diff options
Diffstat (limited to 'old/52197-0.txt')
| -rw-r--r-- | old/52197-0.txt | 5841 |
1 files changed, 0 insertions, 5841 deletions
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. Smith - -*** END OF THIS PROJECT GUTENBERG EBOOK HOME ARTS FOR OLD AND YOUNG *** - -***** This file should be named 52197-0.txt or 52197-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/1/9/52197/ - -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) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |