and knit on the wrong side a few times.</p> - -<p>But the most common mode is purl every two stitches. -This is done by knitting two stitches and purling two. -It is well to continue this for a gentleman’s stocking or -a boy’s all the way to the heel, as they cling better to -the leg, or purl two and knit two for a half a finger, -then knit a finger and a half plain, and end the leg part -by purling two and two again at the ankle for an inch. -If the stocking is for a lady, after knitting four or five -inches from the top (the first inch being purled every<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -two stitches), the narrowing should be commenced. In -plain knitting, one needle is called the seam needle, for -the centre stitch should be purled, and one must be taken -to purl that same stitch the whole length of the leg. -The narrowing of the leg should be done on each side of -the seam stitch. Then knit five or six rows before narrowing -again. The leg should be narrowed thus seven -or eight times to form a good shaped leg.</p> - -<p>No rules for length, or the number of stitches to -be cast on a needle, can be given, as nearly every person -differs in size. The only sure way is to measure by -some old stocking. The heel must contain just half the -stitches in the whole stocking. Take off the stitches, for -the heel, on to one needle. A long heel makes a better -shaped stocking than a short one. When nearly done, -narrow five or six times on each side of the purl; for, in -taking off the stitches for the heel, the purl stitch must -be in the centre of the heel needle. The heel is knit -backwards and forwards like a garter, only it is purled -all across on the wrong side. The narrowing must all be -done on the plain knitting side. Some persons knit the -heel with double yarn; others, on the purling side, slip -a stitch and knit a stitch all across, and the next time -the purling side is knit, slip the stitch you <em>knit</em> before. -This makes a strong heel, almost equal to running a heel -after it is knit. To bind off the heel, you must place -half the stitches on one needle and half on another, then -place them side by side, and knit two stitches together -with a third needle, slip the first stitch knit with the third -needle over the second stitch all across, never leaving -but one stitch on the needle. Some finish the heel differently;<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span> -they take just half the stitches of the heel in the -middle of the needle, leaving a quarter on one side and a -quarter on the other, and only knit the middle, but each -time take up one stitch from the side, and narrow it with -one on the middle, until all the stitches on the side are -gone.</p> - -<p>The foot is formed by taking up the loops on each side -of the heel (these loops are formed in knitting the heel, -by always slipping the first stitch, as in a garter). In -knitting round the first time, it is necessary to widen on -the heel every third stitch, by taking up an additional -loop. It should then be narrowed on the corner of the -side needles, by narrowing two together of the four last -stitches on the first needle, then on the other side needle -knit two plain, slip a stitch and knit a stitch, and put the -slipped stitch over the knitted stitch, until the foot is -small enough. After the first few times around, it shapes -the instep better to narrow, then knit around without -slipping and binding. The next time knit past the narrowing -side plain, and slip and bind, therefore the size is -only lessened one stitch every row, forming a long gore. -The toe is formed by narrowing at the beginning and -end of each needle; first knit two plain and narrow, then -leave four at the end of the needle, narrow the first two, -and knit the other two plain; before narrowing, see that -the stitches on each needle number the same. Knit -around three times plain, then narrow as directed. Knit -three plain rounds between the narrowing three times. -Then knit twice around plain, three times between the -narrowing; then once, then narrow every time till there -are only four stitches; break off your yarn, leaving sufficient<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -to draw through the four stitches, and with a darning -needle fasten it strong.</p> - -<p>Another way to narrow a toe off, is to narrow every -seven stitches when you begin the toe; knit seven times -around, and narrow every six stitches; knit six rows and -narrow every five stitches; knit five rows and narrow -every four stitches, so on to the end.</p> - - -<h3>3.—BABY’S KNITTED JACKET.</h3> - -<p><span class="smcap">Cast</span> on two hundred stitches on good sized steel -needles, knit quarter stitch eleven purls, that is twenty-two -times across; then, with colored split worsted, knit -three purls, then narrow every time, putting the worsted -twice over the needle each time to make holes; knit -three purls, then commence with the white worsted; knit -fourteen purls; divide the stitches into three parts, fifty -on each side, one hundred in the middle. Commence -with the middle, knit twenty-two purls, then narrow -each side of the needle every other time, making twenty-two -purls, bind off. Knit the fronts the same way, -narrowing only on one side.</p> - -<h4>SLEEVES.</h4> - -<p>Cast on sixty-five stitches, knit thirty-six purls, narrowing -each side of the needle every eighth purl; knit -three purls with color, make holes, then three more -purls, bind off fifty-four stitches, then sew up the shoulders, -take up the stitches round the neck, knit the same -with the colored worsted, as the border on the sleeves,<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> -take up stitches down each side of the front, knit the -same border, only have one purl before making the holes, -then knit two purls.</p> - -<h4>BORDER.</h4> - -<p>Cast on eighteen stitches, and knit the same as border -for blanket, making seven holes instead of four. <em>Split -worsted is preferable.</em></p> - - -<h3>4.—BABY’S BLANKET.</h3> - -<p><span class="smcap">Commence</span> with thirty stitches on a needle, and knit -Brioche stitch. Knit till you can count twenty-four -loops, then change the color (the stitch to be knit, is -slip a stitch, put thread in front and narrow, all across, -on both sides the same). You must always join the -color on the same side, and have a colored square in -each corner of your blanket. Knit seven squares in each -strip, and seven strips form the inside of the blanket.</p> - - -<h3>5.—BORDER TO BLANKET.</h3> - -<p><span class="smcap">Cast</span> on ten stitches, knit two plain, put your worsted -in front and narrow all the rest, but knit the last stitch -plain; that is, put your thread in front and narrow two -together, till there are two left; then put your thread in -front and knit one stitch; then the last one plain; knit -back plain; then knit three stitches, and the same as before, -only add a stitch every other time across, till you -have nineteen stitches; then knit twice plain, and knit<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -eight, and narrow; then put your thread in front and -narrow four times; knit last stitch plain always, knit -back always plain; decrease one every other time till you -have ten, then knit a plain row to join your other color. -All the scallops are knit the same, and it needs thirty-two -blocks of edging to go round the blanket. The -colored point of each corner must be gathered up to the -point close, thus making the white come on each side of -the colored square.</p> - -<p>It takes eight ounces of common zephyr worsted, four -ounces of each color.</p> - -<p>This enlarged, makes very handsome carriage blankets, -with a palm leaf worked in each square; but instead of -a knitted border, it is better to tie in a heavy fringe of -worsted.</p> - - -<h3>6.—KNITTED BED-QUILTS.</h3> - -<p><span class="smcap">This</span> requires a whole box of the red and white Saxony -yarn.</p> - -<p>This should be knit with the finest ivory needles. -Cast on forty stitches. Knit the stripes garter stitch; -that is, knit backwards and forwards plain knitting, slipping -always the first stitch on the needle. Knitting it -thus, it makes every other time across look like purling. -The stripes must be four hundred purls in length; it -needs eleven stripes, red and white alternately. These -stripes must be sewed together, and the ends finished off -with a fringe, or knit a border. The directions given for -the border to the first baby’s blanket, knit it broader by -knitting six or seven stitches plain before you widen or -narrow to make holes.</p> - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p> - -<p>A “couvre-pied” can be knit in the same manner, -only knit the stripes three hundred and ten purls in -length.</p> - - -<h3>7.—BABY’S BLANKET.</h3> - -<p><span class="smcap">A beautiful</span> blanket can be knit with stripes, alternating -pink and white. Knit plain garter stitch, each -stripe a yard long; the white stripes should be the narrowest, -eighteen stitches for the white and twenty-two -for the pink. When finished, then work in the white -stripes, a pink rose-bud and a green leaf, as small as -possible, then sew all together, making the blanket a -square yard.</p> - -<h4>BORDER.</h4> - -<p>Cast on sixteen stitches.</p> - -<p><i>First row.</i> Knit three, turn over twice, purl two together, -knit two, turn over twice, knit two together, turn -over twice, knit two together, knit five.</p> - -<p><i>Second row.</i> Knit seven, purl one, knit two, purl -one, knit two, turn over twice, purl two together, knit -three.</p> - -<p><i>Third row.</i> Knit three, turn over twice, purl two together, -knit thirteen.</p> - -<p><i>Fourth row.</i> Knit thirteen, turn over twice, purl two -together, knit three.</p> - -<p><i>Fifth row.</i> Knit three, turn over twice, purl two together, -knit two, turn over twice, knit two together, turn -over twice, knit two together, turn over twice, knit two -together, knit five.</p> - -<p><i>Sixth row.</i> Knit seven, purl one, knit two, purl one,<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -knit three, purl one, knit two, turn over twice, purl two -together, knit three.</p> - -<p><i>Seventh row.</i> Knit three, turn over twice, purl two -together, knit six, turn.</p> - -<p><i>Eighth row.</i> Cast off five, knit ten, turn over twice, -purl two together, knit three.</p> - - -<h3>8.—SOFA CUSHION.</h3> - -<p><span class="smcap">Cast</span> by knitting sixteen stitches, knit plain four rows -like a garter, knit eight stitches, turn and purl four, knitting -heel stitch (that is, plain in front, and purl on the -back side), ten times on the four stitches. Then slip the -four stitches from the needle while you take up the next -four, then return them again and knit the remaining four, -turn and knit twelve stitches, then take up the last loop -on the roll, and narrow it off with the first stitch of the -last four, then knit the last three plain. Then knit four -rows plain (which makes three rows of purling on the -right side between each roll). Now commence another -roll, same as before. It takes seven ounces of tapestry -worsted, or double zephyr, one ounce to a stripe. Be -careful and select colors that will harmonize together.</p> - - -<h3>9.—TABLE MATS.</h3> - -<p><span class="smcap">Table</span> mats, made of coarse white tidy yarn—with -the plain crochet stitch and a scallop border—are easily -worked, and do not strain the eyes.</p> - -<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p> - - -<h3>10.—CARRIAGE OR BED-ROOM MAT.</h3> - -<p><span class="smcap">A very</span> pretty carriage or bed-room mat may be made -in knitting. Collect as much flannel list, or flannel and -woollen cloth as you can; cut it into short lengths, and -knit a few rows, for a foundation, in twine. Then take -a piece of list, put it across the string, and knit it in -tightly; knit the pieces of list in this way all across; -then knit a row plain; then knit in a row with the list. -If you knit an edge of scarlet flannel, say six rows first, -and six stitches at the beginning and end of each row, of -pieces of the scarlet, and six rows of scarlet at the ending, -your mat will be improved, particularly if the centre -is knit entirely of gray list, as the gray and scarlet are -very effective. When completed, line it with a nice -coarse brown cloth. Pretty mats can be knit entirely of -old pieces of cloth of any kind, by cutting it in narrow -strips and sewing each strip together; knit it with large -needles either in strips or squares, and sew them firmly -together; take your pieces at odd times and strip them -up, and as you sew them together, roll them into balls -ready for knitting, then arrange your colors to harmonize -together.</p> - - -<h3>11.—KNITTED MOSS.</h3> - -<p><span class="smcap">Cast</span> on about fifty stitches of light green Berlin wool; -slip a stitch on your needle without knitting, and knit -the next row. Continue the same until you have finished -two skeins of wool, taking care never to knit the first -stitch of each line. Then knit on it, in the same manner,<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span> -two skeins of the next shade darker of color, and continue -in the same manner until you have knitted up five shades -of green; join on a rich brown, and a faded moss-colored -wool, and then cast off. Wet your knitting through with -clear water, then dry it over a furnace register, or cover -it with a paper or cloth, and press it with a hot iron. -Let it remain for a few hours untouched, then unfasten -the last stitch, and pull it out. It will unravel easily, -from the first stitch of each row not having been knitted, -and you will have a good curling imitation of moss to -sew on to baskets or for borders of mats.</p> - - -<h3>12.—PLAIN NEEDLE-WORK, AND USEFUL -HINTS FOR YOUNG LADIES.</h3> - -<p><span class="smcap">Our</span> young ladies formerly were educated thoroughly -in needle-work. Plain sewing was taught in the primary -schools; but, alas! these times seem past; it is rare to -find a little girl of even ten years old who can hem a -pocket-handkerchief well. The children of our mechanics -grow up with but little knowledge of useful work. -Their mothers, with mistaken love, mend, dress, and -make their wearing apparel. Often they marry wholly -ignorant of the accomplishments <em>necessary</em> for a true -wife and helpmeet—that is, the knowledge of housekeeping, -plain sewing, and cutting out the simplest garment.</p> - -<p>Who is to blame for this? The excuse of many a -hard-working mother is, “I have not had time to teach -my daughters;” and of our ladies of wealth,<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> “I did not -suppose my daughters would ever be poor, or require -such knowledge!”</p> - -<p>It is a very great pity sewing is not taught in our -common schools. It is quite as important to our girls -as reading, writing, spelling, &c. There is no country -in the world where a <em>practical</em> education is so necessary -as in ours, the fluctuations of fortune are so great. The -rich man of to-day may be the poor man of to-morrow. -Therefore every boy and girl in the land should have a -useful and practical education. Our girls especially, rich -or poor, need a knowledge of practical housekeeping; it -is not possible for any lady to be a good housekeeper unless -she knows how things should be done herself, as a -trained servant in our free country is rarely found.</p> - -<p>Plain sewing is also very important to be learned in -early youth. In these days of machinery much of the -old plain work is done by the swift needle of the sewing -machine, rather than by hand; and it is expected, by -and by, that hemming, stitching, over-hand work, and -gathering will be as much forgotten as the old tambour -stitch and embroidery of our ancestors. But we maintain -that a person to work well on a machine should -first be taught to sew well, and it is quite possible work -may be required when no machine is to be hired. If -young ladies are always able to hire their sewing, it may -be pleasant to work for the poor. We hope our young -readers may be induced, of their <em>own</em> desire, to become -<em>good sempstresses</em>. If any one reading this book is induced -to obtain <em>practical</em> knowledge on the subject, we -shall feel repaid, and we would gladly hear from them. -We will now give a few directions as an assistance, at<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span> -the same time begging our young readers to remember -that one lesson from a good sempstress is worth a dozen -pages of print.</p> - -<p>A hem should be, generally, narrow and very even; -if it is to be wide, cut a measure the desired width, and -be careful to have it exact; the stitches should be taken -through, but so small as to be nearly invisible. A hem -on clear muslin will look neater if it is finely <em>run</em> like -the seam of a dress.</p> - -<p>In over-hand sewing the stitches should be taken on the -edge of the two sides, and should lay quite close to each -other, so as to look like purling.</p> - -<p>In stitching you should only take up two threads, both -behind and before the needle.</p> - -<p>Gathering is done on the needle, two threads taken up -and four left, and the line should be kept very straight by -a thread, if possible. The gathers, when finished, are -drawn very tightly together on the thread, and stroked -down smoothly with a strong needle or pin.</p> - -<p>Darning is done by taking every other thread (in a -stocking), and leaving a long loop at the end of each line. -The darn is crossed by taking every other thread alternately, -each way. It used to be called “weaving.” If -muslin is to be darned, it is better to use ravellings of -the same instead of thread.</p> - -<p>Should you have a rent in a dress to repair, use ravellings -of the same material; they are easily to be obtained -from the turning in of the top of the skirt, if you have no -pieces; but generally some are left by the dressmaker, -and should be kept for such accidents. In mending by -piecing, be careful that you do it very neatly; match<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -stripes or patterns on the material artfully, and you will -have the triumph of preventing the defacement of your -dress.</p> - -<p>Learn how to make and trim a bonnet, or make a -graceful bow of ribbon. Young ladies of small means, -who are ingenious and tasteful, often present a better -appearance by making things for themselves, than those -who, without taste or neatness, spend large sums at the -milliners’. We advise you to try and make your own -dresses.</p> - -<p>In order to do this, rip up an old dress that fits you; -lay the several portions of the body on a large sheet of -brown paper, with the turnings <em>turned in</em>; trace the pattern -carefully with a black pencil; then draw a line -round the whole, including the turnings-in, and cut it -out. Pin this pattern on your material, and cut out the -dress, taking care that you do not get two fronts for the -same side, if there is a right and wrong surface to it. -To prevent the possibility of this mistake, it is well to -fold the material and cut both at once. The same may -be said with regard to the side bodies. Greater skill is -required to put the skirt into a band, than in making a -body, in order that it may hang gracefully; but as -fashions change continually, we can only advise you to -get a good pattern to copy from, and <em>care</em> and <em>patience</em> -will insure you success. If your means render it unnecessary -or not expedient for you to make your own dresses, -you will find it pleasant to be able to make up the cotton -dress you destine for some poor neighbor, whose want of -time for needle-work will render her as much obliged for -the <em>labor</em> bestowed, as for the material itself. Making -clothes for poor children is <em>active charity</em>.</p> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span></p> - -<p>We know of a young lady so naturally industrious, -that at the age of six years, she made entirely every part -of a day shirt for her father. It is not as likely, at the -present day, that your labors will be required for shirt-making -for your male relatives; they generally prefer -buying their linen ready made. Every <em>woman</em> ought to -know how to put one together.</p> - -<p>Any child or young lady who can make a shirt well, -can easily manufacture all female undergarments; patterns -for cutting out will be all that will be required. Both -cotton and linen cloth should be scalded in <em>soap-suds</em>, dried -and pressed <em>without</em> rinsing, before you work on them, in -order to render them soft enough for the needle to pass -through easily. But should you be unable to have this -done, rub the parts you are going to sew or hem with a -cake of white soap, or make a strong suds and brush the -parts. Your needle will move easily, and will run no -risk of breaking.</p> - -<p>We advise young ladies who have the care of their -own linen, and perhaps have their own allowance for -dress, to take a few hours on one fixed day, weekly, to -look over their clothes, and make any small repairs that -may be wanted. They will find the truth of the old -adage,—“A stitch in time saves nine,”—and will make -their linen last as long again as it would otherwise do. -Gloves should be neatly mended, and no rip suffered to -remain a day. White and light-colored gloves can be -nicely cleaned by rubbing them with a flannel dipped in -milk and white hard soap. When dry they will need to -be pulled till they are soft and in shape.</p> - -<p>Cultivate, we beseech of you, habits of neatness in<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span> -early youth. Dresses should never be put away dirty, -or with spots that can be removed, or thrown down in a -heap. Benzine or chloroform will remove nearly all -kinds of spots, but it must be quickly rubbed dry, or it -will leave a spot. Wax spots from candles can be removed -from any material by placing over the spot some -brown or blotting paper, and place over it an iron sufficiently -hot to melt the grease; change the paper until -all the grease is thus absorbed.</p> - -<p>Our young readers may be assured that the little care -bestowed on keeping their garments neat, clean, and -whole, will give to their appearance that air of freshness -which in itself is a charm, and will prove the truest -economy. Moreover, the power of using the needle -skilfully will give good manipulation for other and more -artistic employments, and can never be aught but a blessing -to the American girl.</p> - - -<h3>13.—EMBROIDERY IN SPANGLES AND CANNETILLE.</h3> - -<p><span class="smcap">Bullion</span>, which is a large gold wire, of which officers’ -epaulets are made, <i lang="fr" xml:lang="fr">frisure</i>, a smaller bullion, <i lang="fr" xml:lang="fr">clanquant</i>, -which is a flat gold ribbon, are all classed under -the denomination of cannetille. Leaf-shaped spangles -are called laine.</p> - -<p>Stretch the velvet, cloth, or silk which you intend to -embroider in a frame, and tack over it your pattern, -which must be nicely drawn on silver paper. Suppose -your pattern is a wreath of grape-vine leaves and grapes;<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> -you must put bullion on for the centre stem. This is done -by running a needle and thread through the tube, and fastening -it with an occasional (strongly sewn) stitch or two. -Take the smaller bullion, or frisure, for the outlines of the -leaves and tendrils, fastening it on in the same manner -as the large bullion; vein the leaves with fine gold thread.</p> - -<p>Make your grapes of large spangles, and purple or -green glass beads, thus: Pass your needle through the -velvet from underneath, take a spangle on it, then take a -purple bead; pass your needle again through the spangle -and back through the velvet. Then begin another grape -in the same way, and fasten carefully off when your silk -is used up. A wreath of grapes and holly (the holly -berries red beads) round the edge of a table cover would -look very nice. The cover should be of dark cloth, and -edged with gold cord all around.</p> - - -<h3>14.—EMBROIDERY IN LAMÉ OF VELVET -AND GOLD.</h3> - -<p><span class="smcap">Fix</span> your material in a frame. Tack over it your -pattern drawn on silver paper, or sketch it lightly on the -surface of the cloth or silk.</p> - -<p>Work your stems and tendrils in frisure, your berries -or little flowers in spangles.</p> - -<p>You can purchase stamped velvet leaves, which you -must fasten with strong gum to your velvet or silk, and -then keep them firm by veining them with gold thread.</p> - -<p>Petals of flowers may be cut out of colored velvet, -and arranged on the cloth or velvet, if the young needlewoman -has sufficient taste to form a flower.</p> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<p>The work may be done entirely of cachemire and -gold on cloth, if a more expensive material is beyond -the worker’s means.</p> - - -<h3>15.—EMBROIDERY IN FEATHERS.</h3> - -<p><span class="smcap">Stretch</span> your material for the ground on a frame. -Cover the back or under side of your feathers with thin -gum, to keep the tiny plumage together, and let them -dry. Take a sharp pair of scissors, and cut the feathers -into the shape of the petals you require; lay them separately -on your pattern, and tack them firmly on the silk -or cloth with sewing silk of the same color. Work -stems, tendrils, and centres with silk of the color required. -Of course you must arrange your petals or -leaves according to your pattern.</p> - -<p>Any white feathers dyed are suitable for this work.</p> - - -<h3>16.—CORK WORK.</h3> - -<p><span class="smcap">Very</span> beautiful articles can be made by ingenious boys -and girls, from cork bark. Those of our readers who -have only seen cork work in the shape of common bottle -corks, will not be attracted by the title of this chapter. -But all who have seen, either at home or abroad, the -exquisite models of castles, old ruins, churches, and -many other picturesque objects, made entirely from this -material, will welcome a few simple directions for this -work.</p> - -<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p> - -<p>We will first speak of the cork bark, as it may not be -generally known that cork is not indigenous, but is the -soft, elastic bark of a species of oak tree, that grows -abundantly in the northern part of France, Spain, and -Italy. When the tree is fifteen years old the barking is -commenced, and is repeated at intervals of eight years, -the bark improving with every operation. The cork is -stripped from the tree in July and August; it is then -piled up in water under heavy stones, to flatten it, after -which it is fire dried, and packed in bales for exportation. -The cork cutters divide the sheets of cork in narrow strips, -and after cutting them the proper length, round them with -a thin, sharp-bladed knife into a cylindrical form. The -cork tree and uses of its bark were known to the -Greeks and Romans.</p> - -<p>Cork bark can be obtained at any of the numerous -cork factories; it is not expensive, and the refuse bark -can be used in making many pretty models.</p> - -<p>The beginner should select the simplest subjects for -his first work, such as a rustic cottage, bridge, or simple -ruins.</p> - -<p>When a certain amount of proficiency has been attained, -it will be easy to advance to higher themes, until -the most elaborate designs may be attempted without -fear of failure.</p> - -<p>In this art, models or pictures, with some description -of the proportions, are sufficient guides.</p> - -<p>In this work no tools are required except a sharp penknife -and a glue-pot.</p> - -<p>The walls of buildings must be cut from the cork -block. The proper thickness for the cork used in making<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span> -walls is about one half, or even one quarter of an -inch, and the smoothest cork should always be selected -for this work.</p> - -<p>When the required size has been obtained, square it -smoothly to the shape called for, making the two side walls -exactly alike. Next mark with a black lead pencil the -shapes of the windows, doors, &c. Then cut the windows -with a penknife, making the opening smaller on -the inner side, but slanting outwardly, especially in the -sill the slope is very considerable, and in gothic windows -should never be flat or square. The waste and refuse -pieces of common cork will all be of use in making the -trimmings and ornamental work. For the mouldings -around the windows, cut small rims of cork, like your -model, and glue them on at proper distances from the -outer edges. Thin sheets of mica glued on the inside -of the windows, are excellent substitutes for glass; the -appearance of stained glass can be given by gumming -paper of the color you desire to represent, on the inside, -over the mica. All ornaments can be formed of tiny -shavings of cork. The gables, doors, &c., are prepared -as the model may require. The most suitable base, on -which to glue your building, is a board covered with -green cloth or baize. The four walls can now be glued -together and placed on the green cloth board. If not -firm, small splints of wood, shaved so as to fit into the inner -corners, will strengthen the edifice. The roof comes -next, and can be made of smooth seasoned wood, about -a sixteenth of an inch thick.</p> - -<p>Cut the board large enough to extend well over the -edges, so as to form eaves; glue one side firmly along<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> -the gable ends, then fit the peak of the other side. A -roof with a high pitch adds much to the tasteful appearance -of a rustic church. If there is to be a steeple, or -spire, the tower, or base of the building should be formed -of small pieces, cut so as to fit the slopes of the roof, -and built as a mason joins bricks or square blocks in a -wall. When the base is formed square and flat on top, -the tapering spire should start from this foundation, with -a round, or eight-sided piece of cork, whose four opposite -sides are exactly the size of the square base on -which it is to be glued; on this place another cork a -trifle smaller; this in turn will be covered with another -still less; so on until it tapers to a point.</p> - -<p>Common bottle corks, of various sizes, are best to use -for spires and columns.</p> - -<p>The best way to make spires or columns, is to glue -them in proper shape separately from the building; when -all are joined, shave them carefully, so as to form the -proper slope for the spire, and the columns can be cut -with a knife to imitate fluted sides, or in any desirable -way. When they are finished, glue them in the proper -place on your buildings.</p> - -<p>The outside ornaments, such as a cross or vane for -the point of the spire, the caps of the columns, the buttresses, -eaves, moulding around the doors, porches over the -entrance, cornices, &c., may now be added. The roof -may be colored with a little vandyke brown or burned -umber, mixed either in turpentine or oil; a single coat -will be sufficient, and if a rough appearance is desired, -dust some fine sand over it before the paint is dry.</p> - -<p>If you glue moss on to the base board, it adds to the<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span> -natural appearance of the building. If you design to -represent a ruin, or Gothic church, a little green moss, -neatly gummed on to represent ivy and other creeping -vines, is an improvement. Time adds grace to all -ruins, by its moss and vines, planted by divine Providence.</p> - -<p>Landscapes, in the picture style, are often designed with -cork; the finest shavings of cork can be used to cut -into shapes to represent a castle, a light-house with rocks -near by, a bridge, or whatever else may be selected to -form the design. Some idea of perspective drawing will -be necessary in this work; the object should be arranged -and fastened with gum arabic on to a piece of white -card-board, and the sky slightly tinted in water-colors -for a back ground. Irregular edges increase the resemblance -to distant hills, and sharp edges of thicker cork -represent the objects in the foreground.</p> - -<p>There is no attempt to imitate nature in the variety of -color, for the picture wears the sombre shade of cork, -but the general effect is pleasing; the light background, -seen through the thin shavings of cork, give a good idea -of brown autumnal forests.</p> - -<p>Crosses to train ivy on can be made of cork.</p> - -<p>We trust our readers will be induced to try this cork -work. It is often difficult to know what to make for -fairs or for Christmas presents. This work in our -country is rarely seen, and it would sell well, or prove a -pretty present, if neatly done; but, like all things worth -doing, it requires time, practice, and patience to insure -perfect success.</p> - -<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p> - - -<h3>17.—BLACK LANDSCAPE.</h3> - -<p><span class="smcap">Pass</span> a card, or a piece of card-board, through the -smoke of a candle till it is quite black.</p> - -<p>Then take a penknife and scratch upon it any landscape -or design you please.</p> - -<p>Moonlight scenery is very effective in this way. In -case of lack of pencils, &c., this is not a bad way of -sketching a scene one desires to remember.</p> - - -<h3>18.—VEGETABLE FLOWERS.</h3> - -<p><span class="smcap">Boys</span> and girls who live in the country will find it a -pleasant winter evening pastime to make a bouquet of -vegetable flowers.</p> - -<p>First gather from the woods laurel leaves and other -evergreens. Then by the exercise of taste, ingenuity, -and a skilful use of the penknife, really beautiful bouquets -can be compiled of these flowers, with the addition -of sprigs of evergreen. White turnips, yellow turnips, -beets, carrots, pumpkins, and portions of cabbages, can -be used for the flowers.</p> - -<p>Take a white turnip, neatly peeled, notched exactly -down in leaf shape all round. Then fasten to a stem -whittled from wood. Surround it with green leaves, and -behold either an exquisite white camellia or a rose! -Moss rose buds can be made by cutting turnips or beets -into the proper shape, and placing real moss around -them. Red roses, camellias, or dahlias can be made in<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -the same way from beets. Yellow flowers from carrots -and pumpkins. White or red flowers from white and -red cabbages.</p> - -<p>Beautify your houses, however poor or humble your -lot; a bare, comfortless room does not excite home love.</p> - - -<h3>19.—ORNAMENTAL SEED WORK.</h3> - -<p><span class="smcap">We</span> have seen exhibited at agricultural fairs some -really beautiful frames and boxes ornamented with common -garden seeds.</p> - -<p>If our boys and girls will begin early in the summer, -and collect every variety of seed possible, such as all -kinds of beans, corn, melons, &c., they will have abundant -material for this kind of ornamental work in the -winter.</p> - -<p>Every seed of size sufficient for handling should be -saved; even small polished black or yellow seeds, like -poppy seed, can be preserved to scatter over the ground-work. -Dry all the seeds carefully, and place them in -boxes ready for use. This work can be applied with -excellent effect in ornamenting boxes, picture frames, -hanging baskets, book racks, flower stands, small tables, -brackets, &c. Get the frame of wood, of any article you -intend to ornament with seed work; stain the wood with -walnut staining materials, or varnish with asphaltum -varnish. It is not desirable to have a high polish on the -surface intended to be ornamented, as the glue will not -adhere to a very smooth substance. Keep your woodwork -in some dry place, until you are ready to glue on -the seeds.</p> - -<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span></p> - -<p>When you have a leisure day or evening, place your -frame of wood before you, and the boxes of seeds around -it. When your glue is hot, spread a little over a small -space with a brush, and arrange your seeds in the form -of some flower or other figure.</p> - -<p>It is difficult to give explicit rules for the work. It is -best for each person to exercise his or her taste and -ingenuity in arranging the designs. As the work proceeds, -an endless variety of shapes and styles of designs -will suggest themselves.</p> - -<p>An accurate resemblance to nature is not easily attainable -in this kind of work.</p> - -<p>When all the ornamental work is arranged, the small -spaces left uncovered should be brushed over with a thin -coat of varnish, and sprinkled with any small seeds. -Black seeds are very desirable, as they form a good -ground-work, and afford a proper relief to the designs. -When the glue has become hard, apply to the whole -work an even coat of copal varnish. If this is not sufficient, -apply another coat; it is needed, as some seeds -absorb more than others.</p> - - -<h3>20.—HOW TO IMPRESS LEAVES ON -VELVET.</h3> - -<p><span class="smcap">This</span> work is very easy and very pretty, requiring -only great nicety and care, and some taste. Take a -piece of white cotton velvet (such as undertakers use as -a lining to burial caskets), white jean, or white linen, -or fine, thin muslin; cut it out in the form of a tidy,<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span> -mat, or whatever you wish to make. Then pin upon it -carefully, with very minute pins, Ferns, Maiden’s Hair, -or any graceful leaf, in the form of a wreath or -bouquet.</p> - -<p>Mix plenty of India ink the depth of color you require; -take a fine comb and brush; dip the brush in the -ink and pass it over the comb, thus splashing the ink all -over your material until it is quite black. Let it dry -thoroughly, and then unpin your flower; you will find its -form left in white on the velvet or linen. Mark, with a -fine brush, the veins and stems in it, and your work will -be ready to make up as required.</p> - -<p>All delicate leaves should be carefully pressed till dry -before using them for this work.</p> - - -<h3>21.—PAPER PILLOW.</h3> - -<p><span class="smcap">Save</span> all your scraps of writing paper, old notes of no -use, old envelopes, old backs of notes, &c. Take a bag -or some box to throw them in, instead of the fire or rag-bag, -where they are usually placed. When a number -has been collected, cut them into strips about half an inch -wide or narrower, and two inches long; curl them wet -by drawing them over the blade of an old penknife.</p> - -<p>Make a pillow case of any material you have; fill it -with your curled paper; mix with it a few shreds of old -flannel.</p> - -<p>Stuff it <em>quite full</em>, sew the end up, and cover it as you -please. These pillows are invaluable in case of fevers, -as they keep cool, and are cheap and good substitutes<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -for feather pillows. If these pillows are not required -for home use, our young ladies could make them for -our hospitals, or the poor.</p> - - -<h3>22.—IMITATION CARVED IVORY.</h3> - -<p><span class="smcap">Take</span> half an ounce of isinglass, boiled gently in half -a pint of water, till dissolved; then strain it, and add -flake white, finely powdered, till it is as white as cream.</p> - -<p>Take any article you desire to look like ivory, such as -a wooden box, stand, or card-case.</p> - -<p>Give the article three or four coats of this solution, -letting each dry before the other is laid on; then smooth -it carefully with a bit of damp rag.</p> - -<p>When the composition is perfectly dry, you can put on -the imitation carved ivory figures, which are made as -follows: Boil half a pound of best rice in one quart of -water, till the grains are soft enough to bruise into -a paste; when cold mix it with starch powder till you -make it as stiff as dough; roll it out about as thick as a -shilling. Cut it into pieces two inches square, and let it -dry before a moderate fire. These cakes will keep many -months, and be fit for use, if kept dry and free from -dust.</p> - -<p>When required for use, get a coarse cloth, make it -thoroughly wet, then squeeze out the water and put it on -a large dish four times double; place the rice cakes in -rows between this damp cloth, and when sufficiently soft -to knead into the consistency of new bread, make it into -a small lump; if too wet, mix with it more starch powder,<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span> -but it must be sufficiently kneaded to lose all appearance -of this powder before you take the impression; to do -which, you must procure some gutta percha half an inch -thick, cut it into pieces about two inches square, and -soften it in hot water; then get any real carved ivory -you can, and take off the impression on your pieces of -gutta percha, by pressing it carefully upon the carved -ivory till a deep impression is taken.</p> - -<p>When the moulds are quite dry and hard, and your -paste in a proper state, with a camel’s hair brush lightly -touch with sweet oil the inside of the mould you are going -to use, and then press the rice paste into it; if the -impression is quite correct on removing it, take a thin, -sharp, small dinner knife and cut the paste smoothly, -just so as to leave all the impression perfect; then with -a sharp-pointed penknife smooth off all the rough edges, -and with white cement place your figures on the box in -large or small figures, just as your taste directs; the -figures adhere better if put on before they are quite dry.</p> - -<p>Sometimes, from frequent kneading, the paste gets -discolored; these pieces should be set aside and used -separately, as they can be painted in water colors to -resemble tortoise shell or carved oak; this should be -done after being fastened to the box.</p> - -<p>Having completed your work, finish by varnishing it -very carefully with ivory varnish, which should be almost -colorless.</p> - -<p>This design so nearly resembles carved ivory, that it -has been mistaken for it when nicely done, and it is very -strong if carefully cemented.</p> - -<p>Cover boxes simply with the flake white solution, and<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -then paint on them in water colors representations of -flowers, varnishing when dry with colorless varnish. -Such boxes are very easily made.</p> - -<p>From the readiness with which the material can be -obtained, this is an elegant amusement for all who are -of an ingenious disposition.</p> - - -<h3>23.—DIAPHANIE, OR STAINED GLASS.</h3> - -<p><span class="smcap">This</span> simple, but really beautiful invention, can easily -be acquired by carefully reading the following directions, -and by practice, the effect of gorgeous stained glass can -be given to common window glass, with moderate expense. -The materials required are plates of clear glass, -free from specks or bubbles, designs, groundings, and -borderings which are printed expressly for the purpose, -and in transparent colors; a roller which is employed to -press the paper closely on the glass, so as to remove the -bubbles of air; transfer varnish, to fasten the prints -upon the glass; clearing liquid, which is used after the -paper has been removed, to render the work transparent -and brilliant; the washable varnish, which protects the -designs from damps, and renders them capable of being -cleaned; and three camel’s hair brushes to apply the -varnish, &c. There are three hundred sheets of designs -published for this work, consisting of subjects, borderings, -and groundings.</p> - -<p>A window generally consists of parts of several sheets, -as it should contain a medallion or subject, a border, and -the whole of the remaining space filled up with grounding<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -paper. Among some of the best subjects, we may mention -“The Virgin and Child.” “The four Evangelists -with architectural niches.” “The Adoration of the Magi, -with architectural borders.” “St. Peter and St. Paul.” -“The Annunciation.” “St. John the Baptist.” “St. -Joseph.” “Mater Admirabilis.” “Adoration of the -Magi.” “Boar hunt.” “Deer reposing.” “Two marine -views.” “The Laborer’s Return.” “Winter scenes,” -&c. For these suitable groundings and borderings must -be selected according to the taste of the worker, who -must, however, remember that the beauty of the work -depends upon perfect harmony in coloring and design.</p> - -<p>The materials being all collected, thoroughly cleanse -and dry your sheet of glass, and lay it flat upon a folded -cloth. Then cut out the medallion, or subject (unless -the paper is to be applied in one piece), and fasten it to -the glass by thoroughly damping it on the wrong side -with a wet sponge, giving it a plentiful coating of transfer -varnish on the printed side, laying it face downwards -upon the glass, and firmly pressing it down with the -roller, commencing at the centre, and gradually passing -over the edges.</p> - -<p>The border must be the next fixed. Then damp the -printed side of the grounding paper, and lay it over; -raise one end of the glass, so that the light passing through -will enable you to see the position of the subject and border. -Trace round them carefully with a pencil, remove -the grounding paper, and cut it out a little within the -line, so that the ground may slightly overlap the subject; -give the coating of varnish, and apply it to the glass, as -before described, pressing it down with the roller, so that -no blisters are to be seen.</p> - -<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p> - -<p>Take care to keep the back of the papers damp during -this operation, and when it is finished wash them -over with the sponge and water. It is well to interpose -a piece of damp paper between the roller and the design, -as this prevents the varnish adhering to it. The work -now requires to be left for four-and-twenty hours, so that -the varnish may become dry and hard; it is then ready -for the next operation—rubbing off the paper. This is -done by wetting and rubbing in a circular direction, with -a sponge or the hand.</p> - -<p>After this the work again must be allowed to dry; after -which rub it with the hand so as to remove all loose -particles, and give it a coating of the clearing liquid, -which should be laid on with a flat brush. After again -remaining for a day to harden, the washable varnish is -applied, and the work is completed.</p> - -<p>If these directions are carefully followed, a perfect -transparency will be produced, which it will require an -experienced eye to detect from real stained glass.</p> - -<p>Transparencies in thin silk or muslin can be made by -tightly stretching the material on to a frame. The designs -are then subjected to two coatings of the clearing -liquid applied on the wrong side, and when dry, one of -the transfer varnish to the colored side. This is then -well pressed down by the roller. When quite dry, if the -picture appear at all cloudy, it will be necessary to apply -the clearing liquid again, then varnish, and the transparency -is finished. Be careful, however, not to remove -the work from the frame until perfectly dry. This work -is especially adapted for hall windows, by the side of the -front door, or in the door.</p> - -<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p> - -<p>We have seen beautiful specimens of this work done -by a twelve-year-old miss.</p> - - -<h3>24.—PAINTING ON GLASS.</h3> - -<p><span class="smcap">Some</span> of the works which profess to teach the art of -painting on glass, contain directions for staining large -windows in churches and halls; others merely give the -process of producing the more common paintings, such -as are carried about the streets for sale. These seem to -have been much in vogue about a century since, as all -the “Young Artists’ Assistants” of that day contain the -mode of painting them. They direct us to fix a mezzotinto -print upon the back of a sheet of glass, and to remove -the paper by wetting and rubbing, leaving the -impression of the print, which is afterwards to be painted -in broadwashes, the ink of the print giving the shadows. -The picture being then turned over, the glazed side becomes -the front, and the colors first laid on, are, of course, -nearest the eye. This mode of painting resembles the -style of Grecian painting, that being painted from the -back, and the shading is the ink of the engraving.</p> - -<p>The methods by which glass is stained are scientific; -they require some knowledge of chemistry, and such -apparatus as must preclude the practice of this branch -of art as an amusement. It may be interesting, however, -to know something of the process. The glass being -at first colorless, a drawing is made upon it, and -the painting is laid on with mineral substances, the vehicle -being a volatile oil, which soon evaporates. The<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -sheets of glass are then exposed to a powerful heat, until -they are so far melted that they receive the colors into -their own substances. Enamel painting is done on the -same principle. This is a time of great anxiety to the -artist, as with all possible care valuable paintings, both -in glass and enamel, are frequently spoiled in the proving, -or vitrification. The art seems to have been lost -during several centuries; but it has of late been successfully -revived; and large windows have been executed for -churches and Gothic halls, which almost vie with the fine -old specimens in the cathedrals in point of color, while -they far excel them in other respects.</p> - -<p>The branch of the art which may be treated as an -accomplishment, is the decoration of glass, flower-stands, -lamp-shades, and similar articles, with light and elegant -designs. Flowers, birds, butterflies, and pleasing landscapes -afford an extensive range of subjects, which are -suitable to this style of ornamental painting. The glasses -may be procured ready ground. The outline may be -sketched in with a black lead pencil; the lead can be -washed off with a sponge when the colors are dry. The -whole of the colors employed must be transparent, and -ground in oil; opaque, or body colors, will not answer -the purpose.</p> - -<p>They may be purchased in small bladders, only requiring -to be tempered with fine copal or mastic varnish, -and a very little nut oil, to be ready for use. Blue is -produced by Prussian blue; red, by scarlet or crimson -lake; yellow, by yellow lake or gamboge; green, by verdigris, -or mineral green, or a mixture of Prussian blue -and gamboge; purple, by a mixture of lake and Prussian<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -blue; reddish brown, by burnt sienna; and all the other -tints may be obtained by combinations; for white, or such -parts as are required to be transparent, without color, -the varnish only should be employed. A very chaste -and pleasing effect may be produced by painting the -whole design in varnish, without color.</p> - -<p>It is an advantage to this style of painting that but -few colors are required; as from the nature of the subjects, -and their purpose as ornaments, brilliancy is more -desirable than a nice gradation of tints. The work must, -of course, be carefully dried, but may afterwards be -cleaned with a sponge and cold water.</p> - - -<h3>25.—PAINTING ON VELVET.</h3> - -<p><span class="smcap">Painting</span> on velvet as well as on glass is an old art -revived. No art that is really beautiful in itself will -pass away entirely. As these paintings are very pleasing -to the eye, and easy of execution, it is well to know -how to paint them. The following directions are taken -from a reliable English work.</p> - -<p>The colors for this style of painting are sold at the -drawing material warehouses in a liquid state, and prepared -for use. In addition to these, a brilliant rose-color -is obtained from the pink saucers, by dropping a little -weak gum water upon the color, and rubbing it with a -brush. A deep yellow may also be produced by pouring -a few drops of boiling water upon a small quantity of hay -saffron.</p> - -<p>It is necessary to mix gum water with all the colors<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> -made, to prevent their spreading into each other; gum -dragon is the best for this purpose. The brushes used -are called scrubs; they consist of a small stick, with a -camel’s-hair brush cut off quite short at one end, and at -the other, a brush of bristles of a much harder description. -A small box of black lead is necessary, and a -piece of list rolled tightly round, to the diameter of about -two inches, to be used as a sort of brush with the black -lead, for making outlines in the manner we shall presently -direct. A piece of linen rag, to wipe the brushes on, -should also be provided.</p> - -<p>The most brilliant flowers, fruits, shells, birds, &c., -are well adapted to this style of painting. The outline -of the subject may be sketched in pencil on the velvet, -which is of such a very delicate nature, that the greatest -nicety is necessary to keep it in a state of neatness. Care -should also be taken that the sketch is correctly made, -as an error cannot be effaced by rubbing out, as on paper. -It is a safer method, however, to make the sketch on -drawing-paper, and to prick the outline very closely with -a fine needle; then, the velvet being previously nailed -on a flat piece of wood of a proper size, the pricked pattern -may be laid over it, the roll of list dipped into the -black lead powder, and rubbed regularly over the pattern -from side to side; be careful to touch every part, -and on removing the pattern, a perfect outline in black -dots will appear on the velvet.</p> - -<p>Where a set of articles of the same pattern is undertaken, -this is a very good plan, as it insures accuracy, -and saves the trouble of making separate sketches.</p> - -<p>Even those who have no knowledge of drawing on<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span> -paper, may produce a design on velvet with ease and -correctness, by tracing off against a window, or by means -of tracing paper, any drawing or print which they wish -to copy, and pricking the tracing on the velvet in the -manner just described. In order to keep the margin of -the velvet from being soiled in the progress of painting, -a piece of thick paper should be laid over the whole, -and an aperture cut in the middle, sufficiently large to -expose the part to be worked on. Each brush should -be kept for that color alone, to which it has once been -appropriated.</p> - -<p>A small quantity of the color about to be used should -be poured into a little cup, and a drop of gum-water -added, and stirred with the stick of a pencil prior to its -being taken on the brush. The mode of its application -is so simple, that a short description of the execution of -a single flower will suffice to give an idea of the process -of painting almost any other subject on velvet. A very -small portion of color is to be taken upon the brush, and -the darkest part of the leaf touched with it; the brush -is then to be dipped in water, and the color gradually -softened to the edge; each leaf ought to be colored -separately, and the darkest parts in the centre of the -flowers may be finished with a small brush without softening. -India ink is used to make the dark shadows of -crimson flowers. The veins, and all the petals of flowers, -and all the fine lines, should be done with a pen. -Each leaf, as it is shadowed, should be brushed with the -hard end of a brush that way of the velvet in which the -pile runs most easily, and then in the contrary direction, -so as to set it up again to become dry. A deeper shade<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span> -should never be added to a leaf or flower until the color -previously laid on is perfectly set, or the two colors will -spread, and run into each other; this will be prevented -by the gum, if sufficient time can be allowed for each -shade to dry before a subsequent one is applied.</p> - -<p>When the piece is finished, and quite dry, it should be -brushed over with a small, round brush, about two inches -in diameter, with hard bristles of an equal length, to -raise up such parts of the pile as may have been flattened -in the process of painting.</p> - -<p>Toilet sets, sofa cushions, fancy tables, pincushions, and -a variety of articles may be ornamented in this way.</p> - - -<h3>26.—CASTING IN PLASTER, SULPHUR, &c.</h3> - -<p><span class="smcap">Taking</span> the impression of coins, metals, &c., is, independently -of its utility, a most interesting amusement. -This art is of considerable importance to collectors of -antique coins, &c. It is often difficult and always expensive -to purchase superior specimens, of which, however, -exact models may be obtained by casting, without -the slightest injury to the originals. The mould is made -in the following manner:—</p> - -<p>Take a strip of paper, a quarter or third of an inch -wide; roll it twice tight around the rim of the coin or -gem, of which a cast is intended to be taken, and fasten -the end with very stiff gum-water, which will hold it instantly. -Rub a very little oil, with a camel’s-hair pencil, -over the coin, in order to prevent the plaster from sticking; -then mix some fine plaster of Paris, with as much<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span> -water as will make it almost as thick as treacle; apply -it quickly to the coin, on which it will be held by the -paper rim. It sets almost instantly, and may be taken -off in a few hours; but the longer it remains undisturbed -the better. The mould which is thus obtained is the reverse -of the coin; that is, the impression is concave, like a -seal. When the moulds are so dry that they will not wrinkle -a piece of paper laid flat upon the surface, let them -be well saturated with the best boiled linseed oil, placing -the moulds with their surface upward, that the whole -of the oil may be absorbed. They must be covered from -dust, and nothing should touch their surface, lest they -suffer injury. Moulds, well prepared in this manner, -and dried about two days after being oiled, will stand a -long time for the casting of either plaster or sulphur. -When used, either Florence oil or a little hog’s lard (the -latter to be preferred) should be applied very tenderly -over the mould with a little of the finest cotton wool, and -the cotton wool, without lard, afterwards passed lightly -over the surface, to leave as little as possible of the unctuous -matter upon the mould, that the casts may be the -finer. Put paper around them, as was before done to the -coin; pour on plaster in the same manner, and a facsimile -of the original will be produced.</p> - -<p>Good casts may be made of sulphur, melted in an -iron ladle, either pure, or colored with a little red lead or -vermilion, powdered and stirred up with it. The moulds -and casts are made in the same manner as with plaster -of Paris, only that the sulphur must be poured on the -mould when hot, and water, instead of oil, must be used, -to prevent adhesion. Sulphur makes the best moulds for<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span> -plaster casts, and <i lang="la" xml:lang="la">vice versa</i>—as similar substances can -seldom be prevented, by either water or oil, from adhering, -in some degree, to each other. Plaster cannot be -used twice; that is, old or spoiled casts cannot be powdered -and again employed; for the moment the material -is moistened, being a species of lime, it is no longer -plaster without being reburnt.</p> - -<p>Another way of making casts of almost any color, -is with a strong solution of isinglass; it must be used -when quite hot; and it is so thin that a box, exactly -fitting the rim of the coin, is required, otherwise it will -escape. It may be colored with saffron, wood, &c.</p> - -<p>Very beautiful impressions may be taken by pouring -melted wax upon the metal, which comes off easily when -the wax and metal are perfectly cold; but any one attempting -this had better try it first upon a penny, or -other coin of little value.</p> - -<p>Impressions may also be taken in wax, which, for -this purpose, should be rendered pliable by kneading it -with the hand before the fire, a little oil having been previously -mixed with it. When softened to about the consistency -of putty, lay it and press it close down on the -coin, the form of which will then be perfectly obtained.</p> - -<p>The following is another mode of taking impressions: -Procure tin or lead foil as thin as possible, place -it on the coin, and with a pin’s head, or any small, -smooth instrument, work it into every part; then take -it off, revert it into a shallow box, and pour plaster into -its concave side; a durable plaster cast is thus obtained, -covered with tin foil, which will resemble silver.</p> - -<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - - -<h3>27.—ENGRAVED BOXES.</h3> - -<p><span class="smcap">The</span> box should be white or light straw-color, in order -to show the faint impression to advantage. It should be -varnished five or six times in succession, and suffered to -dry thoroughly each time. While the last coat of varnish -is yet so fresh that your finger will adhere to it, the -engraving must be put on, the picture side next to the -varnish. The engraving must be prepared in the following -manner:—</p> - -<p>All the white paper must be cut off close to the edges -of the engraving, which must be laid on a clean table, -with the picture downward, and moistened all over with -a clean sponge. It must then be placed between two -leaves of blotting paper, to dry it a little. Before putting -it on the box, take great care to have it even, and -determine exactly where you wish it to be. Lay one -edge of the print, picture downward, upon the varnish, -and gradually drop it to its place, passing the hand successively -over the back of the print in such a manner as -to drive out all the air, and prevent the formation of -blisters. Then carefully touch it all over with a linen -cloth, so as to be sure every part adheres to the varnish. -Leave it until it is thoroughly dry. Then moisten the -back of the engraving with a clean sponge, and rub it -lightly backward and forward with the fingers, so as to -remove the moistened paper in small rolls. When the -picture begins to appear, take great care lest you rub -through, and take off some of the impression. As soon -as you perceive there is danger of this, leave it to dry.<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> -In drying, the engraving will disappear, because it is still -covered by a slight film of paper. You might think it -mere white paper; but give it a coat of varnish, and it -will become quite transparent. Should you by accident -have removed any part of the engraving, touch it with India -ink and gum-water, in order that no white spots may -appear; but when you put on your second coat of varnish, -you must take care to pass very lightly over the -spots you have retouched. The box should be varnished -as many as three times after the engraving has been -placed on it, and suffered to dry thoroughly each time. -The white alcoholic varnish is the best. It should be -put on in the sunshine, or near a warm stove. After the -last coat is well dried, sift a little pulverized rotten stone -through coarse muslin, and rub it on with linseed oil and -a soft rag; after being well rubbed, cleanse the box -thoroughly with an old silk handkerchief or soft linen -rag. Some persons say that a very thin sizing of nice -glue should be put on the box before it is varnished at -all; others say it is not necessary. This work requires -great patience and care; but the effect is very beautiful, -and pays for the trouble.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Solitaire_Games_of_Cards" id="Solitaire_Games_of_Cards"></a>Solitaire Games of Cards.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">There</span> are very few games one person alone can play. -Mrs. Cheney has compiled a collection of these games, -under the name of “Patience,” which are very desirable. -These games are an acquisition to any home. -They amuse an invalid, and often act as a sedative to -men wearied of business cares, who desire some simple -amusement before sleeping. They do not produce the -feverish excitement of games of chance and skill played -against an opponent. Yet they can become a social -pleasure, by others looking on and sharing in the interest -of the game, and the pleasure of success. Boys and -girls would do well to learn them, as they will not divert -the mind from study, yet may help to pass pleasantly an -idle hour, besides exercising the <em>patience</em>. The publishers -have allowed us to give the directions of some of -the games; we also will add “The Army Solitaire,” -and when you play it, think of the pleasure it has given -to many a weary soldier, in diverting his mind from the -hardships of war. Our famous generals often played it<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span> -the night before a battle, and if successful, looked upon -it as a good omen. We will add a few simple social -games.</p> - - -<h3>1.—THE LEGITIMIST.</h3> - -<p class="center">TWO PACKS.</p> - -<p><span class="smcap">This</span> name is of French origin, but it seems to have -no special adaptation to the game. It may have been applied -to it from some old royalist, who solaced his years -of exile with the company of mimic kings and queens. -It requires close attention, but is not otherwise difficult.</p> - -<p>Take a king and place it at the left. Then, having -shuffled your cards well together, begin to lay them off. -You place in succession, in a horizontal row, next the -king, the queen, the knave, ten, nine, eight, seven, and -six, as they appear from the pack. On these you form -the families of thirteen cards each, piling downwards, -not following suit, and ending each family with the number -next to the bottom card, so that you will finish, if -successful, with a row of piles, whose top cards number -from the ace to the seven, inclusive. Put the cards that -you cannot immediately use in stock. You can take up -this stock, re-shuffle it, and re-lay it twice.</p> - -<p>You must be very careful to observe when your families -are complete, for as each one ends with a different -number, you will be likely to put on too many cards if -you are inattentive.</p> - -<p><span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p> - - -<h3>2.—THE SULTAN.</h3> - -<p class="center">TWO PACKS.</p> - -<div class="figcenter" style="width: 437px;"> -<img src="images/i_163.jpg" width="437" height="600" alt="Card Layout" /> -</div> - -<p><span class="smcap">This</span> is, perhaps, the most curious and interesting of -all the games of Solitaire, and, if successful, it forms a -pretty picture of the sultan or king of hearts, surrounded -by his eight queens. As it is rather difficult to understand<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -the arrangement, we have prepared a little diagram -to illustrate it.</p> - -<p>Take out the ace of hearts and all the kings. Place -one king of hearts in the centre. Just above him place -the ace of hearts, and below him the other king of -hearts. On each side of the ace place the kings of -clubs, who represent war. On each side of the first -king of hearts are the kings of diamonds, representing -the treasury; and on the lower line, each side of the -second king of hearts, are the kings of spades, representing -the industrial forces.</p> - -<p>Then shuffle the remaining cards, and lay off from the -pack. Put the first four cards on one side off the square -formed by the kings, placing the ends of the cards towards -the square. Put the next four cards on the other -side in a similar manner; these eight cards form the -divan.</p> - -<p>Leaving the sultan untouched, form the other families -by placing the aces on the kings, and so piling in regular -succession, according to suits, ending with the queens. -Place all cards which you cannot immediately use, in a -pile on the table, which is called the stock. You can use -the cards you are laying off from the packs, or the top -card of the stock, or any card in the divan, in forming -your families. When a card is taken from the divan, -you may fill its place, either by the top card from the -stock, or by the next card from the pack, as you think -most likely to be favorable to your purpose.</p> - -<p>When you have exhausted the pack, you can take up -the stock and use it as a pack, always keeping your divan -full. This you can do twice. Some skill is required in<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span> -placing the cards in the divan, and in selecting them for -use, and constant care is needed that no opportunity in -placing a card in the families escape you. You will, after -a little experience, generally be rewarded with success.</p> - - -<h3>3.—FRENCH SOLITAIRE.</h3> - -<p class="center">ONE PACK.</p> - -<p><span class="smcap">This</span> game is very simple, and well adapted to invalids -who cannot make much effort.</p> - -<p>Shuffle the cards well. Lay the four aces as they -come in a row. Place the other cards as they appear -from the pack, on the aces in order, without following -suit; as, ace, deuce, three, four, &c.; this is called putting -the cards in families.</p> - -<p>Place the cards which do not fit on these, in due order -in four piles below, and whenever the top card will go on -the upper line, in regular sequence, you can use it, which -will thus free the card beneath it.</p> - -<p>The skill consists in deciding on which of these four -piles to place the cards from the pack, and which card to -use, if you have two top cards of the same number. -Of course you must not, if you can help it, place a higher -card on a lower; but if you have already four piles, this -will often be unavoidable. You must then endeavor to -get off the higher cards, to free those beneath. According -to the old, strict rule, of not looking to see what -cards are beneath the top card, it becomes an excellent -exercise of memory to recall in which pile are the cards<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> -you want at the moment. It is not well to place many -cards of the same number in one pile. If you can complete -the families in the upper row to the kings, you have -succeeded in this game; if not, you have failed.</p> - -<p>You may make this game still easier by taking out the -aces, and placing them in the upper row, before beginning -the game; or you may make it more difficult by -following suit in the families, in which case you are entitled -to take up the lower piles, re-shuffle them, and re-lay -them twice.</p> - - -<h3>4.—THE ARMY SOLITAIRE.</h3> - -<p class="center">ONE PACK.</p> - -<p><span class="smcap">The</span> army game is a decided favorite with all who -like solitaire games; we have never <em>seen</em> any printed -directions, yet there may be in some book we have not -had access to. We prefer it to any other game of solitaire, -and we hope these directions will be sufficiently -plain to interest our readers to try it.</p> - -<p>Shuffle the cards thoroughly. Then deal off the first -card, whatever it may be, and place it on the upper corner -of the left hand side of an imaginary square. This -is called the foundation card, on which to form a family. -For instance, if it were the six of diamonds, the next -card to place upon it would be the seven of diamonds, as -the family must be formed in regular succession, according -to suit. Whenever you come across, in playing the -cards, the six of spades, hearts, or clubs, these are the -foundation cards (as the first card dealt gives the requisite<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -value of the other three foundation cards, or as some -call them, the four towers of the fortress), and can be -placed in the other three corners, to form a square. On -these build your towers, as we directed in diamonds. If -you succeed in forming the four towers or families in -suit, and in succession, you have conquered.</p> - -<p>When you deal a card that cannot be placed on the -corner families in succession, place it on the sides of the -square, between the foundation cards, as three of clubs, -and nine of spades, eight of diamonds, king of hearts, -and one can be placed in the centre of the square, as the -ace of diamonds; these five cards are called the reserve -forces, and on these you can place any card in downward -succession (suits need not be followed), which cannot -be used on the towers. For instance, if you deal off -the deuce of hearts, or any other deuce, place it on to -the three of clubs; or any eight, place it on to the nine -of spades; or king, place it on to the ace, so on; but -with every card turned, first look at your foundation -cards, or towers; never lose an opportunity to build up -these. All cards that cannot be played on to the four -towers or the five reserve cards, may be placed on one -side as stock.</p> - -<p>Whenever any one of the five reserve corps cards are -vacant from being used to build up the towers, or a vacancy -made by being able to place reserve cards on the -other reserve corps, replace from the stock, and by taking -a card from the stock, a desirable card to use on the -towers may be freed.</p> - -<p>The great skill of this game consists in the judicious -arrangement of the reserve corps; if you have two top<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span> -cards on different piles, of the same value, you should -carefully consider on which pile it is best to place the -card dealt of proper value, for future use.</p> - -<p>If you can complete your towers in the first play, -without shuffling your stock, you have gained a great -victory; the stock can only be shuffled and played over -once. If the towers cannot then be built, the game can -be commenced anew. Sometimes the cards deal out so -perversely that even skilful play and patience cannot -build the towers.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="The_Toilet" id="The_Toilet"></a>The Toilet.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">There</span> are many boys and girls who pride themselves -on their utter disregard of their personal appearance, -most fully comprehending the old phrase “that beauty -unadorned is adorned the most,” or perhaps think it a -mark of genius to appear so occupied with study as to -neglect their person. Such boys and girls are repulsive -to both God and man. One of the first laws Nature -teaches us, is perfect cleanliness. Look at the birds and -squirrels; indeed, all wild animals are taught by instinct -to take a daily bath, if possible. Tame animals are less -cleanly than wild ones in their habits, as far as our observation -goes. They look to man to cleanse them. But -God teaches the untamed beast and bird laws of cleanliness. -Look at the woods! God sends the rain to wash -them, and the winds to sweep them, and the sun to -brighten them. The Creator of all gives to every boy -and girl the mind to know how to take good care of their -own persons, and if they neglect the laws of health, just -so sure will come bodily suffering. Besides, it is a Christian -duty, as well as a social duty, of every boy and girl, -to make the most of all their personal attractions, and to -preserve every agreeable quality they may have been endowed -with, to the latest period of their lives. <em>It is not</em><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -<em>vanity</em>. It is a duty we all owe to ourselves, and we -owe it to others. Habits rightly formed in youth will -often prolong life, and add tenfold to any personal attraction.</p> - -<p>We trust all boys and girls who read this book, will -not pass over this chapter on the toilet. We will try and -give them some useful hints and recipes.</p> - -<p>In the first place, every boy and girl, no matter how -young, should strive to make their sleeping and dressing -apartment attractive. <em>Perfect neatness</em> is an <em>essential</em> -quality in every room. Never leave any article of clothing -on a chair, table, or floor, which can be either neatly -folded and placed in a drawer, trunk, or closet shelf, or -hung on some nail placed for that purpose. Never leave -a draw partly open. We once knew a young girl who -was always leaving her drawers open, and articles of -dress hanging from them. One Christmas, before a room -full of friends, she received from the Christmas tree a -little bureau, with every drawer partly open, and things -hanging out of each drawer. Of course it was soon -known to all <em>why</em> she received such a gift. That lesson -she <em>never</em> forgot. We must confess it also cured us of -the careless habit of leaving drawers partly open. We -hope our young friends will take this lesson to heart, and -profit by it.</p> - -<p>When you rise in the morning, always (even if you -can afford plenty of servants), throw the clothes of your -bed carefully over the foot-board, or some chair, to give -your bed a sufficient chance to be well aired—a most -necessary requisite for health. Before leaving your room, -even in midwinter, open your window. Never allow<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span> -your bed to be made till thoroughly aired. Though you -are not blessed with even a competency, you can make -a plain room attractive. A few pictures on the walls, -and by covering a plain pine toilet table with pretty, -cheap chintz, and exercising a little ingenuity in making -pretty articles of furniture out of old boxes. But always -be a foe to all dust; keep a dusting cloth at hand. After -washing, if you cannot have a chambermaid, arrange -your washing apparatus neatly, and carefully spread -your towels to dry, if clean. There are so few, comparatively, -in America, who can afford the constant attendance -of servants, we desire all boys and girls to learn -how to care for themselves.</p> - - -<h3>1.—THE BATH.</h3> - -<p><span class="smcap">In</span> olden times, in this country, baths were but little -used. It was considered a luxury but few could possess. -Now there is scarcely a decent house built without a bathroom. -In England and France, “there was a time when -many ladies had a most hydrophobiacal dread of water; -they thought it injured the delicacy of the complexion. -Their ablutions often consisted in wiping the cheeks with -a cambric handkerchief, dipped in elder flower or rose -water.”</p> - -<p>A daily bath is now the rule rather than the exception, -and its effect is admirable. A cold bath, from sixty to -seventy degrees, is, to most persons, the most health-giving -and invigorating process one can undergo; but -beyond its invigoration, it is of no essential service in<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> -cleansing the skin. No one can preserve a purely clean -skin by the use of cold baths only, though the purifying -effect is increased by the use of rough towels, which help -to remove the impurities from the surface of the skin. -The skin is constantly throwing off fine dust like scales, -and these, blending with other foreign matter, stop up the -pores, and prevent the skin from performing its natural -functions.</p> - -<p>Therefore soap should be used, because the alkali in it -assimilates with the oily exudations of the skin, and removes -impurities.</p> - -<p>It has been said that soap is calculated to irritate the -skin, and injure the complexion. It is not true, according -to our knowledge. Some of the most beautiful complexions -we ever saw were washed with soap daily. -Great care should be taken that the soap is of a <em>good -quality</em>.</p> - -<p>If any unpleasant sensations are experienced after its -use, it is easily removed by rinsing the skin with water -slightly acidulated with lemon-juice.</p> - -<p>Once a week a warm bath, at about one hundred -degrees, should be used, with plenty of soap, to be sure -and cleanse the skin from all impurities. Sea-water -baths are invigorating, but not cleansing—a warm bath -is required after a short course of them. The same remark -applies to sea-salt baths, now much used. The -friction of coarse towels is very beneficial. Shower -baths are not generally desirable, as but few constitutions -can bear them.</p> - -<p>Milk baths and perfumed baths are absurdities, which -a very few silly women indulge in; but nothing equals -pure salt water.</p> - -<p><span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p> - -<p>Of late years the practice of taking Turkish baths has -been introduced. Doubtless these baths are the best in -existence for a thorough cleansing of the pores of the -skin. But no one should venture to take them, except -after having first had medical advice, or those who possess -strong constitutions; for there are states of health -to which they would be injurious in the highest degree. -We consider them a great luxury.</p> - -<p>We also recommend, most heartily, the sponge bath -for daily use. Use a large circular sponge.</p> - -<p>It is always best, before taking any bath, to wet the -top of the head; boys and men can wet the sponge, and, -holding their heads over the bath-tub, thoroughly souse -their heads and necks. It prevents the blood rushing to -the head suddenly. A hair glove is excellent to rub the -body. Boys and men should exercise with the dumb-bells -after their morning bath; it increases their muscular -strength.</p> - -<p>In all our directions with regard to the bath, it must -be borne in mind that we only refer to those who are in -a moderately sound state of health; otherwise their medical -attendant should be consulted. Sea-bathing is admirable -to all those who can bear it; but persons of a -bilious temperament, or with heart disease, and even -some with apparent health, may suffer serious ill consequences -from a single bath. Some constitutions cannot -bear the plunge into any cold water. All who have -a quick reaction from a sea-bath and cold water bathing -are benefited. The delicious glow it gives is most -charming. We have known many young, vigorous persons -suffer from sea-bathing; but it was their own fault,<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span> -from remaining in the water too long; ten minutes is -sufficient.</p> - - -<h3>2.—COMPLEXION.</h3> - -<p><span class="smcap">We</span> will only give a few words of advice, as an assistance -in the preservation of the complexion.</p> - -<p>Rise early, and go to bed early. Take a plenty of -exercise. Keep the pores of the skin open by perfect -cleanliness. Be moderate in eating and drinking. Do -not often frequent crowded assemblies, and <em>shun cosmetics, -and washes for the skin</em>. We will give a few harmless -recipes. But most of the powders and washes used -dry up the skin, and in the end make it rough.</p> - -<p>Be careful always in washing to wipe your skin -dry, particularly your hands; rub them briskly for some -time. If hands are left moist after washing, they will -chap, crack, and become red. Honey is excellent to rub -over chapped hands, or anoint them with cold cream or -glycerine before retiring to rest.</p> - -<p>If you desire to make your hands delicate, wash them -in hot milk and water for a day or two; on retiring to -rest rub them with palm oil, and put on gloves; wash them -well in the morning. Lime water, lemon-juice, or sour -milk will remove the sunburn from hands. Above all, -keep the nails scrupulously clean.</p> - -<p>It is repulsive to see a lady or gentleman, however -well-dressed they may be, with nails in any degree shady. -We were once, in travelling, impressed with the beauty -of a young lady sitting near us. We spoke of her to a -young gentleman sitting by us. He exclaimed,<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span> “Look -at her hand! did you ever behold such a little black -row?” She had just drawn off her glove, and diamonds -glistened on her taper fingers; yet “that little black row” -cast a shade over her beauty.</p> - -<p>The nails should be pared only once a week, after -washing, as the nail is then soft. Round them nicely -at the corners, and press the cuticle at the bottom of the -nail carefully down with the towel after washing. Never -bite your nails. It gives a stumpy appearance to the -nail. Also, never scrape the nail; it makes them -wrinkle.</p> - -<p>Warts young people are sometimes troubled with; the -best cure is to purchase a stick of lunar caustic,—which -is sold in a case or holder,—dip the end in water, and -touch the wart twice a day; cut away the withered part -before applying the caustic a second time.</p> - -<p>There are two kinds of freckles. “Cold freckles” are -constitutional, and we do not know of any remedy. -“Summer freckles” are caused by the winds and the -sunshine. The cause assigned for this is, that the iron in -the blood, forming a junction with the oxygen, leaves a -rusty mark where the junction takes place. The obvious -cure is to dissolve the combination. We have had given -to us several recipes which are said to be excellent. We -will give the best of them.</p> - - -<h3>3.—RECIPE TO CURE FRECKLES.</h3> - -<p><span class="smcap">Into</span> half a pint of milk squeeze the juice of a lemon, -with a spoonful of brandy, and boil, skimming well; add -a dram of rock alum.</p> - -<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p> - - -<h3>4.—A CURE FOR FRECKLES.</h3> - -<p><span class="smcap">Scrape</span> horse-radish into a cup of cold sour milk; -let it stand twelve hours, strain, and apply two or three -times a day.</p> - - -<h3>5.—A CURE FOR FRECKLES.</h3> - -<p><span class="smcap">Mix</span> lemon juice, one ounce; powdered borax one -quarter dram; sugar, half a dram; keep a few days in a -glass bottle, then apply occasionally.</p> - - -<h3>6.—A CURE FOR PIMPLES.</h3> - -<p><span class="smcap">Many</span> of our young people are much troubled with an -eruption upon the face. It often proves a great annoyance -to them; but there is a simple remedy, which, if it -does not effect a complete cure, will obviate the trouble -in a great degree, without the least injury to the health -or skin.</p> - -<p>To one grain of corrosive sublimate add one ounce of -rose water; filter, and apply twice a day.</p> - - -<h3>7.—HAIR.</h3> - -<p><span class="smcap">It</span> is impossible for a lady to possess anything that so -adds to her charms as a good head of hair. “It is a -crown of beauty.” This accounts for the enormous<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span> -amount of advertisements of infallible hair tonics and -restorers. Beware of such advertisements. We will -give you some few simple and most essential rules to -preserve the hair. Also some recipes (easily and cheaply -made) of the most excellent pomatums. The skin of the -head is delicate, therefore especial care should be taken -in brushing the hair, and in keeping the scalp as clean as -possible. The brush should be of moderate hardness. -The hair should be separated, in order that the head itself -may be well brushed, as by so doing the scurf or loose -skin will be removed; if suffered to remain it becomes -saturated with perspiration, and weakens the roots of -the hair, causing it to fall off. To retain a beautiful -head of hair, it ought to be brushed twenty minutes in the -morning, and ten minutes when dressed in the middle of -the day, and a like period at night. In brushing or -combing it, begin at the extreme points; and in combing, -hold the portion of hair just above that through which -the comb is passing firmly, so that if it is entangled, it -may drag from that point, and not from the roots. We -have known the finest heads of hair ruined by careless -combing and breaking the hair.</p> - -<p>It depends upon the nature of the hair whether pomatum -is required. Those whose hair is naturally oily and -glossy need nothing to make it so; but dry hair requires -it. Pure salad oil, scented, is excellent, and bear’s grease. -An excellent pomade is made of beef’s marrow, after it -is clarified; take six tablespoons of the marrow, heated, -and six tablespoons of scented castor oil, to one tablespoonful -of brandy or rum. Stir these ingredients half -an hour, until it is beaten to a cream; then place it in -your jars.</p> - -<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span></p> - - -<h3>8.—CARROT POMADE.</h3> - -<p><span class="smcap">This</span> is another excellent recipe. Two thirds beef’s -marrow, one third leaf lard unsalted, one carrot grated -fine, simmered together for two or three hours.</p> - -<p>These pomades should be applied with the hand or a -soft brush, and rubbed into the hair thoroughly. Be -careful and not oil the hair often, for an over oiled head -is offensive. It is well to rub the hair at night with a -piece of flannel, so that the oil used in the day may be -removed. Every month the hair should be shampooed. -A few drops of ammonia in rain water will cleanse it -well; put the whole hair into the solution, and wash it; -then cleanse it with clear milk-warm water, and clip all -the ends of the hair without fail. Every split end will, -if not cut off, deaden the hair. Another good cleansing -recipe is, one ounce of powdered borax, a small bit of -camphor, dissolved in a quart of boiling water. With -any recipe for cleansing, the hair must be rinsed thoroughly -with clear spring water. All boys and gentlemen -should wash their heads all over, hair and all, every -morning, and wear ventilated hats. Gentlemen become -bald sooner than ladies from wearing close hats so much.</p> - - -<h3>9.—BANDOLINE.</h3> - -<p><span class="smcap">A French</span> recipe, is excellent—because it is harmless—to -use in dressing hair to keep back any refractory -locks.</p> - -<p><i>Recipe.</i> Simmer one ounce of quince seed in a quart<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -of water, forty minutes; strain cool, add a few drops of -scent, and bottle, corking tightly.</p> - -<p>Another way of making “Bandoline” is with Iceland -moss. Take a quarter of an ounce, boiled in a quart of -water, and a little rectified spirits added, so that it may -keep.</p> - -<p>A weak solution of isinglass is the only curling fluid -that is harmless.</p> - - -<h3>10.—COLD CREAM.</h3> - -<p><span class="smcap">Is</span> excellent for a lip salve. The recipe is a pint of -sweet oil, half an ounce of spermaceti, and two ounces -of white wax, melted together over the fire and scented; -or take a pint of oil of sweet almonds, one ounce of white -wax, half an ounce of spermaceti, and half a pint of rose -water, beat to a paste.</p> - - -<h3>11.—RECIPE FOR CAMPHOR ICE.</h3> - -<p><span class="smcap">Half</span> a cake of white wax, a good inch of a pure -spermaceti candle, a piece of camphor as large as an -English walnut, a tablespoonful of sweet oil, mix and -simmer all together; if too soft, add more wax, if too -hard, add more oil. This is excellent to use in cold -weather for lips and hands.</p> - -<p>This being prepared for a home book, we give a few -recipes for the use of the toilet, which we know are -good.</p> - -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p> - -<p>We will give one more most excellent recipe for a -cooling and healing salve.</p> - - -<h3>12.—CUCUMBER SALVE.</h3> - -<p><span class="smcap">Half</span> a pound of pure lard unsalted, a heaping quart -cup of cucumbers sliced as for eating; let them simmer -an hour, so as not to boil, then strain into cups.</p> - - -<h3>13.—TO LOOSEN STOPPERS OF TOILET -BOTTLES.</h3> - -<p><span class="smcap">Let</span> a drop of pure oil flow round the stopper, and -stand the bottle near the fire. After a time tap the -stopper with the handle of a hair brush; if this is not -effectual, use a fresh drop of oil, and repeat the process.</p> - - -<h3>14.—TO REMOVE A TIGHT RING.</h3> - -<p><span class="smcap">When</span> a ring happens to get tightly fixed on a finger, -take a piece of common twine, soap it thoroughly, and -then wind it round the finger as tightly as possible. The -twine should commence at the point of the finger, and be -continued till the ring is reached; the end of the twine -must then be forced through the ring. If the string is -then unwound, the ring is almost sure to come off the -finger with it.</p> - -<p><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span></p> - - -<h3>15.—HAIR WASH.</h3> - -<p><span class="smcap">As</span> much borax as a pint of hot water will absorb, -three tablespoonfuls of best olive oil, twenty drops of -almond essential oil. This recipe we recommend most -heartily. It must be well shaken before using.</p> - - -<h3>16.—A CURE FOR POISON.</h3> - -<p><span class="smcap">Sweet</span> oil is a cure for the poisonous bite of serpents, -spiders, &c.; also for being poisoned by ivy and dogwood. -Bathe the part bitten or affected, and take a -teaspoonful internally. If a horse is affected, it will require -eight times as much to affect him. All persons -sensitive to poison whenever they visit the woods, on -their return should wash hands and face in vinegar and -salt, and take camphor inwardly.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Home_Reading" id="Home_Reading"></a>Home Reading.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">The</span> subject of reading cannot be omitted in a work -devoted to the interests of the home. Books have such -a large share in developing and sustaining the home life, -that their influence can hardly be exaggerated. At the -same time it is not possible, in a comprehensive work like -this, to treat of the subject as its importance demands. -We can only throw out a few general hints, which may -be suggestive to some.</p> - -<p>In the first place, we would say to all young persons -into whose hands this book may come, <em>read something -daily</em>. And by this we mean, not the careless looking -through a novel for the amusement of a leisure hour, -but the faithful, thorough mastery of another’s thought. -It is of less consequence that that thought should be new, -or specially valuable, than that the habit should be formed -of intelligent reading. A poor book well read will usually -teach a young person more than a good one read -carelessly. We are not saying, let it be understood, that a -book should always be read from beginning to end; there -is a habit of quick perception of the general tone and -value of a book, which, to a student in search of facts -for special use, is of the greatest assistance; but this<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span> -comes later. The power of attention and concentration -should first be gained. And for this purpose, secondly, -it is important that you should <em>form an opinion of what -you have read</em>. Never lay aside a book until you can -state intelligibly the author’s purpose and meaning in it, -and how far, as it appears to you, that purpose has been -attained. It is an excellent plan to write a short abstract -of the plot of a story, or the facts of a biography; -but whether this is done or not, do not be contented to let -what you have read pass through the mind like water -through a sieve. Compel everything to yield you some -tribute of suggestion, if not of direct instruction. Do -not be satisfied with anything less than a definite opinion; -if you are in the wrong, the correction of a maturer mind -will help you to judge more truly the next time.</p> - -<p><em>Do not confine yourself to one kind of reading.</em> If you -are fond of novels, that is no reason why you should read -them exclusively. Perhaps acquaintance with a different -class of books may develop a taste for them; at anyrate -you cannot afford to read entirely for amusement. -It is neither our province nor our wish to condemn novel-reading; -the excessive practice of it will, we believe, be -best checked by acquaintance with books of greater -value. There are histories as varied in incident as any -novel. There are books of travel which combine the -romance of adventure with the instruction of facts. -There is poetry in all its forms, without some knowledge -of whose best examples your education cannot be considered -even passable. The fact is rather that there is -so much of each class, which a cultivated person is expected -to be familiar with, that the great difficulty is in<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span> -selection. In order that you may divide your time profitably -among these different studies, it is well to take the -advice of some competent person as to <em>what is the best -book for your purpose on a given subject</em>. In this manner -you will save much time and patience, while if you take -up the first book on the topic in question which comes to -hand, you may, by an injudicious choice, lose your interest -in the whole matter. On any historical question, for -instance, it is better to read at first an author who gives -a concise and general view of the events of the period, -and afterwards those entering more minutely into details. -It is well, too, before intrusting yourself to the guidance -of any historian, to ascertain the estimation in which he -is held by competent critics, that you may thus understand -how to separate the truth from exaggeration and -special pleading.</p> - -<p><em>Have several kinds of reading for every day.</em> Do not -give yourself up entirely to one class of books at a time, -or you will either tire of them, or your judgment will become -confused in regard to them. It is well to have -some book of history, or travels, or metaphysics, another -on religious subjects, and a third for entertainment simply—a -<em>good</em> novel, if possible.</p> - -<p>In this way much more knowledge is gained without -fatigue, than when the mind is kept exclusively to one -theme.</p> - -<p><em>Committing to memory a few lines every day</em>, is a habit -which cannot be too strongly urged. It need not be -made a tedious matter, by giving up one’s whole time -and attention to it as a study; it can best be done when -walking, or sewing, or engaged in household work, and<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -will become, after a little, a pleasure instead of a task. -Besides the daily acquisition of something worth remembering, -there will be gained also a power quite as valuable, -of observing the characteristics and style of various authors, -the delicate differences of words, and the construction -of sentences. It may safely be said that those -writers who have been most celebrated for beauty and -perspicuity of style, have owed this, in no small degree, to -the early habit of committing to memory the works of -the best authors.</p> - -<p>In conclusion, we would beg our young readers to -make friends of books. They will cheer many an hour -that would otherwise be lonely; they are kind, ever -ready, yet unobtrusive comforters in perplexity or sorrow; -they represent that which is best and truest in all -ages, and are the highest expression of itself, of which -humanity is capable.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="The_Sick_Room" id="The_Sick_Room"></a>The Sick Room.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">We</span> cannot leave this book without giving a few -simple rules for nursing the sick. Most of our young -people, and many old, are ignorant of the commonest -principles.</p> - -<p>Never wear a rustling dress or creaking shoes in waiting -on the sick. Be careful not to shake the bed, or fidget -near it, so as to touch, disturb, and needlessly fatigue the -invalid. Few noises are more irritating in sickness than -noise from the grate. The startling effect of putting on -coals may destroy the effect of an opiate. It is better to -put them on one by one. In voice and manner be <em>gentle</em>, -and in spirit <em>cheerful</em> and <em>hopeful</em>. Do not depress by -tears, but control looks, words, and actions. Say nothing -in the room, or even outside the door, which you would -not wish the sick to hear. Ask questions but rarely, and -never occasion a needless effort to gratify your own curiosity. -In giving nourishment with a spoon, be careful -to raise the bowl of the spoon so as not to drop anything, -or annoy the sick person by untidy feeding. Be sure to -have cups, spoons, and glasses clean. Make everything -as attractive as you can from the nicety and freshness -of the dish. Do not allow jellies or rejected dainties to<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span> -remain in the room. The time may come to any boy or -girl when they may desire to watch by a sick bed of a -parent or friend, and the above rules may assist them.</p> - -<p>If the sick person should take a dislike to you, be not -disheartened at it; but if possible resign your place by -the bedside. It may be that you were clumsy, and awkward, -or over-anxious. It may be only one of those unaccountable -fancies which sometimes takes possession of -the sufferer, and which it is our duty to treat with care -and consideration.</p> - - -<h3>1.—COOKING FOR THE SICK.</h3> - -<p><span class="smcap">Beef tea.</span> Take one pound of beef, without any fat, -cut it in very small pieces, and put it in a bottle; cork it -and put it into a kettle of water, and boil it until the -juice is exhausted; this will do for very sick people who -can only take a teaspoonful of nourishment at one time. -Take a pound of lean beef, cut it up fine in a quart of -cold water, let it boil an hour, then salt it, and put in a -pinch of cayenne pepper, strain it, and it is ready for -use. This given to a person troubled with sleeplessness -(from general debility), about a half cup full just before -retiring, will generally enable the patient to sleep.</p> - - -<h3>2.—PORT WINE JELLY.</h3> - -<p><span class="smcap">Take</span> a half pint of port wine, one ounce of isinglass, -one ounce of gum arabic, one ounce of loaf sugar; let it<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span> -simmer for a quarter of an hour, stirring it till the gum -and isinglass are dissolved, then pour it into a mould. -When cold it will be quite stiff.</p> - - -<h3>3.—TOAST WATER.</h3> - -<p><span class="smcap">Brown</span> thoroughly, but not burn to a cinder, a small -slice of bread; put it into a pitcher, and pour over it a -quart of water which has been boiled and cooled; after -two hours pour off the water; a small piece of orange or -lemon peel put into the pitcher with the bread improves it.</p> - - -<h3>4.—TO PREPARE RENNET WHEY.</h3> - -<p><span class="smcap">Get</span> a rennet, such as is used for cheeses. Then take -a piece two inches square, or a little larger, rinse it -first in cold water, then pour on to it two table-spoonfuls -of hot water, and let it stand a half hour in a warm -place. Take three pints of milk, and heat it blood warm. -Then pour in both the rennet and water, and stir it in -well. Cover and let it stand in a warm place, to keep -the milk of an even temperature; it must not be moved -until it turns to a curd; then cut up the curd with a spoon -and strain it, and boil up the whey once. It is then ready -for use. If in an hour it does not turn to a curd, take -out the rennet, and put in some more freshly prepared. -It will then surely curd.</p> - -<p><span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p> - - -<h3>5.—FLAX-SEED SIRUP.</h3> - -<p><span class="smcap">This</span> we know to be an excellent remedy for a cough. -Boil one ounce of flax-seed in a quart of water for half -an hour; strain, and add to the liquid the juice of two -lemons and half a pound of rock candy. If there is a -soreness and general weakness from the cough, add half -an ounce of powdered gum arabic.</p> - - -<h3>6.—MUCILAGE OF SAGO.</h3> - -<p><span class="smcap">Take</span> an ounce or a table-spoonful of sago, steep in a -pint of water, in a pan placed on the back of the stove -for two hours, then boil for fifteen minutes, stirring it all -the time. This mucilage can be sweetened with sugar -and flavored with lemon juice, or milk can be added.</p> - - -<h3>7.—APPLICATIONS FOR THE SICK.—REFRESHING -LOTION.</h3> - -<p><span class="smcap">Mix</span> one table-spoonful of vinegar, one of eau de -cologne, and one of water. Dip a linen rag or a handkerchief -into this preparation and lay upon the head. It -refreshes a patient.</p> - -<p><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p> - - -<h3>8.—RECEIPT FOR CROUP.</h3> - -<p><span class="smcap">One</span> tea-spoonful of powdered alum mixed with molasses -or lard, and sometimes water; make a child with -croup swallow it; it is a quick emetic.</p> - - -<h3>9.—REMEDY FOR SORE THROAT.</h3> - -<p><span class="smcap">Take</span> a tea-spoonful of chlorate of potassium and dissolve -in a tumbler of hot water, and gargle the throat -every two hours.</p> - - -<h3>10.—BURNS.</h3> - -<p><span class="smcap">Dissolve</span> alum in water, and bottle ready for use; or -common lime-water; either remedy applied at once will -relieve a burn and draw out the fire. Pour the solution -into a bowl, and hold the burnt place, if possible, into it, -or wet cloths with it. Sweet oil and laudanum can be -added to the lime-water.</p> - -<p>We simply give a few remarks for ordinary troubles, -which may be useful; but we cannot leave this article -without giving some useful rules for making <em>good bread</em>, -which few make, and every young girl should learn how -to do, as good bread is essential to the health of every -household. An experienced housekeeper has kindly prepared -for us the following article.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Directions_for_making_Bread_Yeast_c" id="Directions_for_making_Bread_Yeast_c"></a>Directions for making Bread, Yeast &c.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">Holy Writ</span> assures us that bread is the staff of life, -and experience fully proves the assertion. Yet many of -us know not how to make this needed support. Every -girl, no matter what her station in life may be, should -learn how to prepare it in its <em>highest excellence</em>.</p> - -<p>The word <em>bread</em> is derived from brayed grain, from -the verb to bray, or pound; indicative of the method of -preparing the flour.</p> - -<p>Dough comes from the Anglo-Saxon word <i>deawian</i>, to -wet or moisten. Loaf is from the Anglo-Saxon <i>lif-ian</i>, -to raise or lift up, as raised bread. Leaven is derived -from the French verb <i lang="fr" xml:lang="fr">lever</i>, to raise.</p> - -<p>Dwellers in country towns and villages are forced to -prepare the leaven, or yeast; so we append a receipt -which never fails to make good bread. Wash and pare -six good-sized, white-fleshed potatoes, grate them raw, -on a lemon grater. Pour over them three quarts of -boiling water; it will thicken up like starch. Add one -table-spoonful of salt and half a cup of sugar. When -the mixture is lukewarm, pour in one cupful of yeast. -Set the pan beside the stove, and in six hours it will be -light enough to use. Let it stand over night in a cool -place; next morning cork it tightly in a jug. Keep it in<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span> -the cellar or ice-house; but be sure that it does not -freeze—that kills the life of it. Home-made yeast requires -double the quantity of baker’s yeast. One teacupful -of this yeast will make three loaves of bread and -a pan of biscuit.</p> - -<p>Potatoes added to the bread increases its bulk and -quality. Boil six common-sized potatoes in two quarts -of water, with one table-spoon of salt. When perfectly -salt, mash fine on a plate, leaving no little particles. -They can be rubbed through a colander and reduced to a -pulp; turn it into the bread-pan, and pour over the water -in which they were boiled. Sift eight quarts of flour, -and when the potato-water is cooled, so as to be a little -warm to the touch, stir in half the flour; then add one -teacupful of the yeast. When that is thoroughly mixed -up, put in the rest of the flour, making it thick enough to -knead stiffly. Do this in the evening, and place the pan -in a warm room in winter, a cool one in summer. Early -next morning it will be risen finely. Another pan should -have been tightly covered over it, and it will rise up into -the pan. Knead it thoroughly on the moulding board, -chopping it with a chopping-knife, or pounding with a -pestle. Bread must be kneaded for an hour at least, if -one desires the best quality. Holes in the slices of bread -show that it was not well made. The superiority of the -French bread-makers is owing to this cause. In many -bakeries the dough is prepared by machinery. After the -process of kneading is finished, rolls can be made, and -baked for breakfast. They are prepared by rolling the -dough in the shape of a rolling-pin, then cutting off a -small portion, and rolling that in the same shape. Dip<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> -the sides and tops in melted butter, place in a pan, and -put them in a warm place for twenty minutes; then bake -in a hot oven twenty minutes. The melted butter causes -them to break apart perfectly, and to brown handsomely.</p> - -<p>The remainder of the dough is placed near the stove to -rise a second time. It must be closely watched—<em>ten -minutes’ neglect will sour it</em>.</p> - -<p>To be sure a teaspoonful of saleratus will sweeten it; -dissolve it in warm water, and mix it in so there will be -no yellow spots; but, if used, it takes away the fresh -sweetness of the bread. Making bread is not like cake -or pie-making—<em>it demands close attention</em>; will not be -neglected without injury. It requires some brains to -make good bread, and that is one reason why so many -families rarely know what the best quality of bread is. -If it sours, turn in the saleratus; if it is half-kneaded, -and half-risen, and the oven is ready, why, bake it, and -thus very poor bread is the result! Bread cannot be set -aside for dish-washing or sweeping. It must be of the -<em>first consequence</em>.</p> - -<p>When it is risen for a second time, and blubbers appear, -flour your moulding-board, turn out the dough, cut -it into as many parts as you desire loaves of bread, and -knead, pound, or cut each loaf <em>well</em>; then have your -bread-pans buttered, and put in the dough, kneading it -into the corners of the pan. Prick it all over with a -fork, place near the stove for fifteen or twenty minutes, -or until it has filled the pans to the brim. Have your -oven so hot, that if a sprinkling of flour is thrown in, it -will brown quickly, but not burn; then set in the pans.<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span> -Three quarters of an hour, in a properly heated oven, -will bake bread. Don’t burn your crusts, but watch the -oven, and in twenty minutes after putting them in, look -at them and turn the pans round, for usually one side of -an oven bakes the fastest. When it is baked, take it -from the pans directly, else the sides will become moistened -and clammy. Spread a clean towel on the table or -shelves, and stand the bread on it. If the crust is too -thick and brown, wrap the loaves in a clean towel wet -with cold water; this softens it.</p> - -<p>If these directions are closely followed, and a good -brand of flour is used, no girl can fail to make A No. 1 -bread.</p> - -<p>No lady can teach her servants unless she has learned -the alphabet of cookery herself, and bread may be called -the A B C’s of the kitchen.</p> - - -<h3>1.—WAFFLES.</h3> - -<p><span class="smcap">Take</span> one quart of milk; melt in the milk a large -spoonful of butter; beat up four eggs, and add to this -mixture a little salt; add to the slightly warm milk a -small gill of yeast, flour sufficient to make a batter just -right for a waffle iron, or a little thinner to bake on a -griddle iron. The batter for waffles is also nice baked in -tins as muffins. Some elder person can direct, the first -time you make this recipe, the proper thickness of the -batter.</p> - -<p><span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span></p> - - -<h3>2.—A CREAM TOMATO SOUP.</h3> - -<p><span class="smcap">Twelve</span> tomatoes, skinned and cut up, cook thirty -minutes (or a quart of canned tomatoes, ten minutes will -cook it). When cooked, stir in quarter of a teaspoonful -of soda; when done foaming put in two large crackers, -rolled fine; one quart of milk, salt and pepper to taste; -stir in a piece of butter nearly the size of an egg; let it -all boil up once, then serve for dinner.</p> - - -<h3>3.—BREAKFAST CAKE.</h3> - -<p><span class="smcap">Three</span> table-spoonsful of sugar, two of butter, two -eggs, one teaspoon of soda dissolved in a cup of milk, -two teaspoons of cream of tartar mixed into a pint of -wheat flour, beat well and bake quickly.</p> - - -<h3>4.—MOLASSES GINGERBREAD.</h3> - -<p><span class="smcap">Three</span> cups of flour, two of molasses, one of boiling -water; dissolve in this, butter the size of an egg, half -a teaspoonful of soda, dissolved in a little hot water, one -large spoonful of ginger, and one of cinnamon. Bake -in bread tins until done, which can be ascertained by -pricking it with a broom corn; if none of the gingerbread -adheres to the stick, it is done. This is the way -to ascertain if any kind of cake is done.</p> - -<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p> - - -<h3>5.—PLAIN COOKIES.</h3> - -<p><span class="smcap">One</span> cup of molasses, one half a cup of milk (sour if -possible), dissolve a teaspoonful of soda in the milk. -One table-spoonful of butter, flour sufficient to make it -stiff to roll out and cut in any shape desired.</p> - - -<h3>6.—MOONSHINE CRACKERS.</h3> - -<p><span class="smcap">One</span> quart of flour, one table-spoonful of butter, a teaspoonful -of salt, rub these into the flour and turn it on -to the moulding board; turn into it a small tumbler of -ice-water; knead the water in little by little. Then -pound it with the rolling pin fifteen minutes, roll as thin -as possible, and cut out as you do cookies; round cutters -are the best for crackers; mark with a jagging iron, and -bake ten minutes.</p> - - -<h3>7.—NEW YEAR’S COOKIES.</h3> - -<p><span class="smcap">Rub</span> three quarters of a pound of butter into a pound -of flour. Take a half pint of boiling water and pour -over a pound and a half of light brown sugar in a bowl; -dissolve a small teaspoonful of soda in two large spoons -of hot water. Add flour <em>only</em> sufficient to roll out very -thin; cut it out in oblong shapes with a jagging iron; -bake <em>quickly in a hot oven</em>. In New York they mark -these cakes with mottos,—Christmas and New Year’s.</p> - -<p><span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span></p> - - -<h3>8.—SPONGE CAKE.</h3> - -<p><span class="smcap">Two</span> cups of fine-powdered sugar, two cups of flour, -six eggs, one large lemon, or one and a half of small -size; beat the yolks of the eggs and the sugar and -grated peel of the lemon together; beat the whites separately, -and stir into the sugar, &c., with the flour; this -makes one good-sized loaf, or two small ones; be careful -and not have too hot an oven.</p> - - -<h3>9.—LOAF CAKE.</h3> - -<p><span class="smcap">Two</span> cups of light wheat dough, one of sugar, half a -cup of butter, two eggs, half a teaspoonful of soda, one -grated nutmeg, two teaspoonfuls of ground cloves, two -of cinnamon; stoned raisins can be added, half a cupful; -mix all together. This makes one loaf.</p> - -<p>Neatness is essential in cooking. Wash your hands -often. Baking badly spoils the best of cake and bread. -Learn of an experienced person the proper degree of -heat.</p> - -<hr class="chap" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p> - - - - -<h2><span class="gesperrt"><a name="Politeness" id="Politeness"></a>Politeness.</span></h2> - -<div class="figcenter" style="width: 150px;"> -<img src="images/i_h_rule.jpg" width="150" height="19" alt="horizontal rule" /> -</div> - -<p><span class="smcap">We</span> will give a few simple rules, which we hope all -will read and remember.</p> - -<p> -1. Talk but little in the presence of your elders, unless<br /> -spoken to. Learn to be a good listener.<br /> -<br /> -2. Never enter a room, church, or hall first, with an<br /> -elder person; let them go <em>first</em>.<br /> -<br /> -3. On entering a house or room, always speak <em>first</em> to<br /> -the <em>lady of the house</em>, and always take leave of her <em>first</em>.<br /> -<br /> -4. Never take the most comfortable seat or position<br /> -in a room, if there are older persons present.<br /> -<br /> -5. <em>Let the golden rule Jesus Christ gave us ever be<br /> -your rule of action.</em><br /> -</p> -<hr class="chap" /> -</div> - -<div class="chapter transnote"> -<h2>Transcriber's Notes</h2> - - -<p>In the text version and underscore has been used to denote _Italics_, -and equals signs to denote an =Ornamental Font=.</p> - -<p>The text contains inconsistent hyphenation which has been left as -printed.</p> - -<p>Minor corrections to obviously incorrect punctuation have been made.</p> - -<ul><li>Corrections:</li> - -<li> p. iv. Embroidery in Lame of Velvet and Gold corrected to match -LAMÉ in chapter heading.</li> - -<li> p. 17. tumeric changed to turmeric.</li> - -<li> p. 25. enterest is apparently an obsolete form of interest, so -left as printed.</li> - -<li> p. 43. presant changed to present.</li> - -<li> p. 46. managment changed to management.</li> - -<li> p. 48. attentention changed to attention.</li> - -<li> p. 52. You’re changed to Your.</li> - -<li> p. 55. polyphnoist changed to polyphonist.</li> - -<li> p. 55. bee should he heard changed to bee should be heard.</li> - -<li> p. 69. Maderia changed to Madeira.</li> - -<li> p. 83. may he planted changed to may be planted.</li> - -<li> p. 100. unles changed to unless.</li> - -<li> p. 122. stiches changed to stitches.</li> - -<li> p. 157. ladel changed to ladle.</li> - -<li> p. 157. must he used changed to must be used.</li> - -<li> p. 185. difierences changed to differences.</li> - -<li> p. 187. sugur changed to sugar.</li> - -<li> p. 195. teasponful changed to teaspoonful.</li> - -<li> p. 195 wheat flower changed to wheat flour.</li> -</ul> -</div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Home Arts for Old and Young, by Caroline L. 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