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+The Project Gutenberg EBook of Construction Work for Rural and Elementary
+Schools, by Virginia McGaw
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Construction Work for Rural and Elementary Schools
+
+Author: Virginia McGaw
+
+Release Date: April 5, 2009 [EBook #28501]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONSTRUCTION WORK ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, Diane Monico, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+Construction Work
+for
+Rural and Elementary
+Schools
+
+
+BY
+
+VIRGINIA McGAW
+
+Teacher in the Elementary School
+of Baltimore
+
+
+A. FLANAGAN COMPANY
+CHICAGO
+
+
+
+
+COPYRIGHT 1909
+BY
+A. FLANAGAN COMPANY
+
+
+
+
+PREFACE
+
+
+In offering this volume to the public the author has but one
+wish--namely, that it may supply a want in time of need and help some
+one over a difficult place.
+
+Most of the subject-matter in Parts One, Two, Three, and Four was
+written for and has been previously published in the _Atlantic
+Educational Journal_, with a view to assisting the rural teacher. The
+present volume comprises a revision of the articles published, together
+with a short account of one season's work in a school garden, and has
+the same object--that of aiding the rural teacher by means of a few
+simple suggestions.
+
+The work is divided into five parts--"Cord Construction," "Paper
+Construction," "Wood Construction," "Basketry," and "The School
+Garden." No subject is dealt with at length. The aim has been to give
+simple models that may be made without elaborate preparation or special
+material.
+
+Believing that a child is most likely to appreciate his tools when he
+realizes their value or knows their history, a brief introduction to
+each part is given, and wherever possible, the place of the occupation
+in race history is dealt with, and an account of the culture and
+habitat of the material is given.
+
+As clear a statement as is possible is made of how the model is
+constructed, and in most cases both a working drawing and a picture are
+given.
+
+                              VIRGINIA McGAW.
+
+BALTIMORE, MARYLAND,
+  April, 1909.
+
+
+
+
+ACKNOWLEDGMENTS
+
+
+To the _Atlantic Educational Journal_ for the privilege of revising and
+relinquishing the articles on Cord, Paper, Wood, and Basketry.
+
+To Mr. George M. Gaither, Supervisor of Manual Training in the Public
+Schools of Baltimore, for five of the woodwork patterns.
+
+To President Richard W. Silvester, of the Maryland Agricultural
+College, for the inspiration to write the _Garden Bulletin_, his
+consent to its republication, and his hearty coöperation in its
+revision.
+
+
+
+
+CONTENTS
+
+
+CORD CONSTRUCTION
+
+INTRODUCTORY REMARKS                             9
+
+KNOTS                                            9
+    1 Overhand Knot                             10
+    2 Square Knot                               10
+    3 "Granny" Knot                             11
+
+CHAINS                                          11
+    4 Loop Chain                                11
+    5 Overhand Knot Chain                       13
+    6 Solomon's Knot Chain                      13
+
+COMBINED KNOTS AND CHAINS                       15
+    7 Knotted Bag                               15
+    8 Miniature Hammock--Knotted                16
+    9 Miniature Portière--Knotted               17
+
+WEAVING                                         17
+    10 Miniature Hammock--Woven                 17
+
+
+PAPER CONSTRUCTION
+
+INTRODUCTORY REMARKS                            25
+
+A MODEL LESSON                                  27
+    1 Windmill or Pin-wheel                     31
+    2 Square Tray No. I                         31
+    3 Square Tray No. II                        31
+    4 Square Box with Cover                     32
+    5 Square or Rectangular Box                 33
+    6 Pencil Box with Sliding Cover             35
+    7 Seed Box with Sections                    37
+    8 Picture Frame No. I, Diagonal Folds       37
+    9 Picture Frame No. II                      37
+    10 Portfolio                                40
+    11 Barn--House--Furniture                   41
+    12 Hexagonal Tray                           42
+    13 Lamp Shade                               44
+    14 Star                                     45
+    15 Notebook                                 46
+    16 Bound Book                               47
+    17 Japanese Book                            49
+    18 Scrap-Book                               50
+
+
+WOOD CONSTRUCTION
+
+INTRODUCTORY REMARKS                            55
+    1 Puzzle                                    56
+    2 Plant Label                               58
+    3 Pencil Sharpener                          58
+    4 Match Scratch                             59
+    5 Kite-String Winder                        60
+    6 Thermometer Back                          61
+    7 Pocket Pin-Cushion                        61
+    8 Picture Frame                             63
+    9 Japanese Box                              65
+    10 Grandfather's Chair                      66
+
+
+BASKETRY
+
+INTRODUCTORY REMARKS                            71
+
+REED CONSTRUCTION                               75
+    1 Napkin Ring No. I                         75
+    2 Napkin Ring No. II                        76
+    3 Mat                                       76
+    4 Hamper Basket                             77
+    5 Basket Tray                               79
+    6 Basket with Handle                        81
+
+RAFFIA CONSTRUCTION                             83
+    7 Plaited Rope                              84
+    8 Plaited Mat                               85
+    9 Purse                                     86
+    10 Plaited Basket                           86
+    11 Hat of Plaited Rope                      88
+    12 Napkin Ring                              89
+    13 Indian Basket                            89
+    14 Grass Basket or Tray                     91
+    15 Basket of Splints and Raffia             93
+
+COMBINED REED AND RAFFIA                        95
+    16 Umbrella                                 97
+    17 Miniature Chair No. I                    97
+    18 Miniature Chair No. II                   99
+
+RULES FOR CANING CHAIRS                        102
+
+
+THE SCHOOL GARDEN
+
+INTRODUCTORY REMARKS                           107
+
+A CITY SCHOOL GARDEN                           108
+
+
+
+
+PART I
+
+CORD CONSTRUCTION
+
+
+
+
+CORD CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+To a child one of the most attractive of possessions is a piece of
+cord. He has so many uses for it that it becomes part of the prized
+contents of his pocket. Since this commodity affords so much pleasure
+to the untrained child, how greatly may the pleasure be enhanced if he
+is taught how to make the number of beautiful things that may be
+wrought from cord or twine! Having this knowledge, he will
+unconsciously employ many otherwise weary moments in fashioning some
+coveted article.
+
+Among the things he can make are chains, reins, bags, nets, miniature
+hammocks, portières, and rugs for the dollhouse. He must be guided step
+by step from the simplest to the more intricate. He must be taught that
+only when a thing is well done has it any use or value, therefore the
+best effort is necessary to the success of his work. If he ties a knot,
+it must be properly tied or it will not hold. If he makes a bag or a
+hammock, the meshes must be uniform and the color blendings pleasing or
+it will lack beauty, and even he, himself, will not care for it. Should
+he make a chain or reins, they ought to be attractive-looking as well
+as useful; hence the aim should be for artistic combination and perfect
+execution. The success the child will meet with will depend greatly
+upon the attitude of the teacher toward the work and the amount of
+spirit she may be able to infuse into it.
+
+
+KNOTS
+
+     _Aim_--To teach the names of different knots, how they are
+     tied, and the utilitarian value of each.
+
+Begin by teaching how to tie a knot, and that all knots are not alike
+nor tied in the same way. There are three kinds of knots--the overhand
+knot, the square knot and the "Granny" knot. Each of these has its use,
+its place, and a utilitarian value.
+
+
+1 Overhand Knot
+
+     _Material_--One 10-inch piece of heavy twine.
+
+Hold one end of the twine firmly in the left hand and throw the other
+end over with the right hand to form a loop; then pass the end in the
+right hand under the loop; and draw it through tightly, making a firm
+knot.
+
+[Illustration: OVERHAND KNOT]
+
+A long piece of twine in which are tied either single knots at regular
+intervals, or groups of three or five knots with spaces between, will
+make a chain which will delight any small child.
+
+
+2 Square Knot
+
+     _Aim_--To teach how to tie a knot that will not slip.
+
+     _Material_--One 12-inch piece of heavy twine.
+
+Take an end of the twine between the thumb and the forefinger of each
+hand. Holding in the left hand end No. 1, pass it to the right over end
+No. 2; then pass it under No. 2; finally, pass it out and over, making
+the first tie. Now, holding end No. 1 firmly in the right hand and end
+No. 2 in the left, pass No. 1 to the left over No. 2, then under, out
+and over; draw the two ties together, and you will have a firm, square
+knot.
+
+[Illustration: SQUARE KNOT]
+
+
+3 "Granny" Knot
+
+     _Aim_--To teach the name of the knot one usually ties and
+     how to tie it.
+
+     _Material_--One 12-inch piece of heavy twine.
+
+Take an end of the twine between the thumb and the forefinger of each
+hand and hold firmly. Pass end No. 1 to the right over end No. 2, under
+and out. Next pass end No. 2 to the right over end No. 1, under and
+out.
+
+We now have the knot known as the "Granny," which we ordinarily tie.
+
+
+CHAINS
+
+4 Loop Chain
+
+     _Material_--One piece, 5 yards long, of macramé cord, No.
+     12, one color. (See page 12.)
+
+About five inches from one end of the cord make a short loop. Using
+this loop as a starting-point, work up the length of the cord to within
+about eighteen inches of the other end, by repeatedly drawing a new
+loop through the one previously made as one does in crocheting. The
+child can easily manipulate the cord with his tiny fingers. Aim to have
+the loops of uniform size. Finish with a loop five inches long, leaving
+an end of the same length. Now, placing together the two ends of the
+chain, we have a loop and two single ends of cord. Take these single
+cords together and buttonhole them over the loop for about three
+inches, then twist. Tie the single ends with a square knot, and fringe
+them out; leave the loop.
+
+[Illustration: LOOP CHAIN
+Showing how stitch is made and appearance of finished chain.]
+
+Instead of being fringed, the ends may have a large bead attached to
+each, and a whistle may be strung on the loop. This would both make
+the chain attractive to the child and demonstrate a use for it.
+
+
+5 Overhand Knot Chain
+
+     _Material_--Macramé cord, No. 12: one piece 2 yards long,
+     white; one piece 2 yards long, red.
+
+[Illustration: OVERHAND KNOT CHAIN]
+
+Fasten the two pieces together in the middle. Pin them to a board or
+slip them over a hook where the cord will be held firmly. Using the
+overhand knot, tie each color alternately, until all except about four
+inches of cord is used up. Taking four ends as one, tie a slip-knot
+close up to the point where you stopped forming the chain. Next, fringe
+out the four ends close up to the knot. The result is a circular cord
+with stripes running diagonally around it, very pleasing to the eye of
+a child.
+
+The lengths here given make a fob-chain about five inches long.
+
+
+6 Solomon's Knot Chain
+
+     _Material_--Four pieces of macramé cord, No. 12, 2-1/2 yards
+     long, of one color. (See page 14.)
+
+Double in the middle and leave two loops, each two inches long. Take
+two strands as the center and foundation and attach them to a hook or a
+board where they will be held firmly. Loop the two remaining threads
+alternately over the two central ones, first the one on the right, then
+the one on the left. For instance: Take a single cord on the left, form
+a loop to the left of the double cords, draw the end over the two
+foundation pieces and hold firmly. Then take a single cord on the
+right, pass it over the piece of cord which forms the loop, then under
+where the three pieces cross and up through the loop; draw it tight.
+Then work with a single cord on the right in the same way and continue,
+alternating the two single cords, until there is left about four
+inches. Clip the middle cords so that the four ends may be of equal
+length. Finish by tying them in a square knot and fringing the ends.
+This forms a flat chain one-quarter of an inch wide and one-eighth of
+an inch thick, which may be made any length desired.
+
+[Illustration: SOLOMON'S KNOT CHAIN
+Showing how stitch is made.]
+
+[Illustration: KNOTTED BAG]
+
+
+COMBINED KNOTS AND CHAINS
+
+7 Knotted Bag
+
+     _Material_--Macramé cord, No. 12, one or two colors; twelve
+     pieces 1 yard long or six pieces 1 yard long, of each of the
+     two colors.
+
+Double each piece of cord in the middle and tie it in a loop over a
+pencil or some other object that will make the loops of equal size.
+Slip the loops from the pencil and string them to a cord, alternating
+the colors. Join the ends of the cord so as to form a hoop. You now
+have twelve loops on this hoop and one row of knots. Form a second row
+of knots by tying cords of different colors together. The meshes should
+be uniform and of the size of the loops. Continue knotting one row
+below the other until about three inches of cord remain. Now stretch
+the bag out straight and double and tie together the four cords, which
+operation will form the bottom and close the bag. Fringe the ends and
+trim them off evenly.
+
+Make a loop chain, and run it through the top loops, having removed the
+working cord. Small brass rings may be used at the top instead of
+loops, and the drawing string may be run through them. A larger bag may
+be made by the addition of more and longer pieces of twine.
+
+[Illustration: MINIATURE HAMMOCK--KNOTTED]
+
+
+8 Miniature Hammock--Knotted
+
+     _Material_--Twelve pieces of seine cord, No. 12, each 2
+     yards long. Two iron rings, 1 inch in diameter.
+
+String the pieces of cord through a ring, taking care that the ends are
+of the same length. About three inches from the ring, knot each piece
+of cord. This will make twelve knots and form the first row. For the
+second row, knot alternate pieces of cord. Continue until there are
+twelve rows of knots. Be careful to make the meshes the same size.
+Leave about three inches unknotted and attach these ends to the second
+ring. Make a twisted cord (of four thicknesses of macramé) of some
+contrasting color and run through the meshes of each side, taking it
+twice through each mesh and attaching it to rings at the ends of the
+hammock. The meshes should be about an inch square. Make the cords a
+little shorter than the sides of the hammock, in order to give it the
+proper spring. Take an extra piece of cord the color of the hammock and
+wrap it around the cords close up to the rings, winding it evenly and
+firmly for about an inch from the ring; fasten it securely.
+
+
+9 Miniature Portière--Knotted
+
+     _Material_--Twelve 36-inch lengths of macramé cord, No. 12.
+
+Double each piece in the middle and, using the overhand knot, tie it
+over a stout lead pencil or a very narrow ruler. See that each knot is
+pressed close to the foundation holder, that the loops may be of equal
+size. These loops and knots form the first row. Do not remove them from
+the holder. Separate the cords and knot together each two adjacent
+ones, alternating at every other row. Continue knotting until about
+three inches of cord remain to form the fringe at the bottom. Before
+tying the last row of knots, slip a colored glass bead over each set of
+cords, then make the knot so as to hold the bead in place. These beads
+are an ornament, apart from giving weight to the portière to make it
+hang well. Trim the fringe evenly, slip the portière from the
+foundation holder, and it is ready to hang.
+
+Use beads the color of the cord, or of some effective contrasting
+shade. If a child is expert enough, a bead may be placed at every knot,
+adding decidedly to the attractiveness of the little portière. (See
+page 18.)
+
+
+WEAVING
+
+10 Miniature Hammock--Woven
+
+     _Material_--Tag-board loom 8×10 inches. Cord of one, two or
+     three colors. Two brass rings, 1/2 inch in diameter.
+
+[Illustration: MINIATURE PORTIERE--(For description see page 17.)]
+
+To make a loom, take a piece of tag-board 8×10 inches in size. Measure
+off one inch from the back edge and draw a line parallel to the back
+edge. Measure off one inch from the front edge and draw a line parallel
+to the front edge. Measure off one inch from the right edge and draw a
+line parallel to the right edge. Measure off one inch from the left
+edge and draw a line parallel to the left edge. You have now a 6×8-inch
+rectangle marked off, leaving a one-inch space around the edge of the
+tag-board. Start at a point where a vertical and a horizontal line
+intersect and mark off the six-inch ends into spaces one-fourth inch
+apart. Next with a large needle pierce the board at each point of
+intersection. This will make twenty-five eyelets at each end. On the
+reverse side of the board draw diagonals to determine the center. Tie
+together the two brass rings and fasten them firmly to the center of
+the reverse side.
+
+[Illustration: BLANKET FOR DOLL'S BED
+Showing how it is started.]
+
+To string the loom requires about fifteen yards of cord. Divide the
+cord into two lengths. Thread a length into a needle and tie one end of
+it to one of the brass rings. Next carry the cord from the ring through
+the thirteenth perforation, then across the face of the loom to the
+thirteenth perforation at the opposite end, through again to the
+reverse side and pass through the opposite ring from which it started.
+Repeat this operation by carrying the cord in a reverse direction each
+time until one-half the loom is strung. Then with the other length of
+cord start, by attaching it to the same ring to which the first piece
+was tied, and work in the opposite direction until the second half is
+strung. Should it be necessary to add to the cord, arrange that the
+knot be on an end near a ring. A knot in the warp hampers the weaving.
+
+[Illustration: A RUG
+Made of narrow strips of cotton cloth.]
+
+Have the warp threads and the predominant woof thread of the same
+color.
+
+To begin weaving, cut a quantity of ten-inch lengths. Take one of these
+lengths, start in the center of the loom, and weave in and out among
+the warp threads, allowing it to extend two inches beyond on each side.
+Have a perfectly smooth, narrow, thin ruler and weave it in across the
+warp threads. As each horizontal or woof thread is added, shove it
+close to the preceding one with the ruler, which acts as a pusher.
+Weave first on one side of the center and then on the other, until the
+entire 6×8-inch space is covered. If a border is to be put in, gauge
+equal spaces from the center and work in the border of a different
+shade or color. The borders must be placed equally distant from the
+center and the same distance from each end. Take the overhanging cords
+and knot each alternate two together along the line of the outer warp
+thread. This will hold the woof threads in place, as well as finish the
+edges of the hammock. Comb these ends out and trim them, to get the
+fringe even. At each end where the weaving stops, take a needle
+threaded with a length of cord and run in and out along the warp
+threads, first to the right and then to the left of the final woof
+thread. This makes a secure finish and holds the woof threads in
+position. Next unfasten the rings and remove the hammock from the loom
+by tearing the tag-board along the lines of perforations. Finally,
+where the cords pass through the ring, hold them close to the ring and
+wrap them with a piece of cord for the distance of an inch, then fasten
+off by forcing the needle up through the wrapped space toward the ring;
+draw the end through and clip close to the ring. The hammock is now
+finished.
+
+The question may arise: Why begin weaving in the center of the loom?
+The answer is: Because small children, and even older ones, sometimes,
+are not able to keep their warp threads parallel and as they approach
+the middle, where these threads give more, they naturally draw them in.
+This tendency is remedied to a great extent by beginning in the middle
+and weaving toward the ends, where the warp is confined in the board
+and keeps its place with no effort on the part of the child.
+
+
+
+
+PART II
+
+PAPER CONSTRUCTION
+
+
+
+
+PAPER CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+Whatever may have been the true origin of the art of paper-making, it
+is now lost in obscurity. It is almost certain that the earliest form
+of paper was the papyrus of the Egyptians and that they were the first
+to use it as a writing material. They manufactured it from the stem of
+the papyrus plant, from which the name _paper_ comes.
+
+It is also known that the Chinese were versed in this art before the
+Christian Era, and that they made paper from the bark of various trees,
+the soft part of bamboo stems, and cotton. In India and China the
+practice of writing on dried palm and other leaves still obtains. It is
+probable that the employment of these fibrous substances, together with
+observation of the methods of paper-making wasps and other insects, led
+to manufacturing by pulping the materials and spreading them out.
+
+As the Chinese seem to have been the pioneers in so many great
+inventions, so also they appear to have been the inventors of this art.
+From the Chinese the Arabians learned, in the seventh century, the
+craft of making paper from cotton, and they established a manufactory
+at Samarcand in 706 A. D. Here the Moors learned the art, and through
+them it was introduced into Spain. It is thought that the Moors used
+flax and hemp in addition to cotton in their manufacture of paper. The
+products of their mills are known to have been of a most superior
+quality, but, with the decline of the Moors, paper-making passed into
+less skilled hands, and the quality of the paper became inferior.
+
+From Spain the art spread through the other countries of Europe, and as
+factories were established further north, where cotton was not a
+product nor easy to import, the necessity of substituting some other
+material probably led to the introduction of linen rags; but when they
+began to be used is uncertain. England was far behind the other
+countries of Northern Europe in introducing the industry of
+paper-making.
+
+[Illustration: SCREEN--SIX-BY-NINE-INCH CONSTRUCTION PAPER]
+
+In the United States to-day paper in all varieties is manufactured to
+an enormous extent, and almost exclusively from vegetable matter. The
+book and newspaper trades demand an untold quantity.
+
+There are three great types--writing, printing, and wrapping paper.
+Writing paper is made from rags and wood pulp. The staple for wrapping
+paper is old rope, and in some cases jute. The best writing and
+printing papers, however, are made from rags. From these as staples,
+all other varieties are developed, and we have paper for every use to
+which man can apply it.
+
+Paper folding and modeling is not an ancient occupation, but a modern
+device, yet to the child it has a utilitarian value not to be
+overlooked. His nature demands that he be employed, and change of
+occupation is conducive to his happiness. Nothing is quite so restful
+to him as to do something with his hands; therefore, with his blocks he
+builds a house, fences it around with his splints, and strews the
+ground with imaginary trees and animals. He lives in this nursery play,
+and in it he is happy.
+
+When he enters school, should he have only books? No, his hands still
+demand employment. He is now led to fashion from paper what he has
+already made with his blocks and toys. He is occupied, he is
+interested, and he is cultivating concentration and industrious habits.
+Is this worth while?
+
+Begin the lessons with a talk on the manufacture and uses of paper. By
+a story, an association or the suggestion of a future use the child
+should be made to feel that he is doing something worth while. This
+will accentuate the interest and deepen the impression.
+
+All models given may be increased or decreased in size if the
+proportions are adhered to, but the dimensions stated are those
+commonly used.
+
+
+A MODEL LESSON
+
+     _Aim_--To construct a windmill or pin-wheel.
+
+Each child should have a five-inch square, a slender stick five inches
+long, a pin, a ruler, a pair of scissors, and a lead pencil.
+
+The children are supposed to know that every piece of paper, laid in
+position, has a back edge, a front edge, a right edge, a left edge, a
+right-back corner, a left-back corner, a right-front corner, a
+left-front corner, and that, in tracing, the forefinger of the right
+hand is used.
+
+Three questions after each direction will be sufficient. The questions
+aim to have a complete statement in answer, and to develop an
+unconsciously correct use of the verb. This may appear slow at first,
+but soon the replies will come quickly and the answer will be correctly
+given.
+
+[Illustration: WINDMILL, A]
+
+_Teacher_: "Children, lay your papers on your desk parallel with the
+front edge of the desk.--John, where are you to lay your paper?"
+
+_John_: "I am to lay my paper on my desk parallel with the front edge
+of my desk."
+
+_Teacher_: "Mary, where did you lay your paper?"
+
+_Mary_: "I laid my paper on my desk parallel with the front edge of my
+desk."
+
+_Teacher_: "Willie, where has Mary laid her paper?"
+
+_Willie_: "Mary has laid her paper on her desk, parallel with the front
+edge of her desk."
+
+_Teacher_: "Trace the back edge of your paper.--Anna, what are you to
+do to your paper?"
+
+_Anna_: "I am to trace the back edge of my paper."
+
+_Teacher_: "Harry, what did you do to your paper?"
+
+_Harry_: "I traced the back edge of my paper."
+
+_Teacher_: "Jessie, what have you done to your paper?"
+
+_Jessie_: "I have traced the back edge of my paper."
+
+_Teacher_: "Each child place the forefinger on the right-back corner of
+the paper.--Charles, what are you to do?"
+
+_Charles_: "I am to place my forefinger on the right-back corner of my
+paper."
+
+_Teacher_: "Anna, what did you do?"
+
+_Anna_: "I placed my forefinger on the right-back corner of my paper."
+
+_Teacher_: "Laurence, what have you done?"
+
+_Laurence_: "I have placed my forefinger on the right-back corner of my
+paper."
+
+_Teacher_: "Take your ruler and lay it across your paper from the
+left-back corner to the right-front corner.--Margaret, what are you to
+do?"
+
+_Margaret_: "I am to lay my ruler on my paper from the left-back corner
+to the right-front corner."
+
+_Teacher_: "Draw a line connecting the left-back corner of your paper
+with the right-front corner.--James, what did you draw?"
+
+_James_: "I drew a line connecting the left-back corner of my paper
+with the right-front corner."
+
+_Teacher_: "Alice, what have you drawn?"
+
+_Alice_: "I have drawn a line connecting the left-back corner of my
+paper with the right-front corner."
+
+Now have the children draw a line connecting the reverse diagonal
+corners and proceed as follows:
+
+_Teacher_: "Find the point where the lines cross. This is the center or
+middle point of your paper.--Albert, what are you to find?"
+
+_Albert_: "I am to find the point where the lines cross, which is the
+center of my paper."
+
+_Teacher_: "Measure one inch from this point on each of the four lines
+and place a dot.--Sara, what did you measure?"
+
+_Sara_: "I measured one inch from the center of my paper on each of the
+four lines and placed a dot."
+
+_Teacher_: "Lay your pencil and your ruler down. Place your paper on
+your desk parallel with its front edge and lay your left hand on the
+right-front corner. Turn the paper until this corner is directly in
+front of you. Take your scissors and cut along the ruled line from the
+corner to the point one inch from the center.
+
+[Illustration: WINDMILL, B]
+
+"Lay down your scissors. Turn your paper from right to left until the
+next corner faces you. Cut. Move the paper from right to left again
+until the third corner faces you. Cut. Bring the fourth corner to face
+you. Cut. There are now eight points. Turn each alternate point to the
+center, run the pin through all of them and fasten the wheel to the
+stick."
+
+_Final questions._
+
+_Teacher_: "What did you make?"
+
+_Pupil_: "I made a pin-wheel."
+
+_Teacher_: "What have you made?"
+
+_Pupil_: "I have made a pin-wheel."
+
+_Teacher_: "What has Ellen made?"
+
+_Pupil_: "Ellen has made a pin-wheel."
+
+When older pupils have completed a model it is excellent practice to
+have them write a full description of how it is made and the materials
+used.
+
+
+1 Windmill, or Pin-Wheel
+
+     _Material_--One piece of construction paper, 5×5 inches.
+     Stick, 5×1/4×1/4 inches. One pin. (See pages 28 and 30.)
+
+Fold the square on the diagonals. Cut the diagonals to within one-half
+inch of the center. Bend alternate corners over until the point of each
+touches the center. Fasten the four points in the center by running the
+pin through them and driving it into the stick.
+
+
+2 Square Tray No. I
+
+     _Material_--Construction paper, 5×5 inches. (See page 32.)
+
+Measure off one inch on four sides, and connect the points with a line
+parallel to the edge of the paper. Score lightly each line. Cut out the
+four corner squares. Turn up the sides, fasten the corners together
+with raffia or cord, tying a small bow.
+
+
+3 Square Tray No. II
+
+     _Material_--Construction paper, 5×5 inches. (See page 33.)
+
+Fold and crease into sixteen small squares. Score lightly the four
+lines nearest the outer edge. Draw one diagonal pointing toward the
+center of each corner square. Next draw half of the diagonal extending
+in the opposite direction. Fold the paper on the lines scored. Crease
+the diagonals 1-2, making the crease extend to the inside of the tray,
+and press until lines 1-4 and 1-3 meet. Now we have a triangle on the
+inside of the tray. Fold this over on half-diagonal, No. 5, and press
+to the side of the tray. This will fasten together firmly the corners
+of the tray.
+
+[Illustration: SQUARE TRAY No. I--(For description see page 31.)]
+
+
+4 Square Box with Cover
+
+     _Materials_--Construction paper, 6×6 inches. (See page 34.)
+
+Measure off from the outer edge two lines, one inch apart. Score these
+lines. In each corner there are four one-inch squares. Cut off 1, 2,
+and 3; then draw the diagonal of 4 pointing toward the center of the
+paper. Crease and fold on these diagonals, extending the triangle
+inward. Fold this triangle over to half its size; press to the inside
+of the box. Edges 5-6, 5-7 will meet to form the corners of the box,
+and cover flaps 8-9 will fall naturally into place. Result, box four
+inches square, one inch deep, with folding cover.
+
+
+5 Square or Rectangular Box
+
+[Illustration: SQUARE TRAY No. II--(For description see page 31.)]
+
+     _Material_--Construction paper, 4×4 inches or 4×6 inches.
+
+Measure off a margin one inch all around, and score. Cut as indicated
+on page 35. Fold over the border to half its width, as 1 over to 2.
+Bend up on line 2-3. When the edge is folded over a little tongue is
+formed at each end. Slip this tongue under the fold of the adjacent
+side, and it will fasten the sides of the box firmly together. A lid
+may be made exactly as the box is made.
+
+[Illustration: SQUARE BOX WITH COVER--(For description see page 32.)]
+
+A beautiful Christmas box may be made of red paper, or gray decorated
+with holly. Made of white paper, with a chicken (in yellow) painted on
+the lid, it is appropriate for Easter.
+
+[Illustration: SQUARE BOX--(For description see pages 33 and 34.)]
+
+
+6 Pencil Box with Sliding Cover
+
+     _Material_--Construction paper: one 7-inch square; one
+     rectangle 4×9 inches. (See page 36.)
+
+_Drawer._ Lay the rectangle on the desk with the nine-inch edge
+parallel with the front edge of the desk. Draw a line one inch from the
+back edge and parallel with it. Draw a line one inch from the front
+edge and parallel with it. Draw a line one inch from the right edge and
+parallel with it; and a line one inch from the left edge and parallel
+with it. Score, bend and crease on these lines. Cut the lines on the
+right and the left edges to where they intersect the lines on the back
+and the front edges. Fold and glue. The laps are pasted on the inside
+and give strength to the ends of the drawer.
+
+[Illustration: PENCIL BOX WITH SLIDING COVER]
+
+_Cover_ (seven-inch square). Measure off one and one-fourth inches, and
+construct a line parallel to the back edge. Measure one inch and draw a
+line parallel to this. Measure off two and one-sixteenth inches (shy)
+and draw a third parallel line. Measure one inch again and draw a
+fourth line parallel to the other three. Score and fold on these lines.
+Lap the space at the back edge over the space at the front edge until
+they form a rectangle two and one-sixteenth by seven inches in size, to
+correspond with the opposite one, which is the top of the cover. Glue.
+Slide in the drawer and the pencil box is completed.
+
+
+7 Seed Box with Sections
+
+     _Material_--Construction paper: two rectangles 8×9 inches;
+     one rectangle 2×5-1/2 inches; one rectangle 2×4-1/2 inches.
+     (See page 38.)
+
+Take one 8×9-inch rectangle for the body of the box and lay off a
+two-inch space all around. Cut on dotted lines. Score and crease, fold
+and glue. The laps are glued to the inside and each one turned to the
+right. When the partitions are put in the laps mark where the ends go,
+as well as brace the ends of them. Take the two rectangles, 2×4-1/2
+inches and 2×5-1/2 inches, and draw a line one-half inch from each of
+the two-inch edges. Score and crease. These form the laps for pasting
+the partitions in. On these partitions turn all four laps to the right,
+to coincide with the laps on the box. Dovetail the partitions by
+cutting a slit one inch deep in the center of each and slipping one
+over the other. Next glue them to the inside of the box.
+
+_Cover._ Take the second 8×9-inch rectangle and mark off a two-inch
+space (shy) all around. Find middle of nine-inch edges and draw lines
+1-2, 2-3, and 2-4. Cut out these two triangles. Cut the corners on the
+dotted lines. Score, fold, and glue. Notice that in the lids the laps
+are not turned as in the body of the box. Here, as in the drawer of the
+pencil-box, the laps are glued to the ends of the cover, concentrating
+strength there and producing symmetry in construction.
+
+
+8 Picture Frame No. I--Diagonal Folds
+
+     _Material_--Construction paper, 5×5 inches. (See page 39.)
+
+Fold on the diagonals. Bring each corner over until it touches the
+center; crease. Fold each corner back again until its point touches the
+outside edge at the middle section; crease.
+
+[Illustration: SEED BOX WITH SECTIONS--(For description see page 37.)]
+
+
+9 Picture Frame No. II
+
+     _Material_--Construction paper, 4-1/2×16-1/2 inches. (See
+     page 40.)
+
+Divide the length into three equal parts, making three rectangles
+4-1/2×5-1/2 inches in size. In the middle rectangle, measure off and
+cut out a rectangle 2-1/4×3 inches in size. Fold rectangle No. 3 up and
+back of rectangle No. 2. Holding the two firmly together, punch two
+holes, one-fourth inch apart, on each side, and one-fourth inch from
+the outer edges (see diagram). Draw a piece of raffia or ribbon through
+these holes and tie in a bow. Fold back rectangle No. 1 for support.
+
+[Illustration: PICTURE FRAME No. I--(For description see page 37.)]
+
+[Illustration: PICTURE FRAME No. II--(For description see pages 37 and
+39.)]
+
+
+10 Portfolio
+
+     _Material_--Heavy manila paper, 7-1/2×12 inches. (See page 41.)
+
+Fold edge No. 1 over and even with edge No. 2. Crease and fold. On each
+side of A mark and cut off one-half inch. Clip off the corners of the
+flaps on B. Fold the flaps of B over on A and paste. Find the middle of
+edges 1 and 2. With a radius of one inch, describe a semicircle and cut
+it out.
+
+[Illustration: PORTFOLIO--(For description see page 40.)]
+
+
+11 Barn--House--Furniture
+
+     _Material_--Construction paper, 8×8 inches or 10×10 inches.
+     (See page 42.)
+
+Fold a square into sixteen small squares of equal size; crease. With
+this as a basis throw the child on his own resources, allowing him to
+invent a pattern and make a chair, a sofa, or any piece of furniture
+that he can devise from such a square. A corner may have to be cut out
+or a slit made, but impress upon the child that, as far as possible,
+the model must be gotten by folding, with very little or no cutting.
+
+By using a larger square and folding in the same way, a house or a
+barn may be made. Add a chimney and steps from an extra piece of paper.
+
+[Illustration]
+
+
+12 Hexagonal Tray
+
+     _Material_--Construction paper, 7×7 inches.
+
+[Illustration: HEXAGONAL TRAY]
+
+Draw one diameter; find the center. With a radius of three and one-half
+inches describe a circle. (The circumference of a circle is six times
+the radius). Place a point of the compass at one intersection of the
+circumference and the diameter, and divide the circle into six equal
+parts. With a radius of two inches, describe an inner circle parallel
+to the outer one. Connect opposite points of the outer circle by
+drawing two more diameters. This will divide the inner circle into six
+equal parts. Connect by straight lines the adjacent points of the inner
+circle, as 1-2; score. At the intersections of the outer circle, mark
+off one-half inch on each side and by straight lines connect both these
+points with the opposite points of intersection of the inner circle, as
+2-3, 2-4. This forms two equal triangles, one of which is to be cut
+out, as 4-2-5, and the other, as 3-2-5, left. Having cut out the six
+triangles, bend up on lines scored, bring the sides together, and use
+triangle 3-2-5 as a lap for pasting.
+
+
+13 Lamp Shade
+
+     _Material_--Construction paper, 7×10 inches. Japanese rice
+     paper, 7×10 inches.
+
+[Illustration: LAMP SHADE, A]
+
+Select a pretty shade of brown, green or red construction paper.
+Measure off two inches and construct a line parallel to the ten-inch
+length. Bisect this line. Place the compass at this point of bisection
+and with a radius of four inches describe a semicircle, 1-2; extend
+this arc to 3, and draw the line 3-4. With a radius of one inch
+describe an inner semicircle (5-6) parallel to the outer one. Again,
+with a radius of one inch describe a third semicircle, parallel to the
+other two. Set the compass at half the radius and divide each
+semicircle into six equal parts. Connect these points of intersection
+by straight lines (9-10). Make a stencil that will fit in one of these
+sections. Using the stencil, draw the same figure in each section.
+Carefully cut out the stenciled space. Next lay the construction paper
+on the Japanese rice paper and trace on it the stencil design. Remove
+the construction paper and, with two blending colors of crayon, color
+the figure or design traced on the Japanese paper. Again, lay the
+construction paper on the rice paper and glue the two together. Cut out
+the shade as marked off, bring the two edges together, and glue.
+
+[Illustration: LAMP SHADE, B]
+
+If you wish the lower edge scalloped, cut it as shown in the diagram.
+By folding and creasing on the lines of intersection the shade may be
+made hexagonal in shape. All designs for decoration are supposed to be
+original.
+
+
+14 Star
+
+     _Material_--Construction paper, two 8-inch squares. Raffia.
+
+Take an eight-inch square. Fold the front edge over to the back edge;
+crease. On the left edge place a point one and one-half inches from the
+left-back corner. Carry the right-front corner over to this point; fold
+and crease. Turn the left triangle under; fold and crease. Next, as the
+paper stands in your hand with the triangle facing you, fold the right
+edge over to the left edge; crease. Where the three edges of the paper
+come together, begin at the highest point and cut across the paper from
+right to left to within two and one-half inches of the center. Open out
+the paper and you have the star.
+
+A picture frame made of a five-pointed star is very pretty. Cut two
+stars of the same size. From the center of one cut a star one inch
+smaller for a mat. Lay this mat on the solid or foundation star and
+glue four of the points together. In the fifth point pierce two holes
+through both pieces, about an inch from the apex of the point. Slip in
+the picture. Take a piece of raffia or cord and tie a loop with two
+ends. Bring these ends through the holes from the back to the front and
+tie them in a bow. By the loop at the back the frame is hung.
+
+[Illustration: PICTURE FRAME FROM FIVE-POINTED STAR]
+
+
+15 Notebook
+
+     _Material_--Construction paper, 6-1/2×7 inches, for cover.
+     Manila paper, four pieces 6×6-1/2 inches, for leaves.
+
+Fold the piece of construction paper down the middle, so as to form the
+3-1/2×6-1/2-inch cover. In the same way crease the manila paper for the
+leaves. Place the leaves within the cover; with heavy silk or fine
+twine sew them to the back. Bring the needle through one inch from the
+upper edge, one inch from the lower edge, and in the middle. The long
+stitch is on the inside, the two short ones are on the outside, both
+ends of the thread are brought through the center to the inside and
+tied over the long stitch to hold it in place. Leave the ends an inch
+long and fringe them.
+
+[Illustration: NOTEBOOK]
+
+
+16 Bound Book
+
+     _Material_--Heavy construction paper, colored, 5×6 inches,
+     for cover. Four pieces white paper, 11-1/2×19-1/2 inches,
+     for leaves. Two pieces tape, 1/4×2 inches.
+
+_Cover._ Mark off and rule two and seven-eighths inches from each edge
+of the five-inch length; crease. This will leave in the middle a
+1/4×5-inch space, in which the back of the leaves will go. Take each
+sheet of white paper, fold it once lengthwise, and once crosswise; this
+will make a "folio" four leaves thick, 2-3/4×5-3/4 inches in size. We
+have four of these folios to be joined together and bound to the back.
+Take folio No. 1 and with needle and silk sew the leaves together,
+running the thread one inch from the upper edge and one inch from the
+lower edge and in the center, seeing that the last stitch brings the
+thread on the outside of the back of the leaves. Do not break the
+thread. Take folio No. 2, hold it close to folio No. 1, carry the
+thread across and take it through the middle of the back, one inch from
+front or back edge, as in folio No. 1.
+
+[Illustration: BOUND BOOK]
+
+On the back edges of these folios there will be two long stitches.
+Under these stitches pass the two pieces of tape. Keep one of these
+tapes as near the upper and the other as near the lower edge as the
+stitch will allow. As a folio is added and the leaves sewed together,
+connect the exposed stitch of the one previously added to the one last
+added, at the three places where the thread holds the leaves, by a
+buttonhole stitch (in bookbinding known as the "kettle stitch"). When
+the last folio is added, place the back of the leaves to the back of
+the cover in the 1/4×5-inch space. Stretch the tapes down on the cover
+and paste (1-3). Take the first and the last leaf and paste them over
+the tapes, to the inside of the cover. The outside of the cover may
+have some simple decoration if such is desired.
+
+In Book VII of the _Text Book of Art Education_, published by The Prang
+Educational Company, is worked out a very interesting problem for the
+making of a scrap-book, and suggestions given for decorating the cover.
+The scrap or clipping books shown here were made in a similar way. The
+decoration and cover are left to the taste and ingenuity of the teacher
+or the child.
+
+
+17 Japanese Book
+
+     _Material_--Construction paper, colored, 4-1/4×12-1/4
+     inches, for cover. Manila paper, six leaves, 4×6 inches,
+     double, with fold on outer edge.
+
+[Illustration: JAPANESE BOOK]
+
+The paper for the cover is 4-1/4×12-1/4 inches in size. Place the paper
+lengthwise in front of you and bring the left edge over to the right
+edge; crease, fold. Mark off a space three-fourths of an inch from the
+edge of the fold, draw a line, A-L. On this line three-quarters of an
+inch from the upper and the lower edges, place dots, B C, and
+one-fourth inch from B C place dots D E. Hold the leaves evenly
+together and press them in between the cover. With a large needle and
+cord sew through C, under, up, and over A, through C again, under to
+F, over through C, under and up through E, back to G, under and up
+through E, down to D, through and over H, back to D, down and up
+through D, then to B; down under to K, back to B, through and under and
+around to L, to B, to D, to E, to C. Tie the two ends of the cord,
+which come together at C, and fringe them out.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of grass cloth.]
+
+
+18 Scrap-Book
+
+     _Material_--Construction paper, colored: 6-1/4×8-1/4 inches,
+     for cover. Manila paper: three leaves 6×8 inches; three
+     strips 1-1/8×6 inches. Two paper clamps.
+
+Double the 6×8-inch leaves into six leaves 4×6 inches in size. Between
+leaves 1 and 2, 3 and 4, 5 and 6, place the 1-1/8×6-inch guards at the
+back. Have leaves and guards even and compact; then set them between
+the cover. Measure from the back edge of the cover a space
+three-quarters of an inch wide, and draw a pencil line. Placing the
+sharp edge of a ruler on this line, bend the back edge toward the front
+until it is well creased. In the center of this 3/4-inch space, one
+inch from the upper edge and one inch from the lower edge of the book,
+pierce a hole and insert the brass clamps.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of linen, stenciled.]
+
+
+A PASTE
+
+Mix until perfectly smooth one cup of flour with one cup of cold water.
+
+Put two cups of water in a vessel and set it over the fire until it
+heats. (Do not let it boil.) Add one teaspoonful of powdered alum, then
+stir in the mixture of flour and cold water. Continue stirring until
+it thickens to a good consistency. Remove it from the fire and add one
+teaspoonful of oil of cloves or peppermint. Pour it into an air-tight
+jar and when it is cool screw on the top.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of fancy paper--(For description see pages 51 and 52.)]
+
+Use the same cup all through. The oil of cloves or peppermint is simply
+a flavoring, and does not add to the quality. This quantity will nearly
+fill a quart jar.
+
+
+
+
+PART III
+
+WOOD CONSTRUCTION
+
+
+
+
+WOOD CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+As the child develops, paper construction loses its charm, and a desire
+for something utilitarian arises. We suggest that at this stage the
+much-treasured pocket knife be brought into service, for from small
+pieces of wood many articles may be made. The construction of these
+will afford the child, especially the boy, much pleasure, and will at
+once arouse a new interest.
+
+Only the simplest articles will be given here--articles which may be
+fashioned from bits of wood commonly found around a house, such as old
+cigar boxes, small starch boxes, etc. But, should the teacher be able
+to obtain the proper materials, basswood a quarter or three-eighths of
+an inch thick, and whittling knives are the requisites.
+
+The reader will notice that the wood mentioned for each model is bass.
+Why? Because bass is the wood generally used for carving. The tree is
+the same as the linden and the lime. It is found in northern Asia,
+Europe, and North America, and grows to an immense height. The wood is
+soft, light, close-veined, pliable, tough, durable, and free from
+knots, and does not split easily; all of which qualities favor its
+suitability for carving.
+
+In whittling, it is always best to lay off the pattern on both sides of
+the wood. Then one can work from either side without fear of spoiling
+the material.
+
+In cutting, work with the grain, or the wood will be apt to split. Cut
+toward you, not from you.
+
+In grooving, use the point of the knife, and work slowly and carefully.
+If the knife slips the wood is ruined.
+
+Insist that nothing the child does is well done unless well
+sandpapered, and nothing is properly sandpapered until all roughness is
+done away with, and the grain appears.
+
+In the making of designs, let the child first have a piece of paper the
+size of the wood he is to use, and have him work out a design to be
+applied to his wood. This design may be most crude, but with a
+suggestion here, and a correction there, from the teacher, it can be
+brought into shape. The child will be pleased, and will attack with
+more assurance of success each succeeding problem that he meets.
+
+For coloring, use water color paints. Red, green, and yellow are most
+satisfactory, as their identity is retained when staining is applied.
+
+Apply the stain with a brush, and with a soft cloth rub it in until it
+is dry. This develops or brings out the grain.
+
+When sure that the stain is well rubbed in and dry, apply butcher's
+wax, and polish with a soft cloth. Some articles need two coats of
+stain, and an equal amount of polish.
+
+In all work impress upon the child the fact that what is worth doing is
+worth doing well, or it should not be done at all.
+
+Each model given works out a problem in handling the knife and cutting
+the wood, and each problem leads up to the one that follows.
+
+We will begin with the simplest thing one can make--a puzzle.
+
+
+1 Puzzle
+
+     _Problem_--To cut with the grain of the wood, and how to cut
+     corners. (See page 57.)
+
+     _Material_--Basswood: one piece 7×1-1/2×3/16 inches; one
+     piece 3×1-1/2×3/16 inches. One yard of macramé cord.
+
+Shave the 7×1-1/2-inch strip of wood down with a knife until it is an
+inch wide, being careful to keep the edges parallel. Measure off
+three-eighths of an inch in opposite directions on each corner and on
+both sides of the wood. Connect these points by a pencil line. Cut off
+each corner the space indicated by the line. Be careful always to cut
+with the grain of the wood; cutting against it will split the board.
+Next, three-fourths of an inch from each end, and equally distant from
+the sides, and in the center, bore holes. From the 3×1-1/2-inch piece
+of wood, cut two blocks one and one-half inches square, and bore a hole
+in the center of each. Double the string to a loop and draw this loop
+through the center hole of the rectangular strip. Pull the loop to the
+edge, and draw through it the two ends of the cord. String the
+1-1/2-inch blocks, one on each cord, then tie the ends of cord in the
+two end holes of the rectangular strip.
+
+The puzzle is finished. What is the aim, and how can it be solved?
+
+[Illustration: PUZZLE]
+
+_Solution._ Mark one block. Hold one in the hand and move the other
+along until it passes through the loop at the center.
+
+Pull the cord through the middle hole until it draws with it four
+thicknesses of cord. Now slide the block along until it passes through
+a double loop. Next, draw this double loop back through the hole; the
+string will be in position, and the block is now passed along through a
+single loop and onto the string containing the other one. To replace
+the block, turn the puzzle around and repeat the process.
+
+
+2 Plant Label
+
+     _Problem_--To cut across the grain, and, by removing two
+     equal triangles, to form a well-tapered point.
+
+     _Material_--One piece of basswood, 6×1×1/4 inches.
+
+[Illustration: PLANT LABEL]
+
+Take the end A B and find the center, C. From A measure off two and a
+half inches, and place point D. From B measure off two and a half
+inches, and place point E. Connect points CD and CE. Place the same
+measurements on the reverse side. With the knife cut off triangles
+A-C-D and B-C-E. Sandpaper the wood until it is smooth and the label is
+finished.
+
+
+3 Pencil Sharpener
+
+     _Problem_--Curve-cutting.
+
+     _Material_--One piece of basswood, 6-1/2×1-1/4×1/4 inches.
+     One piece of sandpaper, 1×3-1/8 inches. Glue. Stain.
+
+On the wood place points three and a quarter inches from each end, at A
+and B, and connect them by line A-B. Place points G and H half an inch
+from C and D. Start your curve at G, pass through I, and end at H. In
+the rectangle A-B-F-E draw a handle as indicated in the diagram. Shape
+the other end by removing spaces G-C-I and H-D-I. Sandpaper thoroughly.
+Shape one end of the 1×3-1/8-inch piece of sandpaper as curve G-I-H,
+and glue it to the wood. Stain the wood and polish it by rubbing it
+with a soft cloth.
+
+[Illustration: PENCIL SHARPENER]
+
+
+4 Match Scratch
+
+     _Problem_--Curve and cross-grain cutting.
+
+     _Material_--One piece of basswood, 3-3/4×3×1/4 inches. One
+     piece of sandpaper, 2-1/2×3 inches. Glue.
+
+[Illustration: MATCH SCRATCH]
+
+Place a point at the center of line A-B and of line C-D. Place a point
+on line A-C and line B-D, one and one-quarter inches from A and B.
+Connect these points by a pencil line, and draw another line one-eighth
+of an inch below. Score these two lines with the point of the knife,
+making a tiny groove. Draw curves A-E and B-E, the highest point of the
+curve being half an inch from the edge A-E-B. Draw curves G-F and H-F.
+Remove spaces 1, 2, 3, and 4. Sandpaper thoroughly the edges and sides.
+Shape the piece of sandpaper, two and a half by three inches, to fit
+the space G-F-H, allowing a quarter-inch margin, and glue it on. Bore a
+hole at 5. Do not stain.
+
+[Illustration: KITE STRING WINDER]
+
+
+5 Kite-String Winder
+
+     _Problem_--Cross-grain cutting.
+
+     _Material_--One piece of basswood, 5-1/2×2-1/2×1/4 inches.
+
+Measure and lay off as shown in the diagram, and cut out all spaces
+indicated by dotted lines. Sandpaper the wood until it is smooth. Stain
+the winder or not, as is preferred.
+
+
+6 Thermometer Back
+
+     _Problem_--Beveling and grooving. (See page 62.)
+
+     _Material_--One piece of basswood 6×3×1/4 inches. Stain.
+
+For the thermometer back the measurements need be placed on but one
+side of the wood.
+
+Mark off a quarter-inch from the edge all around and draw a line. Place
+a second line a quarter-inch within this. Using the line nearest the
+edge as a guide, cut off the sharp edges on the face of the strip of
+wood until the slant surface is reached between the line and the back
+edge. This makes the bevel. The inner line is a guide for spacing the
+design. Originate a simple design, and lay it off on the board in
+pencil. Then, using the point of the knife, with the greatest care
+groove out the design. Place a hole near the top of the strip by means
+of which to hang it. Notice that the design fits around the hole.
+Sandpaper, stain, and polish the wood.
+
+The design given here is the simplest that can be made. It is suggested
+that until the child becomes accustomed to working with the knife, all
+designs for grooving had better be confined to straight lines. Combine
+in a design a vertical, a horizontal, and an oblique line, and some
+beautiful patterns may be originated.
+
+
+7 Pocket Pin-Cushion
+
+     _Problem_--Circular cutting, grooving, stenciling, and
+     coloring. (See page 63.)
+
+     _Material_--Basswood: two pieces, 3×3×1/4 inches. One piece
+     of heavy felt 3×3×1/4 inches. Glue. Water-color paints.
+     Stain.
+
+Find the center of each square of wood by drawing the diagonals. With
+the compass at the radius of one and one-half inches, describe a circle
+on each piece of wood (on one side only). Remove spaces A, B, C, and D
+with the knife, and you have a circular block. Remember to cut with the
+grain. Bevel the edges. Make an original design and apply it to your
+wood. With the knife groove the outline of this design. There should be
+a space three-eighths of an inch wide between the edge of the wood and
+the outer edge of the design. When the design is grooved in, color
+it. Red, green and yellow are the best colors. Their identity is not
+lost in staining. Lastly, stain and polish the face of the blocks. Cut
+the felt the size of the blocks, cover the back of each block with
+glue, place the felt between the two, and keep the whole in press for
+several hours. The model here suggests two designs. These are given
+simply as illustrations. Use the same design for both backs of the
+cushion.
+
+[Illustration: THERMOMETER BACK--(For description see page 61.)]
+
+[Illustration: PIN CUSHION]
+
+[Illustration: DESIGNS FOR PIN CUSHION]
+
+
+8 Picture Frame
+
+     _Material_--Basswood, sweet gum, walnut or oak. One piece,
+     8×6×1/4 inches, for frame; one piece, 5-1/4×4×1/4 inches,
+     for back; one piece, 4-1/2×3×1/4 inches, for supports; two
+     pieces, 3-1/4×3/8×1/4 inches, and one piece, 5-1/4×3/8×1/4
+     inches for cleats. Glue. Half-inch brads.
+
+Should basswood be used it must be stained. Sweet gum, walnut, or oak
+may be left in its natural state, and oiled to bring out the grain and
+finish.
+
+[Illustration: PICTURE FRAME]
+
+On the 8×6×1/4-inch board mark off with a pencil a center space
+2-3/4×3-3/4 inches in size. With a gimlet bore holes at points A, B, C,
+and D. Connect these holes with a pencil line as a guide for cutting.
+Along the line make a groove which may be broadened and deepened until
+the board is cut through. By working around the square in this way, the
+center will soon be opened. Trim the wood as smoothly as possible with
+a knife; then use sandpaper to level and finish off. Bevel the edge of
+the opening if you wish.
+
+Cut in half the 4-1/2×3×1/4-inch piece of wood, and make two supports,
+as in Figure 2. With a pencil draw the shape of these supports on the
+wood; in whittling work very carefully, as they are small and will
+easily split. As far as possible, hold the pieces so that the knife
+will shave with the grain of the wood. In crosscut work from the
+opposite side. In straight cut, keep notches at opposite ends, so that
+if the knife should slip and the wood split no serious damage will be
+done.
+
+Place the cleats on the back half an inch from the opening, the longer
+fitting in between the two shorter ones. Glue them on, then nail them.
+Against these cleats glue the back (1) before nailing it. Next glue and
+nail on the two supports against the back and on a level with the lower
+edge (Figure 4). On the fourth side, where there is no cleat, is the
+opening through which the picture is slipped. When the frame is
+satisfactorily sandpapered, oil and polish it.
+
+
+9 Japanese Box
+
+     _Problem_--To construct a box having lid and bottom extend
+     beyond sides.
+
+     _Stock_--Basswood: two pieces, each 8-1/2×3-1/2×1/4 inches,
+     for lid and bottom; two pieces, each 8×2×1/4 inches, for
+     sides; two pieces, each 2-1/2×2×1/4 inches, for ends; two
+     pieces, each 2-1/2×1/4×1/4 inches, for cleats. Glue.
+     Half-inch brads. Stain. Wax.
+
+[Illustration: JAPANESE BOX]
+
+On the 8-1/2×3-1/2×1/4-inch pieces of wood, cut a bevel a quarter of an
+inch wide.
+
+Place the two ends between the two sides; glue and nail. Set this
+rectangular frame on the under side of the bottom, equally distant from
+each edge, and trace the shape with a pencil. Remove the frame; the
+pencil line indicates where the nails are to be driven to secure the
+frame to the base. Now set the frame on the upper side of the bottom;
+aim for the same spacing as on the under side, and mark off. Carefully
+cover the lower edge of this frame with glue, place it on the base and
+press the two until the glue is dry. Drive the brads through from the
+under side of the base an eighth of an inch within the guiding line.
+Having beveled and sandpapered the lid, trace a design on it, and
+outline this design by grooving.
+
+[Illustration]
+
+Nail the 2-1/2×1/4×1/4-inch cleats to the under side of the lid,
+five-eighths or an inch from each end and half an inch from each side.
+These cleats fit into the box and hold the lid on.
+
+Stain, wax, and polish the box.
+
+
+10 Grandfather's Chair
+
+     _Material_--Basswood: three pieces 5×2×1/8 inches; one piece
+     2×2×1/8 inches. Brads. Sandpaper. Glue. Stain or oil.
+
+[Illustration: GRANDFATHER'S CHAIR]
+
+Measure and lay off as you have done in making the other small pieces
+of wood work. Handle the knife most cautiously, as the wood is so thin
+that it is easily split. When all parts are cut out and well
+sandpapered glue them together and secure them by driving in the brads
+about an inch apart along the line of the seat and where the arms join
+the back. Stain or oil as most convenient, or as taste dictates.
+
+
+
+
+PART IV
+
+BASKETRY
+
+
+
+
+BASKETRY
+
+
+INTRODUCTORY REMARKS
+
+The art of basket-making is a primitive one, and so simple that it
+appears to have been known among the rudest people and in very early
+ages.
+
+When Moses was found by Pharaoh's daughter, he was lying in a basket
+which had been woven by his mother.
+
+Later, when the Israelites were returning to the Promised Land, they
+were commanded to offer unto the Lord "the first of all the fruits of
+the earth" in a basket, as soon as Canaan became their possession. The
+baskets of the rich, of these ancient Israelites were made of gold and
+silver, and so valuable were they that when a gift was sent in one of
+them the basket was always returned.
+
+The ancient Britons were remarkably expert in the manufacture of
+baskets, which were so beautifully made that they were highly prized by
+the Romans.
+
+Our own American Indians were, and still are, such adepts in the art of
+basket-making that, for beauty and artistic effect, their baskets are
+excelled by none.
+
+The perfection attained in this art by the uncivilized is marvelous.
+Adapting the materials about them to their use, they produce
+masterpieces which the civilized man beholds in wonder and amazement.
+
+Though handed down to us through many ages, this ancient occupation has
+never lost its fascination. The adult and the child of to-day are as
+eager to learn its secrets as were those dwellers on the banks of the
+Nile, hundreds of years ago.
+
+As a plastic art it lies between paper construction and clay modeling
+on one side, and wood and iron work on the other.
+
+A keen interest in the art may be awakened by arousing in the child a
+desire for a basket for some practical purpose. In the autumn, the
+collecting of seeds for next spring's planting, the gathering of nuts,
+the need for something in which to take the lunch to school, or,
+perhaps, a wish to make a pleasing gift for the coming Christmas, will
+immediately suggest its utility.
+
+[Illustration: NORTH CAROLINA PINE]
+
+Of what shall the basket be made? Children enjoy those things most
+which they feel that they have exerted themselves to obtain; and the
+greater the effort involved, the greater the educational value. Every
+child should be trained to keep his eyes open and to adapt to his use
+the things he sees about him. Materials for baskets may be obtained in
+just this way. City children may take a trip to the country and gather
+the long grasses found in swamps and low places. Perhaps in the garden
+at home there is a clump of yucca; when the fall comes and the bloom is
+gone the leaves or blades may be cut, dried and stripped, and
+transformed into an attractive basket or tray. Again, the husks which
+are stripped from the corn cooked for dinner may be torn into narrow
+ribbons and dried for use. Corn husks make a beautiful basket, for the
+different shades of green change, after the husks have dried, to as
+many shades of brown, which blend most artistically when worked up. The
+little children of the South may gather the long needles that fall from
+the southern pine, and combine them with raffia or twine to construct a
+basket. Country children have a most adaptable and convenient commodity
+in the tough, flexible willows found on the banks of almost every
+stream.
+
+The material most commonly used and easiest to begin with, however, is
+reed, which is pliable, and readily handled and moulded into simple
+forms by even small children. It is available when other materials are
+not to be had, for it may be purchased with the school supplies.
+
+Reed is the core or central part of the climbing calamus, a species of
+palm found in the jungles of Borneo and adjacent South Sea islands. The
+outside of the raw calamus is smooth and is made into commercial cane
+used for chairs. The shavings, made by the machine which separates the
+cane from the core or inner reed, are utilized for mats, polishing
+material, and stuffing for mattresses and furniture. Thus every part of
+the raw material is brought into use.
+
+Originally the calamus grew in a limited area and was difficult to
+obtain. Only the natives could gather it, as the white man contracted
+the jungle fever as soon as he subjected himself to the climate in
+which it grew. But within the last fifty or seventy-five years
+enterprising men have begun the cultivation of the rattan palm, and
+have met with so much success that now there are a number of factories
+in the United States making the reed and rattan of commerce, while
+Germany and Belgium export to us the best reed that is used.
+
+[Illustration: REED BASKETS]
+
+The teacher should never begin the use of any new material for
+construction without having made the child familiar with its history;
+nor should a finished article be laid aside until the pupil has given
+the teacher a description of how it is made, and of what it is made. If
+this method is carried out the child will show a greater appreciation
+of what he is doing, will value the finished article more highly, and
+will place a premium on the raw material.
+
+Overlook the pupils in their work, but grant them the privilege of
+adjusting size and shape, and of selecting material for the
+requirements of the design they have in mind. By achieving what he can
+for himself, the pupil attains a realization of his own power, and the
+logic of size, shape, material, etc., is awakened.
+
+
+REED CONSTRUCTION
+
+In construction, the first thing to teach a child is how to handle the
+material. To do this, use small quantities and attempt only simple
+articles. Reed is the simplest thing to begin with, and the easiest of
+all basket-work models is the napkin ring. Soak all the reed and dry it
+with a cloth before using.
+
+
+1 Napkin Ring No. I
+
+     _Problem_--To construct a napkin ring of reed.
+
+     _Material_--No. 2 reed, 7 feet.
+
+Take one end of the reed and form a loop two inches in diameter, and
+wind the reed three times to form the ring. Hold it in the left hand.
+Pass the loose end over the curve and through the circle. Pull it taut
+enough to make it lie in a natural curve. Repeat this movement--over
+and over, round and round--allowing the strands always to follow the
+valley between the two former laps. When the foundation is covered,
+clip the end where it finishes up, press it into place in the groove,
+drop a little glue over the point at which it is pressed in, and bind
+the ring with a string to hold the end in position. When the glue has
+dried, remove the string.
+
+[Illustration: No. I     No. II
+REED NAPKIN RINGS]
+
+When the napkin ring has been made, the child has learned the principle
+involved in constructing a basket handle.
+
+
+2 Napkin Ring No. II
+
+     _Problem_--To construct a napkin ring of No. 5 reed. (See
+     page 75.)
+
+     _Material_--No. 5 reed, 2-1/2 feet.
+
+In using No. 5 reed, form the loop two inches in diameter, but have the
+ring of only one thickness, and proceed as in ring No. 1. This will
+make a napkin ring of different appearance because the windings are
+fewer and the reed thicker.
+
+
+3 Mat
+
+     _Problem_--To construct a simple mat of reed.
+
+     _Material_--No. 4 reed: eight spokes, 9 inches long; one
+     spoke, 6 inches long. Weavers of No. 2 reed.
+
+[Illustration: Figure 1     Figure 2
+TO START A REED MAT OR SIMPLE BASKET]
+
+Place together, at right angles, two groups of four spokes of No. 4
+reed. To the under group add the six-inch spoke of No. 4 reed (Figure
+1). Hold the spokes firmly in the left hand. Take the No. 2 weaver and
+insert it under the thumb. Wind the weaver diagonally over the crossing
+point in both directions (Figure 2). Then wind the weaver over and
+under alternate groups of spokes, three times around. Hold both spokes
+and weaver firmly in place with the left hand. Separate into single
+spokes now and continue weaving until your mat is four inches in
+diameter. Fasten the end of the weaver by tucking it down beside a
+rib. The projecting ribs are trimmed to an even length and pointed.
+Take any given spoke, as No. 1, bend it to the left in front of No. 2
+and insert it on the right side of No. 3. No. 2 is now taken and
+carried to the left over No. 3 and inserted to the right of No. 4.
+Proceed thus until all the spokes are inserted, when the mat is
+finished. The scallops should form a semicircle.
+
+[Illustration: REED MAT]
+
+For a larger mat, take ten spokes, sixteen inches long, of No. 4 reed,
+and one spoke nine inches long of the same. Use No. 1 reed for the
+weaver and proceed as in making the smaller mat.
+
+To add a new weaver, place the end about two spokes back of where the
+former weaver ended and parallel with it.
+
+
+4 Hamper Basket
+
+     _Problem_--To construct a simple reed basket.
+
+     _Material_--No. 4 reed: eight spokes 16 inches long; one
+     spoke 9 inches long. Weavers of No. 1 reed.
+
+Begin the basket exactly as the mat was begun. Weave until the bottom
+is three inches, or three and a half inches in diameter. Then bend the
+spokes at right angles with the base, drawing the weaver tight so as to
+hold the spokes in position and keep them separated at an equal
+distance. Continue weaving until the basket is three inches high, or
+until about one and a half inches of spokes is left for the border.
+Finish the edge by turning down the spokes as in the edge of the mat,
+or bend them down flat with the edge of the basket. Take any spoke, as
+No. 1, bring from right to left over No. 2, then No. 2 over No. 3, and
+so on until the ends of all the spokes are turned to the inside of the
+basket. Keep both basket and weaver well dampened while weaving. After
+the basket is finished press it into shape while still damp. When it is
+thoroughly dry trim off the ends of the spokes which appear too long on
+the inside of the basket, leaving them just long enough to be held in
+place by the curved spoke under which each passes. This makes a
+beautiful hamper basket.
+
+[Illustration: HAMPER BASKET]
+
+A handle may be added to this little basket, but it is not advisable to
+encourage a child to add a handle until he has made his third basket or
+has shown in some way proficiency in what has been taught so far.
+
+_To add a handle._ Take a length of reed, of the same number as the
+spokes, for the handle bow. For a small-sized basket take ten inches.
+Insert one end down through the weaving beside one of the spokes. Bend
+the bow into the shape you wish for the handle and insert the other end
+of the bow beside a spoke on the opposite side of the basket, being
+careful that the two spaces between the two ends of the handle are
+equal. The handle should be about as high above the border as the
+border is above the bottom of the basket. The width of the handle
+should be a little less than the width of the basket at the top.
+
+You are now ready to cover the handle. Take a long weaver; push one end
+of it through the wale under the second row. Hold the end in place and
+wrap the weaver about the handle bow, keeping the spaces about equal,
+and drawing taut enough to be graceful, until it reaches the opposite
+side. Then draw the weaver through the wale and under the second row
+and up on that side; next wind about the handle bow again, back to the
+starting-point. Push the weaver through the wale, under the second row
+and out again, and once more wind across the handle bow. Repeat this
+operation from side to side until the handle bow is covered. Keep each
+row of winder close to the preceding one and parallel to it. When the
+bow is covered, tuck the end of the weaver through the wale and under
+the second row and clip the end, leaving it just long enough to stay in
+place. The handle bow needs to be damp enough to be flexible, but
+unless the winding weaver is well soaked it will crack and make
+trouble.
+
+
+5 Basket Tray
+
+     _Problem_--To construct a reed basket or tray, having an
+     even number of spokes, and using same number reed for both
+     spokes and weaver.
+
+     _Material_--Sixteen spokes, each 11 inches long, of No. 3 or
+     No. 4 reed. Weaver of reed of same number as spokes.
+
+Separate the spokes into groups of four. Place set No. 1 on and at
+right angles to set No. 2. Sets 3 and 4 are laid diagonally across sets
+1 and 2.
+
+[Illustration: HOW TO BEGIN THE BASKET TRAY]
+
+Hold the spokes firmly, attach the weaver and go in and out four times
+round, over and under the same set of spokes each time. At the end of
+the fourth round, pass the weaver over two sets of spokes and weave
+four rows. Next separate the spokes into sets of two and weave one row;
+now each time that the weaver comes to starting-point in the circle,
+pass it over two sets of spokes instead of one, and then weave the next
+round. When you have been around seven times using double spokes, bend
+the spokes up for sides and weave two more rows over double spokes.
+Then separate into single spokes and weave six rows, remembering each
+time to pass the weaver at the end of a new round over two spokes
+instead of one, so as to have them properly alternated. Trim the ends
+of the spokes to an equal length and start the border by bending any
+given spoke to the right and inside the tray, holding it in place.
+Continue with each succeeding one until all the spokes have been bent
+into position. These spokes being bent so closely and consecutively
+over each other, form a coil resembling the handle of a basket. The
+points of the spokes are pushed under the coil, through from the inside
+to the outside of the basket. Keep a vessel of water at hand and wet
+the material constantly as you weave. When the tray is finished, press
+it into shape and set aside to dry. When it is well dried, clip off the
+projecting ends.
+
+[Illustration: REED BASKET TRAY]
+
+
+6 Basket with Handle
+
+     _Problem_--To construct a basket using an uneven number of
+     spokes, spokes and weaver the same number reed; and to add a
+     handle.
+
+     _Material_--No. 3 reed: eight stakes, each 20 inches long;
+     one stake 11 inches long. Weavers of No. 3 reed.
+
+Make two groups of four each of the twenty-inch stakes. Place one set
+at right angles across the other, and beside the under set insert the
+eleven-inch spoke. Hold the spokes firmly between the thumb and the
+forefinger of the left hand, and with the weaver in the right hand
+place the starting end under the edge of the upper set; bring it
+around and over set No. 1, under No. 2, over No. 3, under No. 4, and
+repeat this operation four times. Now separate the spokes into groups
+of eight twos and one single, and weave four rounds. Next cut seventeen
+eleven-inch stakes and push one in beside each stake already used.
+Divide them into seventeen pairs. Weave round and round until you have
+a base three and one-half inches in diameter. Being sure that the
+weaver is damp and pliable, with fingers, or "pliers," bend up the
+stakes close to the weaving, at right angles with the base, and
+continue weaving until the basket is four inches deep. Then trim the
+stakes, if necessary, to uniform length and bend them over to form the
+border. Take any stake, as No. 1, and work from right to left. Bend
+down No. 1, pass under No. 2 and over No. 3. Then take No. 2, pass
+under No. 3 and over No. 4. Continue until every pair of stakes has
+been turned down and worked into the border. All ends must come inside
+the basket; after it is dry, trim them off. You will find that in
+working with the wet reed your basket may seem not to have the proper
+shape. Soak it well and you will be able to mould as you wish it. Add a
+handle.
+
+[Illustration: REED BASKET WITH HANDLE]
+
+This basket is made almost exactly like the little hamper basket
+previously described, except that in this one, we use double stakes,
+while in that one, single stakes were used; the sides of this one are
+vertical, those of that one slightly curved.
+
+       *       *       *       *       *
+
+In passing from the reed basket, the next step would be the raffia and
+then the combination of reed and raffia, which is worked out in all
+forms of Indian basketry. The most common stitch is known as the "lazy
+squaw," and is made by winding the raffia round the reed one, two, or
+three times, as space is desired; and then the needle is taken through
+the row below to make the stitch. Each stitch is a repetition of the
+one before and the mat, tray or basket grows with the effort. There are
+innumerable opportunities for design in Indian basketry, and it is here
+that the work of an artist may be realized and recognized.
+
+
+RAFFIA CONSTRUCTION
+
+We may correlate and combine raffia with reed in construction. The two
+materials may be worked together to great advantage and interest to the
+child. For instance, when a napkin ring has been made of reed let the
+child next construct one of raffia, and then compare the finished
+article as to the material vised, the beauty, the flexibility, the
+durability, and the nativity of each.
+
+As in the case of reed, so with raffia before constructing with it,
+pass a piece to each child and give the life history of the plant.
+Madagascar may be a name only to the small child, but the very
+vagueness of his knowledge concerning it may cause him to realize the
+distance of the island from us and appreciate that this simple material
+with which he is working has traveled thousands of miles to bring him a
+story and an occupation.
+
+Raffia, a native of the South Sea Islands and of Madagascar, is the
+inner bark of the raphia palm, pulled off, torn into narrow strips,
+dried in the sun, and bound into bunches, which are plaited together
+and stored ready for use or shipping.
+
+We receive the raffia in its natural state, but many colors may easily
+be had by dyeing. In _Practical Basket Making_, by George Wharton
+James, some valuable suggestions on dyeing are given; but the small
+quantity of raffia a teacher will need may be dyed with very little
+trouble with the "Easy Dyes" manufactured by the American Color
+Company. Follow directions and the results will be most satisfactory.
+Be very careful to have the dyes strong enough, as raffia absorbs an
+enormous amount of coloring. All raffia should be washed before dyeing;
+it should be well dried before being put into the dye pot, since it
+takes the color better when dry.
+
+If you have pupils old enough, or a class on which you can rely,
+nothing will delight them more than to do their own dyeing. A
+fourth-grade class in one of the Baltimore schools has successfully
+dyed all the raffia, cord, cotton, and textiles used in their
+classroom. The child dearly loves color; the possibility of having
+different shades to work with will arouse an intense interest in
+procuring these colors. It will be unusual if the pupils do not handle
+with care the materials and the dye pot.
+
+In adapting a commodity to circumstances in this way, the broader
+knowledge of how the colors in clothing are obtained will develop and
+there will be created in the child a new idea of life and of man's
+work.
+
+The natural color of the raffia is much improved by washing; therefore,
+before using it loosen it and soak it in clean water so that all dust
+and dirt may be removed and the strips or strings straightened out;
+then hang it in the air until thoroughly dry.
+
+Before offering any models of the combined reed and raffia, we shall
+give a few of raffia alone, as we did of the reed.
+
+
+7 Plaited Rope
+
+     _Problem_--To teach different ways in which the plaited rope
+     of raffia may be applied.
+
+     _Material_--Raffia.
+
+Begin the use of raffia by teaching the child the three-strand plait,
+adding a new thread from time to time, until a long rope is made. Next
+teach how to coil this rope into a mat, a purse, a basket, or a hat.
+
+In plaiting, keep the raffia damp and use strands of equal size.
+Dampness adds gloss and smoothness to the finished article.
+
+[Illustration: THREE-STRAND PLAIT]
+
+In the construction of articles of plaited raffia an opportunity opens
+up to bring the child's inventive ingenuity into play. Get him to think
+of something he might make, and to construct it roughly of paper. With
+his model as a guide for shape and size, he can easily reproduce it in
+raffia. The first pattern may be crude, but each repetition will
+produce a better one, and interest will lend enchantment, until both
+pattern and reproduction will be most creditable.
+
+
+8 Plaited Mat
+
+     _Problem_--To construct a mat of plaited raffia rope.
+
+     _Material_--Raffia.
+
+[Illustration: MAT OF PLAITED BRAID]
+
+The starting-point in all these designs is the little round coil,
+called the button.
+
+To make a mat, first plait a rope several feet long. To form the button
+hold the end of the rope between thumb and forefinger, and begin to
+roll the rope just as a watch spring is coiled. With a needle and fine
+thread of raffia, make the button firm; then keep on coiling around
+the button and, as each row is added, tack it to the preceding row by
+pushing the needle in and out at right angles with the braid, so that
+the stitch may be invisible. When finished the mat should be about four
+inches in diameter. The object of winding the plait sideways is to give
+the mat firmness and thickness.
+
+
+9 Purse
+
+     _Problem_--To construct a purse or bag of plaited raffia
+     rope. (See page 87.)
+
+     _Material_--Raffia.
+
+To make a purse, plait enough rope to make two mats three and a half
+inches in diameter. To construct these mats first make the button. Work
+this time with the braid flat. Sew by holding the inner edge of the
+plait just under the outer edge of the preceding row. When both mats
+are finished, place them flat against each other, and overseam or
+buttonhole the edges together for about two-thirds of the
+circumference. Plait a rope, seven inches long, for a handle. Tie a
+knot in each end, and ravel the ends of raffia to form a tassel. Attach
+this handle to the purse at each side, where the opening begins. Girls
+especially delight in this little purse or bag.
+
+
+10 Plaited Basket
+
+     _Problem_--To sew braid together to form ONE angle. (See
+     page 88.)
+
+     _Material_--Raffia.
+
+     _Dimensions_--Bottom three inches in diameter; sides two
+     inches high; handle six inches long and two braids wide.
+
+Using three threads of raffia, plait a rope several feet long. Proceed
+just as with purse, and sew until you have a mat three inches in
+diameter. Now place the braid at right angles with the base, and sew
+round and round to form the sides. When these are two inches high
+fasten the braid; and, without cutting it, carry it to the opposite
+side to form the handle. Fasten it there and bring it back again, to
+make the handle two braids wide. Either overseam these together to make
+a broad handle, or leave them separated to form a double handle.
+
+An easy way to obtain a more uniform shape in constructing this basket
+is to have a smooth tumbler or a tin box, and, as you work, fit the
+material to the form. When it is finished, dampen it and let it remain
+on the form until it dries.
+
+[Illustration: PURSE OR BAG OF PLAITED RAFFIA--(For description see
+page 86.)]
+
+[Illustration: BASKET OF PLAITED RAFFIA--(For description see page
+86.)]
+
+
+11 Hat of Plaited Rope
+
+     _Problem_--To sew the braid together to form two angles.
+
+     _Material_--Raffia.
+
+[Illustration: HAT OF PLAITED RAFFIA]
+
+First plait the raffia together until you have a very long braid. Take
+the starting end, make the button, and sew round and round, as in
+making the purse. When the top of the crown is as large as you wish it,
+turn the braid at right angles and form the sides. When, in your
+judgment, the crown is high enough, make a second right angle to form
+the brim, which may be wide or narrow as taste dictates. Use a blunt
+needle (Smith's tapestry, No. 18).
+
+
+12 Napkin Ring
+
+     _Problem_--To construct a raffia napkin ring.
+
+     _Material_--Raffia. A piece of tag-board 1-1/2 or 2 inches
+     wide and 6 inches long. Quarter-inch ribbon or strip of
+     paper, or raffia of a contrasting color.
+
+There is mentioned a raffia napkin ring in comparison with the one of
+reed.
+
+Take the strip of tag-board, fasten the ends together and wrap with
+raffia until the board is covered.
+
+It may be ornamented with a narrow strip of ribbon, paper or colored
+raffia woven around the center. If ribbon or raffia is used tie the
+ends in a bow. If paper is used the ends must be glued.
+
+
+13 Indian Basket
+
+     _Problem_--To teach construction with twisted raffia rope.
+     (See page 91.)
+
+     _Material_--Two contrasting colors of raffia.
+
+First think of what shape and size you would like a basket; then
+roughly sketch a design, in order that an idea of shape, size, and
+proportion may be had. Keep the design before you and work as closely
+from it as possible.
+
+Take three thick strands of raffia and twist them into a rope. In
+starting have the threads unequal in length, as it is much neater to
+add one new thread at a time than two or three. Keep the rope of the
+same thickness throughout, and as each thread is used up, insert
+another overlapping the old one two or three inches. Around this rope,
+and twisted in the same way, wrap a contrasting color of raffia, aiming
+to have the spaces equal and using threads of the same size. Having
+twisted and wound four or five inches start the basket by forming a
+button, then, holding the button firmly with the left hand, coil the
+rope round and round and sew it. Use the sharp-pointed needle and join
+the coils in such a way that the threads will coincide with the twist.
+
+When the basket is finished, the opening at the top should be either
+greater or less in diameter than the base. Make a lid exactly as the
+base is made, and have it just a shade wider than the opening so that
+it will be supported. The ring with which to lift the lid is made by
+wrapping raffia three or four times over the finger, and then
+buttonholing it over. Sew the ring to the middle of the lid and attach
+the lid to the basket.
+
+[Illustration: INDIAN BASKETS]
+
+The model here given is made of white raffia twisted with red. Diameter
+of base, 4 inches; height, 2-1/2 inches; opening at top, 3-1/2 inches;
+diameter of lid, 3-3/4 inches.
+
+[Illustration: INDIAN BASKET--(For description see pages 89 and 90.)]
+
+
+14 Grass Basket or Tray
+
+     _Problem_--To teach how to construct a basket of grass, pine
+     needles, or corn husks.
+
+     _Material_--Narrow-blade marsh or sweet grass. Raffia for
+     sewing.
+
+Make a design in pencil, ink, or colored crayon.
+
+Here the adaptability of material gathered about the home is
+illustrated. The tall, fine marsh grasses may be collected, spread out
+for three or four days where they will dry, and then utilized. You will
+find that almost every blade of this grass varies in color. The root
+end may be brown, while toward the tip the leaf shades into a light
+green, or white, or vice versa; this blending, when the grass is
+bunched, is most artistic.
+
+Bunch a sufficient number of blades to make a coil a half or
+three-quarters of an inch in diameter. Do not twist. Never allow the
+coil to lessen in size. Keep adding fresh strands by slipping the root
+ends of the new blades up between those already in the coil. When we
+begin to sew we do not wrap the grasses as we wrapped the strands of
+raffia, but simply use as a sewing thread raffia of a contrasting or
+blending color. To form the button, wrap the threads three or four
+times around the root ends of the bunch, fasten tightly, then coil to
+form the center. Take the needle through the center and over the coil
+as many times as you think necessary to make the button firm. These
+stitches are the beginning of the spiral rays which radiate to the edge
+of the basket. Take the stitches at equal distances from each other.
+Handle the needle so as to pass from back to front, and always have the
+new stitch pass through the stitch of the coil just below it from right
+to left. When the coil has been wound around four or five times, the
+stitches will be seen to interlock and form a spiral. Soon the spaces
+will become too wide; then take an extra stitch in the center of each
+space, thus adding another set of rays. Continue adding new sets of
+rays as the spaces widen, until the basket is finished.
+
+[Illustration: BEGINNING OF BASKET TRAY]
+
+When the base has grown to the required size, turn up for sides and
+continue sewing in the same way until the necessary depth is obtained.
+To give a finish add enough grass to make a thick coil around the edge.
+
+Colored hemp may be woven in with the grass either as a lining or so
+inserted as to make a beautiful pattern. The value of the basket will
+be enhanced by the use of sweetgrass, if this material is obtainable.
+
+The model given is made of marsh grass, sewed with raffia of natural
+color, and the design is made in pink hemp. Its base is five inches in
+diameter; its depth one and one-fourth inches.
+
+Corn husks may be used instead of grasses, and are unexcelled for
+beauty and artistic effect. Use the inner husk from the ear when green;
+though the husks will dry, the varied color will not be lost. When made
+up with a contrasting color of green or golden brown raffia they are
+most attractive. Grasses may be kept a long time; but before using them
+soak them thoroughly, and let them dry out. This treatment will make
+them so pliable that they may be handled as easily as though freshly
+gathered. The long needles of the southern pine also are thus worked
+up.
+
+[Illustration: BASKET TRAY]
+
+
+15 Basket of Splints and Raffia
+
+     _Problem_--To teach construction, using splints and raffia.
+
+     _Material_--Splints of ash or flat reed: eighteen splints,
+     each 1/4×12 inches; 3 splints, each 1/4×18 inches, for
+     binding of edge. Raffia of two or three colors.
+
+     _Dimensions_--Base, 4×4 inches. Depth, 2 inches. Sides, 2×4
+     inches.
+
+Lay a set of nine splints flat on a surface. Take one of the remaining
+nine and weave across for the first row. Add a second splint, weaving
+in and out through alternate ones. Continue until all the nine splits
+are woven in and the square base of the basket is formed. Have splints
+sufficiently damp to be flexible; otherwise they may break. Bend up the
+splints at right angles to the base for sides, thus making corners. Now
+with the raffia weave in and out, interlace the thread at the corners,
+and draw it tight enough to hold the splints in place. Introduce color
+to suit taste.
+
+[Illustration: BOTTOM OF SPLINT AND RAFFIA BASKET]
+
+When the sides are finished, take an eighteen-inch splint and lay it
+around on the inside of the basket close to the last row of raffia.
+Hold it in place and turn the ends of the basket splints over it
+inward. These end splints must be trimmed evenly and left just long
+enough to bend over the splint running round on the inner side. Take
+two more eighteen-inch splints; having placed one inside the edge and
+the other outside the edge of the basket, with a needle and a long
+thread of raffia whip over and over. Bring the needle through each
+opening between the splints until you have gone around the four sides.
+This makes a suitable border and completes the basket.
+
+[Illustration: BASKET OF SPLINTS AND RAFFIA]
+
+The model given here has ten rows of natural color, ten rows of green,
+six rows of brown, ten of green and ten of natural color, which
+combination makes it two inches deep.
+
+
+COMBINED REED AND RAFFIA
+
+     _Problem_--To teach how reed and raffia may be combined in
+     construction.
+
+The models suggested here are very simple and can be made by the
+younger children of the lower grades. These have been held to
+purposely, for the child needs first to learn how both to use his
+fingers and to handle a needle; and afterward he must have much
+practice before he can take up the more difficult stitch in the Indian
+basketry.
+
+In beginning the combined reed and raffia work, the first thing I
+should make is a miniature umbrella.
+
+[Illustration: UMBRELLA
+(For description see opposite page.)]
+
+
+16 Umbrella
+
+     _Material_--One 9-inch spoke of No. 4 reed for handle. Nine
+     4-inch spokes of No. 1 reed for ribs. Raffia for weaver.
+
+Have the spokes thoroughly soaked and keep them wet. Also, have the
+raffia damp. Place the four-inch spokes around the nine-inch spoke,
+hold them firmly, and wrap tightly with the damp weaver four or five
+times; then tie, but do not cut the weaver. Now stand this bunch of
+spokes on end on a board or desk top, press the nine spokes out so as
+to form a circle parallel with the surface of the desk, and with the
+weaver work in and out among the spokes. The convex top of the umbrella
+will soon form. To lengthen the weaver, tie on a new piece of raffia.
+Continue weaving until within an inch of the ends of the ribs, or until
+the umbrella is four or four and one-half inches across; then fasten by
+tying the weaver to one of the ribs.
+
+To form a ferrule, slide end No. 1 of the handle reed down until it
+stands three-quarters of an inch above the outside of the umbrella.
+Drop a little glue into the cavity to hold the reed in place. Now take
+end No. 2 of the handle reed and curve it to form a ring or to appear
+like the handle of a real umbrella. Tie it with raffia to keep it in
+place and lay the umbrella aside to dry. When it is thoroughly dry,
+clip the points of the ribs to equal lengths.
+
+This little toy suggests the invention of primitive life or of an
+uncivilized nation of which the pupil has some previous knowledge. It
+is most attractive, and to have made it greatly pleases the child.
+
+
+17 Miniature Chair No. I
+
+     _Material_--No. 4 reed: one piece 15 inches long; one piece
+     6 inches long; four pieces 10 inches long. Several lengths
+     of raffia.
+
+Take three ten-inch lengths of reed and bend them so: [Illustration]
+Fasten them together at the joints and wrap with the raffia for about
+two inches to form the front legs. Next attach the fifteen-inch length
+of reed, placing the ends together to form the back legs and allowing
+the extra amount to extend above in a bow to form the back.
+
+You now have the framework of back, seat, and legs. At the back, where
+the bow extends above the line of the seat, place a five-inch piece of
+very wet reed to the front of the bow and at the edge of the seat;
+carry it around and lap it at the back and fasten to hold the back legs
+together and shape the seat.
+
+[Illustration: CHAIR No. I
+Made of reed and raffia.]
+
+This chair has a woven seat of raffia. Use a very long needle and carry
+the raffia from one side of the seat to the other in close lines until
+the space is covered one way. Then reverse the action and work from
+front to back, weaving in and out among the cross threads exactly as
+you do in darning. Be careful to keep the thread even, to prevent
+sagging. When the seat is woven whip the edge all around with raffia
+for a finish.
+
+Next take the remaining ten-inch piece of reed, bend it to a four-inch
+square and insert it between the legs one inch below the seat. Tie it
+to each leg and wrap the intervening space with the raffia as you go
+from leg to leg. This forms the brace which holds the legs in position.
+
+For the back take a very long thread of raffia in your needle, make
+seven cross threads and weave a spider's web, having the center fill
+about one-fourth the space. When the web is finished, buttonhole around
+the reed to fasten the spirals in position and to give a finish to the
+frame of the back.
+
+Lastly measure and trim off the legs to equal length. The back should
+extend two and one-half inches above the seat, and the legs should be
+two and one-fourth inches long.
+
+
+18 Miniature Chair No. II
+
+     _Material_--No. 1 reed: six spokes, 10 inches long; one
+     spoke, 6 inches long. No. 4 reed: two 15-inch lengths; six
+     10-inch lengths and one 12-inch length. Several lengths of
+     raffia.
+
+Weave two mats two inches in diameter in the following manner: Lay
+three ten-inch spokes across three ten-inch spokes at right angles.
+Place beside the under set the six-inch spoke. Take a piece of raffia,
+not too thick, for a weaver, and beginning as you would begin a basket
+or mat with a reed weaver, weave until the mat is two inches in
+diameter. Do not cut either spokes or weaver. Have the reed well
+soaked, that it may be very pliable and in no danger of breaking.
+
+To construct the back, take a mat and a fifteen-inch length of reed,
+bend the latter to a bow and place it back of the spokes at the edge of
+the last row of weaving. Bend each spoke consecutively over this reed
+and bring the end of the spoke through between the last row of weaving
+and the reed. This forms a loop over the No. 4 reed. Thread the weaver
+into a needle, and take it in and out where the No. 1 reed, or spoke,
+crosses between the mat edge and the No. 4 reed in the form of a back
+stitch. The first one fastened, continue in the same way until ten
+spokes are bent over and tied down. Next take the twelve-inch length of
+No. 4 reed, bend it to this shape: [Illustration] then fasten the three
+remaining spokes to the two-inch space as you have done with the other
+ten. Take the second fifteen-inch length of No. 4 reed, bend around
+again and fasten by running a piece of raffia in and out and over
+through each space between the loops. Lay it aside until the seat is
+prepared.
+
+[Illustration: CHAIR No. II
+Made of reed and raffia.]
+
+_Seat._ The mat is ready. Bend a ten-inch length of No. 4 reed into a
+2-1/4-inch square. Set this around the mat, bend the spokes over it and
+fasten as you did those of the back. Again take three ten-inch lengths
+of No. 4 reed and bend so: [Illustration] Place these around three
+sides of the prepared seat and fasten them by wrapping them over and
+over with raffia, and the front and two sides of the chair are formed.
+Adjust the back to the fourth side of the seat; fasten it by wrapping
+it closely with raffia. Next bend to a form near the size of the seat a
+piece of No. 4 reed. Place this around the legs, to form a brace, about
+one inch below the seat in front and about three-fourths of an inch
+below in the back. Let the joining point of the reed come at the back.
+With a piece of raffia fasten this to one leg, then wrap the raffia
+over and over along the brace until the next leg is reached, secure it
+and pass on to the third, then to the fourth, when the entire brace
+will be wrapped with raffia and the four legs held in place.
+
+[Illustration: BACK OF CHAIR No. II]
+
+Where the back is attached to the seat, you will have four No. 4 reeds
+coming together to form the back legs. This would make them too thick
+and clumsy and they would not be symmetrical with the front ones. To
+prevent this, clip two of the reeds between the seat and the brace on
+the legs. Cut out the ends of the one of the back first worked in, and
+the ends of the one forming the back brace. There is left the outer
+fifteen-inch spoke you put on and the one which came around from the
+side of the seat. These two form the back leg on each side. Wrap
+closely with raffia the intervening spaces between the seat and the
+brace so as to leave no unsightly ends.
+
+In bending the reed to fashion the legs it is impossible to have it all
+the same length; adjust this by letting the unevenness come out at the
+foot of the leg and when the chair is finished measure and cut off the
+legs to the same length.
+
+
+RULES FOR CANING CHAIRS
+
+_First: Verticals._
+
+Setting up: Begin at the center hole of the front, pass the cane up
+through the hole from the underside and down through the corresponding
+hole at the back, leaving about four inches to tie off; then up through
+the next hole to the right, pass to the corresponding hole to the
+front, continue to the right and then to the left, until all the holes
+are filled except the corner ones.
+
+_Second: Horizontals._
+
+Begin at the center hole at the left, pass the cane up through the hole
+and over all the verticals and down through the corresponding hole on
+the right, filling all the holes toward the front and then toward the
+back until all the holes are filled except the corner ones.
+
+_Third: Verticals._
+
+Begin at the center hole at the back, pass the cane up through the hole
+at the front, then fill all the holes to the right and the left, except
+the corner ones.
+
+_Fourth: Weaving Horizontally._
+
+Begin at the right-hand side, pass the cane over the upper vertical and
+under the lower vertical, pulling the upper one to the right and
+keeping the weaver to the back of the first horizontal: continue this
+until you have two horizontals in each hole.
+
+_Fifth: Diagonals Running from Left to Right._
+
+Pass the cane up through the front left-hand corner, under the
+verticals and over the horizontals, working toward the upper right-hand
+corner; first the right, and then the left-hand side of the frame is
+filled in this manner.
+
+_Sixth: Diagonals Running from Right to Left._
+
+Pass the cane up through the front right-hand corner and work toward
+the back left-hand corner, passing the cane over the vertical and under
+the horizontal pairs; continue in this way until the entire frame is
+filled with these diagonals.
+
+Tie all the ends securely on the under side of the frame.
+
+_Bind Off._
+
+Lay a piece of cane over the holes on the upper side of the frame. Take
+a second long piece of cane as a weaver, pass it from the under side of
+the frame up through a hole, over the cane, and down through the same
+hole to the under side again. Carry it along to the next or second next
+hole, pass up, over cane, and down in the same way. Continue this until
+the entire frame is bound around.
+
+
+
+
+PART V
+
+THE SCHOOL GARDEN
+
+
+
+
+[Illustration]
+
+THE SCHOOL GARDEN
+
+
+INTRODUCTORY REMARKS
+
+In the spring of 1906, at the request of President R. W. Silvester of
+the Maryland Agricultural College, I wrote, for publication as a
+_College Bulletin_, my experience of one year's work in a city school
+garden. The introduction of school gardens as a factor in the school
+curriculums was then in its infancy. Three years have shown great
+advancement along this line, though the main issue is the same to-day
+as it was then. This paper is a revised edition of the _M. A. C.
+Bulletin_. That President Silvester was a pioneer in the thought that
+"agriculture should enter into education" is shown by the following
+quotation from his introduction to my article of 1906:--
+
+     "The time must come when the child of rural environment must
+     find in the only school which ninety per cent will ever
+     attend, a training which will give it an intelligent
+     adjustment to its environment. With this adjustment, the
+     future work of the child cannot reasonably expect to escape
+     the state of drudgery. When a life's work degenerates into
+     this condition, then contentment with it, or happiness as a
+     result of it, becomes an idle dream. Can the accuracy of
+     this statement be questioned? If so, it would be a great
+     privilege for the writer to receive from some teacher a
+     letter setting forth the particulars in which he is wrong.
+
+     "Let all who are interested in the child from the country,
+     and every one should be, take this as a motto in this great
+     work before us: 'The country is entitled from its state and
+     from its county, to that consideration which will give him
+     every opportunity to secure an education as well suited to
+     his conditions, as is enjoyed by his city brothers and
+     sisters.'"
+
+
+A CITY SCHOOL GARDEN
+
+If a country boy were to hear his little city brother say, "Our class
+has a garden and I have a share in the working of it," the country chap
+would "non plus" him by quickly exclaiming, "What's that! I work in my
+father's garden every year and know all about raising and gathering
+vegetables."
+
+But to the city child, who sees only cobblestones beneath his feet,
+whose view is contracted by rows of dingy houses, or who plays on a lot
+used both as a dump-pile and as a baseball ground, the privilege of
+working in a garden plat is a great one and the products of its soil a
+revelation.
+
+[Illustration: WEEDING THE BEDS]
+
+The aim here is to give an account of one season's work in such a
+garden--a garden treasured by children whose only knowledge of
+vegetable foods was that mother got them in the market.
+
+Through the courtesy of the City Park Superintendent of Baltimore,
+sections of ground in some of the parks are placed at the disposal of
+the Board of Education for school gardens, and the privilege of
+cultivating these gardens is granted to teachers in an adjacent
+building.
+
+It is of the section in Riverside Park that I am writing, and the
+accompanying illustrations are pictures of this garden, taken at
+various times through the season.
+
+These sections are not in prominent places, but for the most part in
+undesirable corners that the park gardener is willing to relinquish for
+the good of the cause. In Riverside Park the plat is adjacent to the
+summer playground, and the second year that I had the garden, at the
+end of June when school closed, a few of the children volunteered to
+attend to it during vacation.
+
+[Illustration: GIRL INTEREST]
+
+The interest of these children attracted the attention of the director
+of the playground and she offered to oversee the work while the
+playground was in session if some of her children might have the
+privilege of working in the garden.
+
+This proved to be an amicable arrangement, as by it the garden was kept
+in good condition all summer. When school opened in September I took
+charge again, that the children might have the full experience. In my
+memory lingers a most vivid picture of a cold November afternoon when
+we gathered what remained of the crops, cleaned off the beds, heaped
+the refuse in the center of the garden, and had a most glorious
+bonfire, though it was not election day. We watched the last spark die
+out, closed the gate, and with regretful steps wended our way back to
+the schoolroom, to await the coming of another spring.
+
+Our plat measures fifty by twenty-five feet and is enclosed by a fence.
+The park gardener became interested in the children's effort and added
+to the success of the work by giving the necessary top soil, lending
+wheelbarrows, and offering occasional suggestions.
+
+[Illustration: MAY I COME IN?]
+
+As a preparation for the outside work we made a thorough study of soil
+composition and seed germination early in the winter. The children
+brought pieces of rock, pebbles, shells, wood, and leaves as concrete
+illustrations and with these before us the following lessons were
+developed:--
+
+      I That soil is made from the wasting away of all kinds of rock.
+     II That soil is made by decaying wood.
+    III That soil is made by decaying leaves.
+     IV That the above composites combine to form productive soil.
+
+The object of the first lesson was to teach that soil is made from
+rock.
+
+The pupils examined stones, pebbles, and shells. They found some
+rough, some smooth. Through the teacher's questions--"Why are some
+rough?" "Why are some smooth?" "If those having a smooth surface now
+were once rough, what has become of the particles which must have
+broken away?"--the class was led to express opinions until the final
+generalization was made: Soil may be formed from the breaking up of
+rocks and shells.
+
+Each topic was treated in a similar manner, the specific qualities of
+the specimen being brought out, until we were able to make the
+summary:--
+
+"Soil is made from decayed rocks and shells; soil is made from decayed
+leaves; the rocks make a coarse soil called sand; the wood and leaves
+make finer soil called loam; the mixture of these soils makes
+productive soil."
+
+[Illustration: WHOSE BED LOOKS THE BEST?]
+
+This summary led to the next lesson, "The Productive Qualities of
+Soil." The question was asked, "How can we determine the productive
+quality of soil?"
+
+"We can plant some seeds in each kind of soil," said a child. Several
+pupils volunteered to bring pots of earth.
+
+Ready for the experiment, we proceeded to analyze as follows the soil
+brought by the children:--
+
+"Take some of the soil in your hands, powder it as finely as
+possible.--John, what do you find in yours?"
+
+"I can feel grains of sand," said John.
+
+"Do you think there is more sand or more loam?"
+
+"I think there is more loam," said another child.
+
+"Why do you think there is more loam?"
+
+"Because, when I rub it between my fingers there seems to be more soft
+material than grains," came the answer.
+
+"Can any one suggest a means of proving that there is some of each kind
+of soil in what we have here?"
+
+Various suggestions were made, but none directly to the point.
+
+[Illustration: LAST DAY OF SCHOOL]
+
+"Mary, fill that glass jar three parts full of water. We will now drop
+into the water some of this soil and mix it well. What do you think
+will happen when we stop stirring?"
+
+"The sand will settle at the bottom of the jar," was the ready reply
+from a bright child.
+
+"The coarse loam will settle next," was a second answer; and then came
+the statement that the finest loam would remain on top.
+
+We waited a few days and were rewarded by seeing the soil in distinct
+layers in the jar.
+
+"Now we will try to discover which kind will produce the best plant.
+How shall we determine this?"
+
+"Plant some seeds," was the immediate suggestion.
+
+One pot was filled with the original soil, and one each with the kinds
+of soil that we had gotten from our experiment. A seed bean was placed
+in each pot, and all pots subjected to the same conditions and watched
+by anxious eyes.
+
+[Illustration: STUDYING NATURE]
+
+"I see a bean pushing up," came the statement one morning and every
+child wished for a peep at the tiny plant.
+
+"In which soil did the plant appear?"
+
+Another look was taken and answer given that the plant came from the
+mixed soil.
+
+The second plant to appear came from the bed of coarse loam; the one
+in the pot of fine loam came third; and last the one in the sand
+struggled to a small shoot, then died of starvation.
+
+After this the life of one plant was studied. Thus slowly and
+cautiously the study of seed germination was made, the teacher getting
+all from the child possible, and aiming to have him cull his
+information from the plant before his eyes.
+
+Now that we were familiar with the facts concerning soil composition
+and seed germination, we felt prepared to take up the outside work.
+
+Between the first and the fifteenth of April our first visit to the
+garden was made. The ground was so saturated with water that it was
+impossible to think of working it in that condition. After taking a
+view of the surroundings we discovered that the plat was on low ground
+and that the water from the rising slopes at the back ran down and
+settled upon it.
+
+The question which naturally arose was, "How may this water be gotten
+rid of?" A short talk on drainage solved this problem. The children
+decided that ditches, ten feet apart, should be dug crosswise in the
+garden. They were dug, and, as the weather was favorable, in a week's
+time the soil was in condition to be worked.
+
+Meanwhile interest did not flag, though it was impossible to accomplish
+any outside work. Writing letters to an imaginary hardware dealer,
+stating what tools we needed and inquiring the price, became an
+all-absorbing exercise. Next, we turned dealers ourselves and rendered
+itemized bills and receipts to purchasers of garden materials. In this
+way two forms of letter-writing were taught and the children derived
+both pleasure and profit from the work.
+
+In the construction period were made the labels they would need when
+the planting-time came. These were cut from small pieces of wood with
+penknives and marked ready for use.
+
+A plan by which to landscape this same plat had been drawn the year
+before by the supervisor of our city school gardens. This plan
+suggested a talk on landscape gardening and intense interest was at
+once aroused. The talk developed such questions as these:--
+
+"Is the plan before us a good one?"
+
+"Can we improve on it?"
+
+"Is there any waste space which we should utilize?"
+
+"Is the plan artistic in its arrangement?"
+
+"Suppose we work out some plans to see what is possible."
+
+A lesson such as this followed:--
+
+A rectangle was drawn on the board to represent the plat. Beside it was
+a statement of the number of beds to be laid off and the width of the
+paths between. In the arrangement of these beds and paths there must be
+artistic effect.
+
+[Illustration: A FLOWER FROM THE COUNTRY]
+
+Each child then drew a rectangle on paper and made an original plan for
+landscaping. Those showing most thought were placed before the class
+and their good points commended. The children decided that not one met
+every requirement. The supervisor's plan was again shown, discussed,
+and adopted.
+
+This plan called for twenty rectangular beds 3×11 feet in area, four
+shorter rectangular beds with a triangular section marked off from the
+end of each toward the center of the garden; and a circular bed, four
+feet in diameter, in the middle of the plat. It also allowed for one
+three-foot path running through the center the entire length of the
+garden, and a one-foot path separating the beds. There was to be a
+1-1/2-foot path around the middle circle.
+
+In a further study of this plan the following arithmetic problems were
+developed:--
+
+"What is the area of a garden plat fifty feet long and twenty-five feet
+wide?"
+
+"What would be the cost of this plat at one dollar and twenty-five
+cents a square foot?"
+
+"How many feet of fence will be required to enclose this plat?"
+
+"If the posts are set five feet apart, how many posts will be
+required?"
+
+"There are two rows of cross beams, and each beam is ten feet long; how
+many will be needed for the fence?"
+
+"How much will it cost to fence this garden at twelve cents a foot?"
+
+"What is the area of a garden bed three feet by eleven feet? the
+perimeter?"
+
+"What is the circumference of a circular flower bed four feet in
+diameter?"
+
+By this time the ground was in condition to be worked. Which should we
+do first, spade it up, or lay it off? We decided that we would first
+dig up the entire plat and level it. Now, in spacing off, should we
+begin at the center or from opposite ends? The advantages of each
+method were strongly advocated, and finally, the children themselves
+concluded that it would be easier to measure for the center and space
+off from that point.
+
+Stakes and cord had been brought. Children stood at the sides and ends
+of the garden. The middle points of the sides were determined and
+connected with a cord, and likewise the two ends. The intersection of
+the cords was the center of the plat and here a stake was driven.
+Attaching a cord to this stake two feet along the cord was measured and
+a small stick tied there. Using the cord as a radius, a circle was made
+and the middle bed staked off. Next the three-foot path to opposite
+ends was marked off, then the center one-foot path to opposite sides.
+This much accomplished, spacing the rest of the plat was easy. Two
+small boys, with lines and stakes, marked off the remaining portion and
+when the ends were reached the measurements were found to be accurate.
+The paths between the beds were next made and the ground prepared for
+planting.
+
+[Illustration: A SUGGESTION FOR RECESS HOUR]
+
+After spading, leveling, and thoroughly pulverizing the native soil, we
+added a top layer of foreign soil as a fertilizer. The latter came from
+a compost heap of street sweepings which had been standing two years
+and was supposed to be nutritious. As it turned out, however, this soil
+contained little nutriment and was productive of more fine weeds than
+fine vegetables, and it required much labor to fight these enemies.
+
+Now came the seed-planting, which was intensely interesting to the
+children. Rows twelve inches apart were marked off across the beds and
+the seeds planted according to the relative height of the plants which
+they would produce, those that would grow tallest being placed next to
+the fence, and the rest graduating to the center; thus:--
+
+    Fence
+    Corn
+    Pole Beans
+    Peas
+    String Beans
+    Lettuce
+    Radishes
+    Lettuce
+    Parsley
+    Flowers
+
+First came corn, three grains to a hill, the hills twelve inches apart.
+Then pole beans, three beans to a hill and these hills separated twelve
+inches. Next we planted two peas in a hill and made the hills six
+inches apart. The string beans were planted just as the peas had been.
+Then came a row of lettuce, next radishes, a second row of lettuce, and
+last parsley. The end of the bed was left for flowers. On Arbor Day, in
+the classroom, we had sown tomato and lettuce seeds in boxes, that we
+might have the plants ready for transplanting when our outside soil was
+in condition. The lettuce plants turned out satisfactorily, but, for
+some unaccountable reason, the tomatoes were a failure. To replace the
+latter, we took a corner bed in the garden, divided it into three
+sections and planted tomato, onion, and cabbage seeds. In five weeks
+the tomato and cabbage plants were large enough to transplant, and, as
+the radishes and lettuce matured and were used, tomato and cabbage
+plants were put in the vacant places.
+
+Two pumpkin seeds were planted in each bed, but if they both came up,
+after the plants had reached a good size, the weaker one of the two was
+weeded out (as the bed was too small to support both) and the stronger
+one left to bear fruit.
+
+Why had we planted onion seed? One of the boys had brought an onion and
+asked if he might plant it in his bed, and if it would produce other
+onions. I explained to him and then allowed him to plant the seeds in
+the supply bed at the same time that he planted the onion in his own
+bed. The onion planted produced seed, while the seeds sown yielded the
+small sets for the next year's planting. Thus by the act of one child
+the fact was clearly demonstrated to the class that fruit produces
+seed, and seed produces fruit.
+
+The supervisor had given us a wren-box, made by a child in a more
+advanced class as manual work. The children were delighted with the
+gift; they built a framework around a stout pole in the center bed and
+set the wren-box on the pole. They then suggested that a vine should
+cover this framework. Consequently, Japanese morning glories were
+chosen as the vine and the remaining space in the bed was filled with
+marigolds, nasturtiums and coleus.
+
+[Illustration: A GARDEN IN THE YARD OF A CITY SCHOOL]
+
+The seeds being planted, the work in the garden was at a standstill
+until the plants appeared, then systematic visits began. The class was
+divided into three groups and two children were assigned to a plat. We
+worked in the garden on Mondays, Wednesdays, and Fridays for half an
+hour each day. Thus, each group had its day once a week regularly.
+Finding that it was impossible to direct satisfactorily more than
+twelve children at a time, I devised the above plan, which worked
+admirably. To go to and come from the garden took a half-hour, and with
+half an hour's work there the child was away from the classroom one
+hour a week. This allowed ample time to keep the beds in order, for two
+children were apportioned to a bed, and these two went on separate
+days, so that each plat was worked twice a week.
+
+[Illustration: GARDEN BEDS AROUND THREE SIDES OF THE PLAYGROUND]
+
+The first crop of peas and of beans were gathered as vegetables. When
+the plants ceased to bear a second planting was made and the yield from
+this was left to mature as seedlings. When ripe, the seeds were
+gathered and carefully put away in the sectional seed-boxes which the
+children had constructed for the purpose.
+
+[Illustration: ANOTHER SECTION OF THE SAME GARDEN]
+
+The children took care of the garden during vacation, gathered the
+vegetables as they ripened, and with pardonable pride carried them home
+to their parents. The parents, in turn, were gratified and as much
+interested as the children. Several of the boys had individual
+appliances made by their fathers for use in the garden. Often on Monday
+mornings would come the account of the Sunday walk with mother and
+father, the visit to the garden and how much the parents admired it.
+
+One instance occurred which proved the value of this garden work and
+showed how devoid of a knowledge of vegetable growth many city children
+are. I noticed a boy digging around the root of his tomato vine as
+though he were searching for something. I asked what he was doing.
+
+"I want to see if there are any small tomatoes there," he replied. As
+the fruit of the radish had come from under the ground he expected to
+find the tomato there, too.
+
+The value of educating the child through his self-activity was proved
+in several instances, one of which I will mention. A large boy of the
+fourth grade, though a poor student, was placed on the list of garden
+children and proved to be the most industrious and active child of the
+group. Why? His father was a baker; the boy worked in the bakery until
+eleven every night; slept until four, then arose and delivered goods
+until eight, and was in the classroom at nine. Is there any wonder that
+this child lacked energy as a student? When he was removed from the
+confinement of the classroom the pure outside air acted as a tonic, his
+interest was awakened and his work well done.
+
+This same child, whenever relieved of home duties out of school hours,
+spent the time in the garden instead of devoting it to play. He hauled
+a quantity of shells with which to pave the paths, and brought all the
+sod we needed to form a firm edge around the center bed. Can there be
+any doubt that this boy was benefited?
+
+There is a social side to this industrial outside work which is
+superior to that of the classroom.
+
+First: The teacher has but a small number of children under her care at
+one time; consequently, she is enabled to learn more of each individual
+nature.
+
+Secondly: The child is under no apparent restraint, so expresses
+himself freely and shows his natural self.
+
+Thirdly: The boys and girls mingle with one another with the same
+freedom that they have on their own playground.
+
+In the two months spent in the garden not a single child took undue
+advantage of the privileges allowed, and the opportunity afforded the
+teacher for the study of child-nature was of great value.
+
+Some one might ask, "While garden work is being done, does not the work
+of the classroom suffer?" No, it does not. When classes are taught in
+sections, this outside work may be fitted in as a sectional part and
+the routine be kept intact.
+
+In summarizing, the lessons developed from garden work were these:
+Science (soil physics and seed germination); geography; arithmetic;
+spelling; English; drawing, and construction. The greatest benefit to
+the teacher was the chance to study the child under natural conditions.
+The greatest benefit to the child was his awakening to a knowledge of
+things by personal contact. I sincerely believe that the after-life of
+each one of these children will be the richer for this experience of
+outdoor study.
+
+[Illustration: GATHERING THE VEGETABLES]
+
+In some of the school yards the pavement near the fence has been
+removed, and the space divided into small beds for gardening. Many of
+these gardens make a fine showing and you will find here three
+pictures of such a yard, illustrating what may be done within the
+limits of the playground of a city school. When you consider that
+between six and eight hundred children play in this yard at the same
+recess time every day, you can appreciate what it means to yield a
+portion of the limited space to vegetables and flowers; and, since
+these plants are never molested, how much the children are pleased to
+have their playground so decorated.
+
+Nearly all the garden products may be correlated with the classroom
+work. The kindergarten children use peas in construction. The peas
+raised in the garden may be applied here. The first-grade children use
+lentils in construction. Why not as well use pumpkin seed and grains of
+corn--the product of the garden? Every class enjoys having a
+Jack-o'-lantern at Hallowe'en, so here again the pumpkin from the
+garden comes into play. In the construction of miniature wagons and
+wheelbarrows of paper, peas may be soaked and used as axles for the
+wheels. Both peas and beans may be soaked and given to the small
+children to string for chains, thus teaching number and spacing. Every
+layer of husk (beneath the outside one) from the ear of corn may be
+dried and made into a basket by the more advanced pupil.
+
+If a city teacher, with opportunities so limited and numberless
+disadvantages, can accomplish even a little in this line for the
+children in her charge, how much more should the teacher of the rural
+school accomplish when she has space at her command, children in the
+environment of country life, and seemingly all things that tend to work
+together to produce good results!
+
+So much interest is shown in this phase of industrial work all over the
+country that I doubt that there is anywhere a teacher who does not wish
+to add the study of it to the curriculum, unless she is already working
+along these lines. Feeling sure of the sympathy aroused in every
+teacher's heart, I have included among the illustrations of this
+article three scenes from rural school life. (See pages 113, 115, and
+117.)
+
+In connection with these pictures let me say a few more words to the
+rural teacher. You may think yourself much poorer than your city
+co-worker, but the fact is that you are the one of affluence, she is
+the struggler. You have all about you the materials that a city teacher
+can secure only at second hand. All the riches of nature are at your
+command--the birds that nest at your door, the fishes that swim in the
+brook, the grasses that grow by the roadside, the trees of the forest,
+and the flowers that spring up everywhere; the ground space for your
+garden; the intelligent child of country environment who does not need
+to work the garden to learn how vegetables grow, but who does need to
+work it for the education, the aim and object of school gardens. If you
+are not interested in such work, try doing it once because you should.
+Next year there will be no should; love will lead you on.
+
+I have the same feeling in my heart about the school garden that the
+poet who wrote "The Little Fir Trees" must have had about them. Each
+stanza winds up with
+
+      And so,
+    Little evergreens, grow!
+      Grow, grow!
+    Grow, little evergreens, grow!
+
+I would say:
+
+      And so,
+    Grow, school gardens, grow!
+      Grow, grow!
+    Grow, school gardens, grow!
+
+The three pictures, "Studying Nature," "A Flower from the Country" and
+"A Suggestion for Recess Hour," came to me from a country school. They
+speak so vividly for themselves that I feel that each one carries with
+it its own message and appeals so strongly in behalf of the deepest
+love of nature in even the youngest child as to point to the
+possibilities of what might be when this love is fed and made to grow
+with the physical nature of the child.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Notes
+
+
+Corrected minor punctuation typos. Moved some of the illustrations to
+avoid breaking up paragraphs of text. Page references pertain to the
+original book but link to the correct image/topic in the HTML version.
+
+Page 17: Changed Portiere to Portière for consistency.
+  (9 Miniature Portiere--Knotted)
+
+Page 55: Changed sand-papered to sandpapered for consistency:
+  (and nothing is properly sand-papered until all roughness)
+
+Page 56: Changed the page reference from 59 to 57:
+  (with the grain of the wood, and how to cut corners. (See page 59.))
+
+Page 65: Changed exend to extend:
+  (To construct a box having lid and bottom exend beyond sides.)
+
+Page 107: Original text might be missing "child" after country:
+  ('The country is entitled from its state and from its county,)
+
+Page 109: Changed attenion to attention:
+  (The interest of these children attracted the attenion of the)
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Construction Work for Rural and
+Elementary Schools, by Virginia McGaw
+
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+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Construction Work for Rural and Elementary Schools, by Virginia McGaw.
+    </title>
+    <style type="text/css">
+
+
+    p {  margin-top: .75em;
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+         margin-bottom: .75em;
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+
+    body{margin-left: 10%;
+         margin-right: 10%;
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+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
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+.lsoff { list-style-type: none; }
+
+ ul.TOC {
+  list-style-type: none;
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+  margin-right: 10%;
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Construction Work for Rural and Elementary
+Schools, by Virginia McGaw
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Construction Work for Rural and Elementary Schools
+
+Author: Virginia McGaw
+
+Release Date: April 5, 2009 [EBook #28501]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONSTRUCTION WORK ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, Diane Monico, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="figcenter" style="width: 399px;">
+<img src="images/image001.jpg" width="399" height="550" alt="(cover)" title="" />
+</div>
+<hr style="width: 65%;" />
+
+
+
+<h1>
+<big>Construction Work</big><br />
+<small>FOR</small><br />
+<big>Rural and Elementary</big><br />
+<big>Schools</big><br /><br /></h1>
+
+
+<p class="title"><small>BY</small><br />
+
+<big>VIRGINIA McGAW</big><br />
+Teacher in the Elementary School<br />
+of Baltimore<br /><br /></p>
+
+
+<p class="title">A. FLANAGAN COMPANY<br />
+<small>CHICAGO</small>
+</p>
+<hr style="width: 65%;" />
+
+
+
+<p class="center">
+<span class="smcap">Copyright</span> 1909<br />
+<small>BY</small><br />
+<big>A. FLANAGAN COMPANY</big><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>In offering this volume to the public the author has but one
+wish&mdash;namely, that it may supply a want in time of need and
+help some one over a difficult place.</p>
+
+<p>Most of the subject-matter in Parts One, Two, Three, and
+Four was written for and has been previously published in the
+<i>Atlantic Educational Journal</i>, with a view to assisting the rural
+teacher. The present volume comprises a revision of the articles
+published, together with a short account of one season's work in a
+school garden, and has the same object&mdash;that of aiding the rural
+teacher by means of a few simple suggestions.</p>
+
+<p>The work is divided into five parts&mdash;"Cord Construction,"
+"Paper Construction," "Wood Construction," "Basketry," and
+"The School Garden." No subject is dealt with at length. The
+aim has been to give simple models that may be made without
+elaborate preparation or special material.</p>
+
+<p>Believing that a child is most likely to appreciate his tools when
+he realizes their value or knows their history, a brief introduction
+to each part is given, and wherever possible, the place of the
+occupation in race history is dealt with, and an account of the
+culture and habitat of the material is given.</p>
+
+<p>As clear a statement as is possible is made of how the model is
+constructed, and in most cases both a working drawing and a
+picture are given.</p>
+
+<p class="author">
+VIRGINIA McGAW.<br />
+</p>
+<p><span style="margin-left: 2em;"><span class="smcap">Baltimore, Maryland</span>,</span><br />
+<span style="margin-left: 3em;">April, 1909.</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ACKNOWLEDGMENTS" id="ACKNOWLEDGMENTS"></a>ACKNOWLEDGMENTS</h2>
+
+
+<p>To the <i>Atlantic Educational Journal</i> for the privilege of revising
+and relinquishing the articles on Cord, Paper, Wood, and
+Basketry.</p>
+
+<p>To Mr. George M. Gaither, Supervisor of Manual Training
+in the Public Schools of Baltimore, for five of the woodwork
+patterns.</p>
+
+<p>To President Richard W. Silvester, of the Maryland Agricultural
+College, for the inspiration to write the <i>Garden Bulletin</i>,
+his consent to its republication, and his hearty coöperation in its
+revision.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+<ul class="TOC">
+<li class="center"><b>CORD CONSTRUCTION</b></li>
+
+<li><span class="smcap">Introductory Remarks</span><span class="tocright">                             <a href="#Page_9">9</a></span></li>
+
+<li><span class="smcap">Knots</span><span class="tocright">                                            <a href="#Page_9">9</a></span></li>
+<li><span style="margin-left: 2em;">1 Overhand Knot</span><span class="tocright">  <a href="#Page_10">10</a></span></li>
+<li><span style="margin-left: 2em;">2 Square Knot </span><span class="tocright">  <a href="#Page_10">10</a></span></li>
+<li><span style="margin-left: 2em;">3 "Granny" Knot</span><span class="tocright">  <a href="#Page_11">11</a></span></li>
+
+<li><span class="smcap">Chains</span><span class="tocright">                                          <a href="#Page_11">11</a></span></li>
+<li><span style="margin-left: 2em;">4 Loop Chain</span><span class="tocright">  <a href="#Page_11">11</a></span></li>
+<li><span style="margin-left: 2em;">5 Overhand Knot Chain</span><span class="tocright">  <a href="#Page_13">13</a></span></li>
+<li><span style="margin-left: 2em;">6 Solomon's Knot Chain</span><span class="tocright"> <a href="#Page_13">13</a></span></li>
+
+<li><span class="smcap">Combined Knots and Chains</span><span class="tocright">                       <a href="#Page_15">15</a></span></li>
+<li><span style="margin-left: 2em;">7 Knotted Bag</span><span class="tocright">  <a href="#Page_15">15</a></span></li>
+<li><span style="margin-left: 2em;">8 Miniature Hammock&mdash;Knotted</span><span class="tocright"> <a href="#Page_16">16</a></span></li>
+<li><span style="margin-left: 2em;">9 Miniature Portière&mdash;Knotted</span><span class="tocright">  <a href="#Page_17">17</a></span></li>
+
+<li><span class="smcap">Weaving</span><span class="tocright">                                         <a href="#Page_17">17</a></span></li>
+<li><span style="margin-left: 2em;">10 Miniature Hammock&mdash;Woven</span><span class="tocright">  <a href="#Page_17">17</a></span></li>
+
+
+<li class="center"><b>PAPER CONSTRUCTION</b></li>
+
+<li><span class="smcap">Introductory Remarks</span><span class="tocright">                            <a href="#Page_25">25</a></span></li>
+
+<li><span class="smcap">A Model Lesson</span><span class="tocright">                                  <a href="#Page_27">27</a></span></li>
+<li><span style="margin-left: 2em;">1 Windmill or Pin-wheel</span><span class="tocright">  <a href="#Page_31">31</a></span></li>
+<li><span style="margin-left: 2em;">2 Square Tray No. I</span><span class="tocright">  <a href="#Page_31">31</a></span></li>
+<li><span style="margin-left: 2em;">3 Square Tray No. II</span><span class="tocright"> <a href="#Page_31">31</a></span></li>
+<li><span style="margin-left: 2em;">4 Square Box with Cover</span><span class="tocright">  <a href="#Page_32">32</a></span></li>
+<li><span style="margin-left: 2em;">5 Square or Rectangular Box</span><span class="tocright">  <a href="#Page_33">33</a></span></li>
+<li><span style="margin-left: 2em;">6 Pencil Box with Sliding Cover</span><span class="tocright">  <a href="#Page_35">35</a></span></li>
+<li><span style="margin-left: 2em;">7 Seed Box with Sections</span><span class="tocright"> <a href="#Page_37">37</a></span></li>
+<li><span style="margin-left: 2em;">8 Picture Frame No. I, Diagonal Folds</span><span class="tocright">  <a href="#Page_37">37</a></span></li>
+<li><span style="margin-left: 2em;">9 Picture Frame No. II</span><span class="tocright"> <a href="#Page_37">37</a></span></li>
+<li><span style="margin-left: 2em;">10 Portfolio</span><span class="tocright">  <a href="#Page_40">40</a></span></li>
+<li><span style="margin-left: 2em;">11 Barn&mdash;House&mdash;Furniture</span><span class="tocright">  <a href="#Page_41">41</a></span></li>
+<li><span style="margin-left: 2em;">12 Hexagonal Tray</span><span class="tocright">  <a href="#Page_42">42</a></span></li>
+<li><span style="margin-left: 2em;">13 Lamp Shade</span><span class="tocright">   <a href="#Page_44">44</a></span></li>
+<li><span style="margin-left: 2em;">14 Star</span><span class="tocright">   <a href="#Page_45">45</a></span></li>
+<li><span style="margin-left: 2em;">15 Notebook</span><span class="tocright">   <a href="#Page_46">46</a></span></li>
+<li><span style="margin-left: 2em;">16 Bound Book</span><span class="tocright">  <a href="#Page_47">47</a></span></li>
+<li><span style="margin-left: 2em;">17 Japanese Book</span><span class="tocright"> <a href="#Page_49">49</a></span></li>
+<li><span style="margin-left: 2em;">18 Scrap-Book</span><span class="tocright">   <a href="#Page_50">50</a></span></li>
+
+<li class="center"><b>WOOD CONSTRUCTION</b></li>
+
+<li><span class="smcap">Introductory Remarks</span><span class="tocright">                            <a href="#Page_55">55</a></span></li>
+<li><span style="margin-left: 2em;">1 Puzzle</span><span class="tocright">  <a href="#Page_56">56</a></span></li>
+<li><span style="margin-left: 2em;">2 Plant Label</span><span class="tocright">  <a href="#Page_58">58</a></span></li>
+<li><span style="margin-left: 2em;">3 Pencil Sharpener</span><span class="tocright"> <a href="#Page_58">58</a></span></li>
+<li><span style="margin-left: 2em;">4 Match Scratch</span><span class="tocright">  <a href="#Page_59">59</a></span></li>
+<li><span style="margin-left: 2em;">5 Kite-String Winder</span><span class="tocright"> <a href="#Page_60">60</a></span></li>
+<li><span style="margin-left: 2em;">6 Thermometer Back</span><span class="tocright"> <a href="#Page_61">61</a></span></li>
+<li><span style="margin-left: 2em;">7 Pocket Pin-Cushion</span><span class="tocright"> <a href="#Page_61">61</a></span></li>
+<li><span style="margin-left: 2em;">8 Picture Frame</span><span class="tocright">  <a href="#Page_63">63</a></span></li>
+<li><span style="margin-left: 2em;">9 Japanese Box</span><span class="tocright">  <a href="#Page_65">65</a></span></li>
+<li><span style="margin-left: 2em;">10 Grandfather's Chair</span><span class="tocright"> <a href="#Page_66">66</a></span></li>
+
+<li class="center"><b>BASKETRY</b></li>
+
+<li><span class="smcap">Introductory Remarks</span><span class="tocright">                            <a href="#Page_71">71</a></span></li>
+
+<li><span class="smcap">Reed Construction</span><span class="tocright">                               <a href="#Page_75">75</a></span></li>
+<li><span style="margin-left: 2em;">1 Napkin Ring No. I</span><span class="tocright">  <a href="#Page_75">75</a></span></li>
+<li><span style="margin-left: 2em;">2 Napkin Ring No. II</span><span class="tocright"> <a href="#Page_76">76</a></span></li>
+<li><span style="margin-left: 2em;">3 Mat</span><span class="tocright">   <a href="#Page_76">76</a></span></li>
+<li><span style="margin-left: 2em;">4 Hamper Basket</span><span class="tocright">  <a href="#Page_77">77</a></span></li>
+<li><span style="margin-left: 2em;">5 Basket Tray</span><span class="tocright">   <a href="#Page_79">79</a></span></li>
+<li><span style="margin-left: 2em;">6 Basket with Handle</span><span class="tocright"> <a href="#Page_81">81</a></span></li>
+
+<li><span class="smcap">Raffia Construction</span><span class="tocright">                             <a href="#Page_83">83</a></span></li>
+<li><span style="margin-left: 2em;">7 Plaited Rope</span><span class="tocright"> <a href="#Page_84">84</a></span></li>
+<li><span style="margin-left: 2em;">8 Plaited Mat</span><span class="tocright">   <a href="#Page_85">85</a></span></li>
+<li><span style="margin-left: 2em;">9 Purse</span><span class="tocright">   <a href="#Page_86">86</a></span></li>
+<li><span style="margin-left: 2em;">10 Plaited Basket</span><span class="tocright">  <a href="#Page_86">86</a></span></li>
+<li><span style="margin-left: 2em;">11 Hat of Plaited Rope</span><span class="tocright"> <a href="#Page_88">88</a></span></li>
+<li><span style="margin-left: 2em;">12 Napkin Ring</span><span class="tocright">  <a href="#Page_89">89</a></span></li>
+<li><span style="margin-left: 2em;">13 Indian Basket</span><span class="tocright"> <a href="#Page_89">89</a></span></li>
+<li><span style="margin-left: 2em;">14 Grass Basket or Tray</span><span class="tocright">  <a href="#Page_91">91</a></span></li>
+<li><span style="margin-left: 2em;">15 Basket of Splints and Raffia</span><span class="tocright">  <a href="#Page_93">93</a></span></li>
+
+<li><span class="smcap">Combined Reed and Raffia</span><span class="tocright">                        <a href="#Page_95">95</a></span></li>
+<li><span style="margin-left: 2em;">16 Umbrella</span><span class="tocright">  <a href="#Page_97">97</a></span></li>
+<li><span style="margin-left: 2em;">17 Miniature Chair No. I</span><span class="tocright"> <a href="#Page_97">97</a></span></li>
+<li><span style="margin-left: 2em;">18 Miniature Chair No. II</span><span class="tocright">  <a href="#Page_99">99</a></span></li>
+
+<li><span class="smcap">Rules for Caning Chairs</span><span class="tocright">        <a href="#Page_102">102</a></span></li>
+
+<li class="center"><b>THE SCHOOL GARDEN</b></li>
+
+<li><span class="smcap">Introductory Remarks</span><span class="tocright">                           <a href="#Page_107">107</a></span></li>
+
+<li><span class="smcap">A City School Garden</span><span class="tocright">                           <a href="#Page_108">108</a></span></li>
+</ul>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PART_I" id="PART_I"></a>PART I<br />
+
+<br />CORD CONSTRUCTION</h2>
+
+
+
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p><hr style="width: 65%;" />
+<h2><a name="CORD_CONSTRUCTION" id="CORD_CONSTRUCTION"></a>CORD CONSTRUCTION</h2>
+
+
+<h3><span class="smcap">Introductory Remarks</span></h3>
+
+<p>To a child one of the most attractive of possessions is a piece
+of cord. He has so many uses for it that it becomes part of the
+prized contents of his pocket. Since this commodity affords so
+much pleasure to the untrained child, how greatly may the pleasure
+be enhanced if he is taught how to make the number of beautiful
+things that may be wrought from cord or twine! Having this
+knowledge, he will unconsciously employ many otherwise weary
+moments in fashioning some coveted article.</p>
+
+<p>Among the things he can make are chains, reins, bags, nets,
+miniature hammocks, portières, and rugs for the dollhouse. He
+must be guided step by step from the simplest to the more intricate.
+He must be taught that only when a thing is well done
+has it any use or value, therefore the best effort is necessary to the
+success of his work. If he ties a knot, it must be properly tied
+or it will not hold. If he makes a bag or a hammock, the meshes
+must be uniform and the color blendings pleasing or it will lack
+beauty, and even he, himself, will not care for it. Should he make
+a chain or reins, they ought to be attractive-looking as well as
+useful; hence the aim should be for artistic combination and perfect
+execution. The success the child will meet with will depend
+greatly upon the attitude of the teacher toward the work and the
+amount of spirit she may be able to infuse into it.</p>
+
+
+<h3>KNOTS</h3>
+
+<div class="blockquot"><p><i>Aim</i>&mdash;To teach the names of different knots, how they are tied,
+and the utilitarian value of each.</p></div>
+
+<p>Begin by teaching how to tie a knot, and that all knots are not
+alike nor tied in the same way. There are three kinds of knots&mdash;the
+overhand knot, the square knot and the "Granny" knot.
+Each of these has its use, its place, and a utilitarian value.<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+
+
+<h4>1 Overhand Knot</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;One 10-inch piece of heavy twine.</p></div>
+
+<p>Hold one end of the twine firmly in the left hand and throw the
+other end over with the right hand to form a loop; then pass the
+end in the right hand under the loop; and draw it through tightly,
+making a firm knot.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 191px;">
+<img src="images/image010.png" width="191" height="200" alt="OVERHAND KNOT" title="OVERHAND KNOT" />
+<span class="caption">OVERHAND KNOT</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>A long piece of twine in which are tied either single knots at
+regular intervals, or groups of three or five knots with spaces between,
+will make a chain which will delight any small child.</p>
+
+
+<h4>2 Square Knot</h4>
+
+<div class="blockquot"><p><i>Aim</i>&mdash;To teach how to tie a knot that will not slip.</p>
+
+<p><i>Material</i>&mdash;One 12-inch piece of heavy twine.</p></div>
+
+<p>Take an end of the twine between the thumb and the forefinger
+of each hand. Holding in the left hand end No. 1, pass it to the
+right over end No. 2; then pass it under No. 2; finally, pass it out
+and over, making the first tie. Now, holding end No. 1 firmly in
+the right hand and end No. 2 in the left, pass No. 1 to the left
+over No. 2, then under, out and over; draw the two ties together,
+and you will have a firm, square knot.<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 324px;">
+<img src="images/image011.png" width="324" height="300" alt="SQUARE KNOT" title="SQUARE KNOT" />
+<span class="caption">SQUARE KNOT</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>3 "Granny" Knot</h4>
+
+<div class="blockquot"><p><i>Aim</i>&mdash;To teach the name of the knot one usually ties and how to
+tie it.</p>
+
+<p><i>Material</i>&mdash;One 12-inch piece of heavy twine.</p></div>
+
+<p>Take an end of the twine between the thumb and the forefinger
+of each hand and hold firmly. Pass end No. 1 to the
+right over end No. 2, under and out. Next pass end No. 2 to
+the right over end No. 1, under and out.</p>
+
+<p>We now have the knot known as the "Granny," which we ordinarily
+tie.</p>
+
+
+<h3>CHAINS</h3>
+
+<h4>4 Loop Chain</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;One piece, 5 yards long, of macramé cord, No. 12, one
+color. (See page <a href="#Page_12">12</a>.)</p></div><p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+
+<p>About five inches from one end of the cord make a short loop.
+Using this loop as a starting-point, work up the length of the cord
+to within about eighteen inches of the other end, by repeatedly
+drawing a new loop through the one previously made as one does
+in crocheting. The child can easily manipulate the cord with his
+tiny fingers. Aim to have the loops of uniform size. Finish with
+a loop five inches long, leaving an end of the same length. Now,
+placing together the two ends of the chain, we have a loop and
+two single ends of cord. Take these single cords together and
+buttonhole them over the loop for about three inches, then twist.
+Tie the single ends with a square knot, and fringe them out; leave
+the loop.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 229px;">
+<img src="images/image012.png" width="229" height="350" alt="LOOP CHAIN
+
+Showing how stitch is made and appearance of finished chain." title="LOOP CHAIN
+
+Showing how stitch is made and appearance of finished chain." />
+<span class="caption">LOOP CHAIN<br />
+Showing how stitch is made and appearance of finished chain.</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Instead of being fringed, the ends may have a large bead attached
+to each, and a whistle may be strung on the loop. This<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+would both make the chain attractive to the child and demonstrate
+a use for it.</p>
+
+
+<h4>5 Overhand Knot Chain</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Macramé cord, No. 12: one piece 2 yards long, white;
+one piece 2 yards long, red.</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image013.png" width="600" height="73" alt="OVERHAND KNOT CHAIN" title="OVERHAND KNOT CHAIN" />
+<span class="caption">OVERHAND KNOT CHAIN</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Fasten the two pieces together in the middle. Pin them to a
+board or slip them over a hook where the cord will be held firmly.
+Using the overhand knot, tie each color alternately, until all except
+about four inches of cord is used up. Taking four ends as
+one, tie a slip-knot close up to the point where you stopped forming
+the chain. Next, fringe out the four ends close up to the
+knot. The result is a circular cord with stripes running diagonally
+around it, very pleasing to the eye of a child.</p>
+
+<p>The lengths here given make a fob-chain about five inches long.</p>
+
+
+<h4>6 Solomon's Knot Chain</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Four pieces of macramé cord, No. 12, 2-1/2 yards long,
+of one color. (See page <a href="#Page_14">14</a>.)</p></div>
+
+<p>Double in the middle and leave two loops, each two inches
+long. Take two strands as the center and foundation and attach
+them to a hook or a board where they will be held firmly. Loop
+the two remaining threads alternately over the two central ones,
+first the one on the right, then the one on the left. For instance:
+Take a single cord on the left, form a loop to the left of the double
+cords, draw the end over the two foundation pieces and hold
+firmly. Then take a single cord on the right, pass it over the
+piece of cord which forms the loop, then under where the three
+pieces cross and up through the loop; draw it tight. Then work
+with a single cord on the right in the same way and continue,
+alternating the two single cords, until there is left about four
+inches. Clip the middle cords so that the four ends may be of
+equal length. Finish by tying them in a square knot and fringing<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+the ends. This forms a flat chain one-quarter of an inch wide
+and one-eighth of an inch thick, which may be made any length
+desired.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 402px;">
+<img src="images/image014.png" width="402" height="580" alt="SOLOMON&#39;S KNOT CHAIN
+
+Showing how stitch is made." title="SOLOMON&#39;S KNOT CHAIN
+
+Showing how stitch is made." />
+<span class="caption">SOLOMON&#39;S KNOT CHAIN<br />
+Showing how stitch is made.</span>
+</div>
+<hr style="width: 33%;" />
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<div class="figcenter" style="width: 466px;">
+<img src="images/image015.png" width="466" height="580" alt="KNOTTED BAG" title="KNOTTED BAG" />
+<span class="caption">KNOTTED BAG</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h3>COMBINED KNOTS AND CHAINS</h3>
+
+<h4>7 Knotted Bag</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Macramé cord, No. 12, one or two colors; twelve
+pieces 1 yard long or six pieces 1 yard long, of each of the
+two colors.</p></div>
+
+<p>Double each piece of cord in the middle and tie it in a loop<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+over a pencil or some other object that will make the loops of
+equal size. Slip the loops from the pencil and string them to a
+cord, alternating the colors. Join the ends of the cord so as to
+form a hoop. You now have twelve loops on this hoop and
+one row of knots. Form a second row of knots by tying cords
+of different colors together. The meshes should be uniform and
+of the size of the loops. Continue knotting one row below the
+other until about three inches of cord remain. Now stretch the
+bag out straight and double and tie together the four cords, which
+operation will form the bottom and close the bag. Fringe the
+ends and trim them off evenly.</p>
+
+<p>Make a loop chain, and run it through the top loops, having
+removed the working cord. Small brass rings may be used at
+the top instead of loops, and the drawing string may be run
+through them. A larger bag may be made by the addition of
+more and longer pieces of twine.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image016.png" width="600" height="181" alt="MINIATURE HAMMOCK&mdash;KNOTTED" title="MINIATURE HAMMOCK&mdash;KNOTTED" />
+<span class="caption">MINIATURE HAMMOCK&mdash;KNOTTED</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>8 Miniature Hammock&mdash;Knotted</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Twelve pieces of seine cord, No. 12, each 2 yards long.
+Two iron rings, 1 inch in diameter.</p></div>
+
+<p>String the pieces of cord through a ring, taking care that the
+ends are of the same length. About three inches from the ring,
+knot each piece of cord. This will make twelve knots and form
+the first row. For the second row, knot alternate pieces of
+cord. Continue until there are twelve rows of knots. Be careful
+to make the meshes the same size. Leave about three inches unknotted
+and attach these ends to the second ring. Make a twisted
+cord (of four thicknesses of macramé) of some contrasting color
+and run through the meshes of each side, taking it twice through
+each mesh and attaching it to rings at the ends of the hammock.<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+The meshes should be about an inch square. Make the cords a
+little shorter than the sides of the hammock, in order to give it
+the proper spring. Take an extra piece of cord the color of the
+hammock and wrap it around the cords close up to the rings,
+winding it evenly and firmly for about an inch from the ring;
+fasten it securely.</p>
+
+
+<h4>9 Miniature Portière&mdash;Knotted</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Twelve 36-inch lengths of macramé cord, No. 12.</p></div>
+
+<p>Double each piece in the middle and, using the overhand knot,
+tie it over a stout lead pencil or a very narrow ruler. See that
+each knot is pressed close to the foundation holder, that the loops
+may be of equal size. These loops and knots form the first row.
+Do not remove them from the holder. Separate the cords and
+knot together each two adjacent ones, alternating at every other
+row. Continue knotting until about three inches of cord remain
+to form the fringe at the bottom. Before tying the last row of
+knots, slip a colored glass bead over each set of cords, then make
+the knot so as to hold the bead in place. These beads are an ornament,
+apart from giving weight to the portière to make it hang
+well. Trim the fringe evenly, slip the portière from the foundation
+holder, and it is ready to hang.</p>
+
+<p>Use beads the color of the cord, or of some effective contrasting
+shade. If a child is expert enough, a bead may be placed at
+every knot, adding decidedly to the attractiveness of the little
+portière. (See page <a href="#Page_18">18</a>.)</p>
+
+
+<h3>WEAVING</h3>
+
+<h4>10 Miniature Hammock&mdash;Woven</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Tag-board loom 8×10 inches. Cord of one, two or
+three colors. Two brass rings, 1/2 inch in diameter.</p></div>
+<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 422px;">
+<img src="images/image018.png" width="422" height="580" alt="MINIATURE PORTIERE&mdash;(For description see page 17.)" title="MINIATURE PORTIERE&mdash;(For description see page 17.)" />
+<span class="caption">MINIATURE PORTIERE&mdash;(For description see page <a href="#Page_17">17</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>To make a loom, take a piece of tag-board 8×10 inches in size.
+Measure off one inch from the back edge and draw a line parallel
+to the back edge. Measure off one inch from the front edge and
+draw a line parallel to the front edge. Measure off one inch from
+the right edge and draw a line parallel to the right edge. Measure off
+one inch from the left edge and draw a line parallel to  the left
+edge. You have now a 6×8-inch rectangle marked off, leaving<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+a one-inch space around the edge of the tag-board. Start at a
+point where a vertical and a horizontal line intersect and mark
+off the six-inch ends into spaces one-fourth inch apart. Next
+with a large needle pierce the board at each point of intersection.
+This will make twenty-five eyelets at each end. On the reverse
+side of the board draw diagonals to determine the center. Tie together
+the two brass rings and fasten them firmly to the center
+of the reverse side.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 325px;">
+<img src="images/image019.jpg" width="325" height="400" alt="BLANKET FOR DOLL&#39;S BED
+
+Showing how it is started." title="BLANKET FOR DOLL&#39;S BED
+
+Showing how it is started." />
+<span class="caption">BLANKET FOR DOLL&#39;S BED<br />
+
+Showing how it is started.</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>To string the loom requires about fifteen yards of cord. Divide
+the cord into two lengths. Thread a length into a needle and tie
+one end of it to one of the brass rings. Next carry the cord from
+the ring through the thirteenth perforation, then across the face
+of the loom to the thirteenth perforation at the opposite end,
+through again to the reverse side and pass through the opposite<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+ring from which it started. Repeat this operation by carrying the
+cord in a reverse direction each time until one-half the loom is
+strung. Then with the other length of cord start, by attaching it
+to the same ring to which the first piece was tied, and work in
+the opposite direction until the second half is strung. Should it
+be necessary to add to the cord, arrange that the knot be on an
+end near a ring. A knot in the warp hampers the weaving.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 309px;">
+<img src="images/image020.jpg" width="309" height="400" alt="A RUG
+
+Made of narrow strips of cotton cloth." title="A RUG
+
+Made of narrow strips of cotton cloth." />
+<span class="caption">A RUG<br />
+
+Made of narrow strips of cotton cloth.</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Have the warp threads and the predominant woof thread of
+the same color.</p>
+
+<p>To begin weaving, cut a quantity of ten-inch lengths. Take
+one of these lengths, start in the center of the loom, and weave
+in and out among the warp threads, allowing it to extend two
+inches beyond on each side. Have a perfectly smooth, narrow,<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+thin ruler and weave it in across the warp threads. As each horizontal
+or woof thread is added, shove it close to the preceding
+one with the ruler, which acts as a pusher. Weave first on one
+side of the center and then on the other, until the entire 6×8-inch
+space is covered. If a border is to be put in, gauge equal spaces
+from the center and work in the border of a different shade or
+color. The borders must be placed equally distant from the
+center and the same distance from each end. Take the overhanging
+cords and knot each alternate two together along the line of
+the outer warp thread. This will hold the woof threads in place,
+as well as finish the edges of the hammock. Comb these ends
+out and trim them, to get the fringe even. At each end where
+the weaving stops, take a needle threaded with a length of cord
+and run in and out along the warp threads, first to the right
+and then to the left of the final woof thread. This makes a secure
+finish and holds the woof threads in position. Next unfasten
+the rings and remove the hammock from the loom by tearing
+the tag-board along the lines of perforations. Finally,
+where the cords pass through the ring, hold them close to the
+ring and wrap them with a piece of cord for the distance of an
+inch, then fasten off by forcing the needle up through the wrapped
+space toward the ring; draw the end through and clip close to
+the ring. The hammock is now finished.</p>
+
+<p>The question may arise: Why begin weaving in the center of
+the loom? The answer is: Because small children, and even
+older ones, sometimes, are not able to keep their warp threads
+parallel and as they approach the middle, where these threads give
+more, they naturally draw them in. This tendency is remedied to
+a great extent by beginning in the middle and weaving toward
+the ends, where the warp is confined in the board and keeps its
+place with no effort on the part of the child.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PART_II" id="PART_II"></a>PART II<br /><br />
+
+PAPER CONSTRUCTION</h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<h2><a name="PAPER_CONSTRUCTION" id="PAPER_CONSTRUCTION"></a>PAPER CONSTRUCTION</h2>
+
+
+<h3><span class="smcap">Introductory Remarks</span></h3>
+
+<p>Whatever may have been the true origin of the art of paper-making,
+it is now lost in obscurity. It is almost certain that the
+earliest form of paper was the papyrus of the Egyptians and that
+they were the first to use it as a writing material. They manufactured
+it from the stem of the papyrus plant, from which the
+name <i>paper</i> comes.</p>
+
+<p>It is also known that the Chinese were versed in this art before
+the Christian Era, and that they made paper from the bark of
+various trees, the soft part of bamboo stems, and cotton. In India
+and China the practice of writing on dried palm and other leaves
+still obtains. It is probable that the employment of these fibrous
+substances, together with observation of the methods of paper-making
+wasps and other insects, led to manufacturing by pulping
+the materials and spreading them out.</p>
+
+<p>As the Chinese seem to have been the pioneers in so many great
+inventions, so also they appear to have been the inventors of this
+art. From the Chinese the Arabians learned, in the seventh century,
+the craft of making paper from cotton, and they established
+a manufactory at Samarcand in 706 A. D. Here the Moors
+learned the art, and through them it was introduced into Spain.
+It is thought that the Moors used flax and hemp in addition to
+cotton in their manufacture of paper. The products of their
+mills are known to have been of a most superior quality, but,
+with the decline of the Moors, paper-making passed into less
+skilled hands, and the quality of the paper became inferior.</p>
+
+<p>From Spain the art spread through the other countries of
+Europe, and as factories were established further north, where
+cotton was not a product nor easy to import, the necessity of substituting
+some other material probably led to the introduction of
+linen rags; but when they began to be used is uncertain. England
+was far behind the other countries of Northern Europe in
+introducing the industry of paper-making.<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 413px;">
+<img src="images/image026.png" width="413" height="580" alt="SCREEN&mdash;SIX-BY-NINE-INCH CONSTRUCTION PAPER" title="SCREEN&mdash;SIX-BY-NINE-INCH CONSTRUCTION PAPER" />
+<span class="caption">SCREEN&mdash;SIX-BY-NINE-INCH CONSTRUCTION PAPER</span>
+</div>
+<hr style="width: 33%;" />
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>In the United States to-day paper in all varieties is manufactured
+to an enormous extent, and almost exclusively from vegetable
+matter. The book and newspaper trades demand an untold
+quantity.</p>
+
+<p>There are three great types&mdash;writing, printing, and wrapping
+paper. Writing paper is made from rags and wood pulp. The
+staple for wrapping paper is old rope, and in some cases jute.
+The best writing and printing papers, however, are made from
+rags. From these as staples, all other varieties are developed,
+and we have paper for every use to which man can apply it.</p>
+
+<p>Paper folding and modeling is not an ancient occupation, but a
+modern device, yet to the child it has a utilitarian value not to be
+overlooked. His nature demands that he be employed, and
+change of occupation is conducive to his happiness. Nothing is
+quite so restful to him as to do something with his hands; therefore,
+with his blocks he builds a house, fences it around with
+his splints, and strews the ground with imaginary trees and animals.
+He lives in this nursery play, and in it he is happy.</p>
+
+<p>When he enters school, should he have only books? No, his
+hands still demand employment. He is now led to fashion from
+paper what he has already made with his blocks and toys. He is
+occupied, he is interested, and he is cultivating concentration and
+industrious habits. Is this worth while?</p>
+
+<p>Begin the lessons with a talk on the manufacture and uses of
+paper. By a story, an association or the suggestion of a future
+use the child should be made to feel that he is doing something
+worth while. This will accentuate the interest and deepen the
+impression.</p>
+
+<p>All models given may be increased or decreased in size if the
+proportions are adhered to, but the dimensions stated are those
+commonly used.</p>
+
+
+<h3><span class="smcap">A Model Lesson</span></h3>
+
+<div class="blockquot"><p><i>Aim</i>&mdash;To construct a windmill or pin-wheel.</p></div>
+
+<p>Each child should have a five-inch square, a slender stick five
+inches long, a pin, a ruler, a pair of scissors, and a lead pencil.</p>
+
+<p>The children are supposed to know that every piece of paper,
+laid in position, has a back edge, a front edge, a right edge, a
+left edge, a right-back corner, a left-back corner, a right-front<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+corner, a left-front corner, and that, in tracing, the forefinger
+of the right hand is used.</p>
+
+<p>Three questions after each direction will be sufficient. The
+questions aim to have a complete statement in answer, and to
+develop an unconsciously correct use of the verb. This may
+appear slow at first, but soon the replies will come quickly and
+the answer will be correctly given.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 406px;">
+<img src="images/image028.png" width="406" height="400" alt="WINDMILL, A" title="WINDMILL, A" />
+<span class="caption">WINDMILL, A</span>
+</div>
+<hr style="width: 33%;" />
+
+<p><i>Teacher</i>: "Children, lay your papers on your desk parallel
+with the front edge of the desk.&mdash;John, where are you to lay your
+paper?"</p>
+
+<p><i>John</i>: "I am to lay my paper on my desk parallel with the
+front edge of my desk."</p>
+
+<p><i>Teacher</i>: "Mary, where did you lay your paper?"</p>
+
+<p><i>Mary</i>: "I laid my paper on my desk parallel with the front
+edge of my desk."<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<p><i>Teacher</i>: "Willie, where has Mary laid her paper?"</p>
+
+<p><i>Willie</i>: "Mary has laid her paper on her desk, parallel with the
+front edge of her desk."</p>
+
+<p><i>Teacher</i>: "Trace the back edge of your paper.&mdash;Anna, what
+are you to do to your paper?"</p>
+
+<p><i>Anna</i>: "I am to trace the back edge of my paper."</p>
+
+<p><i>Teacher</i>: "Harry, what did you do to your paper?"</p>
+
+<p><i>Harry</i>: "I traced the back edge of my paper."</p>
+
+<p><i>Teacher</i>: "Jessie, what have you done to your paper?"</p>
+
+<p><i>Jessie</i>: "I have traced the back edge of my paper."</p>
+
+<p><i>Teacher</i>: "Each child place the forefinger on the right-back
+corner of the paper.&mdash;Charles, what are you to do?"</p>
+
+<p><i>Charles</i>: "I am to place my forefinger on the right-back corner
+of my paper."</p>
+
+<p><i>Teacher</i>: "Anna, what did you do?"</p>
+
+<p><i>Anna</i>: "I placed my forefinger on the right-back corner of
+my paper."</p>
+
+<p><i>Teacher</i>: "Laurence, what have you done?"</p>
+
+<p><i>Laurence</i>: "I have placed my forefinger on the right-back corner
+of my paper."</p>
+
+<p><i>Teacher</i>: "Take your ruler and lay it across your paper from
+the left-back corner to the right-front corner.&mdash;Margaret, what
+are you to do?"</p>
+
+<p><i>Margaret</i>: "I am to lay my ruler on my paper from the left-back
+corner to the right-front corner."</p>
+
+<p><i>Teacher</i>: "Draw a line connecting the left-back corner of
+your paper with the right-front corner.&mdash;James, what did you
+draw?"</p>
+
+<p><i>James</i>: "I drew a line connecting the left-back corner of my
+paper with the right-front corner."</p>
+
+<p><i>Teacher</i>: "Alice, what have you drawn?"</p>
+
+<p><i>Alice</i>: "I have drawn a line connecting the left-back corner
+of my paper with the right-front corner."</p>
+
+<p>Now have the children draw a line connecting the reverse diagonal
+corners and proceed as follows:</p>
+
+<p><i>Teacher</i>: "Find the point where the lines cross. This is the
+center or middle point of your paper.&mdash;Albert, what are you to
+find?"</p>
+
+<p><i>Albert</i>: "I am to find the point where the lines cross, which
+is the center of my paper."<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<p><i>Teacher</i>: "Measure one inch from this point on each of the
+four lines and place a dot.&mdash;Sara, what did you measure?"</p>
+
+<p><i>Sara</i>: "I measured one inch from the center of my paper on
+each of the four lines and placed a dot."</p>
+
+<p><i>Teacher</i>: "Lay your pencil and your ruler down. Place your
+paper on your desk parallel with its front edge and lay your left
+hand on the right-front corner. Turn the paper until this corner
+is directly in front of you. Take your scissors and cut along
+the ruled line from the corner to the point one inch from the
+center.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 399px;">
+<img src="images/image030.png" width="399" height="400" alt="WINDMILL, B" title="WINDMILL, B" />
+<span class="caption">WINDMILL, B</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>"Lay down your scissors. Turn your paper from right to left
+until the next corner faces you. Cut. Move the paper from
+right to left again until the third corner faces you. Cut. Bring
+the fourth corner to face you. Cut. There are now eight points.
+Turn each alternate point to the center, run the pin through all of
+them and fasten the wheel to the stick."<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+<p><i>Final questions.</i></p>
+
+<p><i>Teacher</i>: "What did you make?"</p>
+
+<p><i>Pupil</i>: "I made a pin-wheel."</p>
+
+<p><i>Teacher</i>: "What have you made?"</p>
+
+<p><i>Pupil</i>: "I have made a pin-wheel."</p>
+
+<p><i>Teacher</i>: "What has Ellen made?"</p>
+
+<p><i>Pupil</i>: "Ellen has made a pin-wheel."</p>
+
+<p>When older pupils have completed a model it is excellent practice
+to have them write a full description of how it is made and
+the materials used.</p>
+
+
+<h4>1 Windmill, or Pin-Wheel</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;One piece of construction paper, 5×5 inches. Stick,
+5×1/4×1/4 inches. One pin. (See pages <a href="#Page_28">28</a> and <a href="#Page_30">30</a>.)</p></div>
+
+<p>Fold the square on the diagonals. Cut the diagonals to within
+one-half inch of the center. Bend alternate corners over until
+the point of each touches the center. Fasten the four points in
+the center by running the pin through them and driving it into
+the stick.</p>
+
+
+<h4>2 Square Tray No. I</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 5×5 inches. (See page <a href="#Page_32">32</a>.)</p></div>
+
+<p>Measure off one inch on four sides, and connect the points
+with a line parallel to the edge of the paper. Score lightly each
+line. Cut out the four corner squares. Turn up the sides, fasten
+the corners together with raffia or cord, tying a small bow.</p>
+
+
+<h4>3 Square Tray No. II</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 5×5 inches. (See page <a href="#Page_33">33</a>.)</p></div>
+
+<p>Fold and crease into sixteen small squares. Score lightly the
+four lines nearest the outer edge. Draw one diagonal pointing
+toward the center of each corner square. Next draw half of the
+diagonal extending in the opposite direction. Fold the paper on
+the lines scored. Crease the diagonals 1-2, making the crease
+extend to the inside of the tray, and press until lines 1-4 and
+1-3 meet. Now we have a triangle on the inside of the tray.
+Fold this over on half-diagonal, No. 5, and press to the side of
+the tray. This will fasten together firmly the corners of the tray.<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 384px;">
+<img src="images/image032.png" width="384" height="580" alt="SQUARE TRAY No. I&mdash;(For description see page 31.)" title="SQUARE TRAY No. I&mdash;(For description see page 31.)" />
+<span class="caption">SQUARE TRAY No. I&mdash;(For description see page <a href="#Page_31">31</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>4 Square Box with Cover</h4>
+
+<div class="blockquot"><p><i>Materials</i>&mdash;Construction paper, 6×6 inches. (See page <a href="#Page_34">34</a>.)</p></div>
+
+<p>Measure off from the outer edge two lines, one inch apart.
+Score these lines. In each corner there are four one-inch squares.
+Cut off 1, 2, and 3; then draw the diagonal of 4 pointing toward
+the center of the paper. Crease and fold on these diagonals, extending
+the triangle inward. Fold this triangle over to half its
+size; press to the inside of the box. Edges 5-6, 5-7 will meet
+to form the corners of the box, and cover flaps 8-9 will fall<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+naturally into place. Result, box four inches square, one inch
+deep, with folding cover.</p>
+
+
+<h4>5 Square or Rectangular Box</h4>
+
+<div class="figcenter" style="width: 379px;">
+<img src="images/image033.png" width="379" height="580" alt="SQUARE TRAY No. II&mdash;(For description see page 31.)" title="SQUARE TRAY No. II&mdash;(For description see page 31.)" />
+<span class="caption">SQUARE TRAY No. II&mdash;(For description see page <a href="#Page_31">31</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 4×4 inches or 4×6 inches.</p></div>
+
+<p>Measure off a margin one inch all around, and score. Cut as
+indicated on page <a href="#Page_35">35</a>. Fold over the border to half its width,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+as 1 over to 2. Bend up on line 2-3. When the edge is folded
+over a little tongue is formed at each end. Slip this tongue under
+the fold of the adjacent side, and it will fasten the sides of the
+box firmly together. A lid may be made exactly as the box is
+made.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 412px;">
+<img src="images/image034.png" width="412" height="580" alt="SQUARE BOX WITH COVER&mdash;(For description see page 32.)" title="SQUARE BOX WITH COVER&mdash;(For description see page 32.)" />
+<span class="caption">SQUARE BOX WITH COVER&mdash;(For description see page <a href="#Page_32">32</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>A beautiful Christmas box may be made of red paper, or<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+gray decorated with holly. Made of white paper, with a chicken
+(in yellow) painted on the lid, it is appropriate for Easter.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 457px;">
+<img src="images/image035.png" width="457" height="580" alt="SQUARE BOX&mdash;(For description see pages 33 and 34.)" title="SQUARE BOX&mdash;(For description see pages 33 and 34.)" />
+<span class="caption">SQUARE BOX&mdash;(For description see pages <a href="#Page_33">33</a> and <a href="#Page_34">34</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>6 Pencil Box with Sliding Cover</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper: one 7-inch square; one rectangle
+4×9 inches. (See page <a href="#Page_36">36</a>.)</p></div>
+
+<p><i>Drawer.</i> Lay the rectangle on the desk with the nine-inch edge
+parallel with the front edge of the desk. Draw a line one inch
+from the back edge and parallel with it. Draw a line one inch
+from the front edge and parallel with it. Draw a line one inch
+from the right edge and parallel with it; and a line one inch from
+the left edge and parallel with it. Score, bend and crease on
+these lines. Cut the lines on the right and the left edges to where
+they intersect the lines on the back and the front edges. Fold and
+glue. The laps are pasted on the inside and give strength to the
+ends of the drawer.<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 478px;">
+<img src="images/image036.png" width="478" height="580" alt="PENCIL BOX WITH SLIDING COVER" title="PENCIL BOX WITH SLIDING COVER" />
+<span class="caption">PENCIL BOX WITH SLIDING COVER</span>
+</div>
+<hr style="width: 33%;" />
+
+<p><i>Cover</i> (seven-inch square). Measure off one and one-fourth
+inches, and construct a line parallel to the back edge. Measure
+one inch and draw a line parallel to this. Measure off two and
+one-sixteenth inches (shy) and draw a third parallel line. Measure
+one inch again and draw a fourth line parallel to the other
+three. Score and fold on these lines. Lap the space at the back<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+edge over the space at the front edge until they form a rectangle
+two and one-sixteenth by seven inches in size, to correspond with
+the opposite one, which is the top of the cover. Glue. Slide in
+the drawer and the pencil box is completed.</p>
+
+
+<h4>7 Seed Box with Sections</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper: two rectangles 8×9 inches; one
+rectangle 2×5-1/2 inches; one rectangle 2×4-1/2 inches. (See
+page <a href="#Page_38">38</a>.)</p></div>
+
+<p>Take one 8×9-inch rectangle for the body of the box and lay off
+a two-inch space all around. Cut on dotted lines. Score and
+crease, fold and glue. The laps are glued to the inside and each
+one turned to the right. When the partitions are put in the laps
+mark where the ends go, as well as brace the ends of them. Take
+the two rectangles, 2×4-1/2 inches and 2×5-1/2 inches, and draw a
+line one-half inch from each of the two-inch edges. Score and
+crease. These form the laps for pasting the partitions in. On
+these partitions turn all four laps to the right, to coincide with the
+laps on the box. Dovetail the partitions by cutting a slit one
+inch deep in the center of each and slipping one over the other.
+Next glue them to the inside of the box.</p>
+
+<p><i>Cover.</i> Take the second 8×9-inch rectangle and mark off a
+two-inch space (shy) all around. Find middle of nine-inch edges
+and draw lines 1-2, 2-3, and 2-4. Cut out these two triangles.
+Cut the corners on the dotted lines. Score, fold, and glue.
+Notice that in the lids the laps are not turned as in the body of
+the box. Here, as in the drawer of the pencil-box, the laps are
+glued to the ends of the cover, concentrating strength there and
+producing symmetry in construction.</p>
+
+
+<h4>8 Picture Frame No. I&mdash;Diagonal Folds</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 5×5 inches. (See page <a href="#Page_39">39</a>.)</p></div>
+
+<p>Fold on the diagonals. Bring each corner over until it touches
+the center; crease. Fold each corner back again until its point
+touches the outside edge at the middle section; crease.</p>
+
+
+<h4>9 Picture Frame No. II</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 4-1/2×16-1/2 inches. (See page <a href="#Page_40">40</a>.)</p></div>
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p>
+<div class="figcenter" style="width: 406px;">
+<img src="images/image038.png" width="406" height="580" alt="SEED BOX WITH SECTIONS&mdash;(For description see page 37.)" title="SEED BOX WITH SECTIONS&mdash;(For description see page 37.)" />
+<span class="caption">SEED BOX WITH SECTIONS&mdash;(For description see page <a href="#Page_37">37</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Divide the length into three equal parts, making three rectangles<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+4-1/2×5-1/2 inches in size. In the middle rectangle, measure off and
+cut out a rectangle 2-1/4×3 inches in size. Fold rectangle No. 3
+up and back of rectangle No. 2. Holding the two firmly together,
+punch two holes, one-fourth inch apart, on each side, and
+one-fourth inch from the outer edges (see diagram). Draw a
+piece of raffia or ribbon through these holes and tie in a bow.
+Fold back rectangle No. 1 for support.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 402px;">
+<img src="images/image039.png" width="402" height="580" alt="PICTURE FRAME No. I&mdash;(For description see page 37.)" title="PICTURE FRAME No. I&mdash;(For description see page 37.)" />
+<span class="caption">PICTURE FRAME No. I&mdash;(For description see page <a href="#Page_37">37</a>.)</span>
+</div>
+<hr style="width: 33%;" /><p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/image040.png" width="550" height="580" alt="PICTURE FRAME No. II&mdash;(For description see pages 37 and 39.)" title="PICTURE FRAME No. II&mdash;(For description see pages 37 and 39.)" />
+<span class="caption">PICTURE FRAME No. II&mdash;(For description see pages <a href="#Page_37">37</a> and <a href="#Page_39">39</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<h4>10 Portfolio</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Heavy manila paper, 7-1/2×12 inches. (See page <a href="#Page_41">41</a>.)</p></div>
+
+<p>Fold edge No. 1 over and even with edge No. 2. Crease and
+fold. On each side of A mark and cut off one-half inch. Clip
+off the corners of the flaps on B. Fold the flaps of B over on
+A and paste. Find the middle of edges 1 and 2. With a radius of
+one inch, describe a semicircle and cut it out.<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 558px;">
+<img src="images/image041.png" width="558" height="580" alt="PORTFOLIO&mdash;(For description see page 40.)" title="PORTFOLIO&mdash;(For description see page 40.)" />
+<span class="caption">PORTFOLIO&mdash;(For description see page <a href="#Page_40">40</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>11 Barn&mdash;House&mdash;Furniture</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 8×8 inches or 10×10 inches. (See
+page <a href="#Page_42">42</a>.)</p></div>
+
+<p>Fold a square into sixteen small squares of equal size; crease.
+With this as a basis throw the child on his own resources, allowing
+him to invent a pattern and make a chair, a sofa, or any piece
+of furniture that he can devise from such a square. A corner
+may have to be cut out or a slit made, but impress upon the child
+that, as far as possible, the model must be gotten by folding,
+with very little or no cutting.</p>
+
+<p>By using a larger square and folding in the same way, a house<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+or a barn may be made. Add a chimney and steps from an extra
+piece of paper.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 574px;">
+<img src="images/image042.png" width="574" height="580" alt="" title="" />
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>12 Hexagonal Tray</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 7×7 inches.</p></div>
+
+<div class="figcenter" style="width: 430px;">
+<img src="images/image043.png" width="430" height="580" alt="HEXAGONAL TRAY" title="HEXAGONAL TRAY" />
+<span class="caption">HEXAGONAL TRAY</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Draw one diameter; find the center. With a radius of three
+and one-half inches describe a circle. (The circumference of a
+circle is six times the radius). Place a point of the compass at
+one intersection of the circumference and the diameter, and divide
+the circle into six equal parts. With a radius of two inches,<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+describe an inner circle parallel to the outer one. Connect opposite
+points of the outer circle by drawing two more diameters.
+This will divide the inner circle into six equal parts. Connect by
+straight lines the adjacent points of the inner circle, as 1-2;<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+score. At the intersections of the outer circle, mark off one-half
+inch on each side and by straight lines connect both these points
+with the opposite points of intersection of the inner circle, as
+2-3, 2-4. This forms two equal triangles, one of which is to
+be cut out, as 4-2-5, and the other, as 3-2-5, left. Having
+cut out the six triangles, bend up on lines scored, bring the sides
+together, and use triangle 3-2-5 as a lap for pasting.</p>
+
+
+<h4>13 Lamp Shade</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 7×10 inches. Japanese rice paper,
+7×10 inches.</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image044.png" width="600" height="336" alt="LAMP SHADE, A" title="LAMP SHADE, A" />
+<span class="caption">LAMP SHADE, A</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Select a pretty shade of brown, green or red construction paper.
+Measure off two inches and construct a line parallel to the ten-inch
+length. Bisect this line. Place the compass at this point of
+bisection and with a radius of four inches describe a semicircle,
+1-2; extend this arc to 3, and draw the line 3-4. With a radius
+of one inch describe an inner semicircle (5-6) parallel to the
+outer one. Again, with a radius of one inch describe a third semicircle,
+parallel to the other two. Set the compass at half the
+radius and divide each semicircle into six equal parts. Connect
+these points of intersection by straight lines (9-10). Make<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+a stencil that will fit in one of these sections. Using the stencil,
+draw the same figure in each section. Carefully cut out the stenciled
+space. Next lay the construction paper on the Japanese rice
+paper and trace on it the stencil design. Remove the construction
+paper and, with two blending colors of crayon, color the figure or
+design traced on the Japanese paper. Again, lay the construction
+paper on the rice paper and glue the two together. Cut out
+the shade as marked off, bring the two edges together, and glue.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 400px;">
+<img src="images/image045.png" width="400" height="262" alt="LAMP SHADE, B" title="LAMP SHADE, B" />
+<span class="caption">LAMP SHADE, B</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>If you wish the lower edge scalloped, cut it as shown in the
+diagram. By folding and creasing on the lines of intersection the
+shade may be made hexagonal in shape. All designs for decoration
+are supposed to be original.</p>
+
+
+<h4>14 Star</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, two 8-inch squares. Raffia.</p></div>
+
+<p>Take an eight-inch square. Fold the front edge over to the
+back edge; crease. On the left edge place a point one and one-half
+inches from the left-back corner. Carry the right-front corner
+over to this point; fold and crease. Turn the left triangle
+under; fold and crease. Next, as the paper stands in your hand
+with the triangle facing you, fold the right edge over to the left
+edge; crease. Where the three edges of the paper come together,
+begin at the highest point and cut across the paper from
+right to left to within two and one-half inches of the center.
+Open out the paper and you have the star.</p>
+
+<p>A picture frame made of a five-pointed star is very pretty.
+Cut two stars of the same size. From the center of one cut a
+star one inch smaller for a mat. Lay this mat on the solid or<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+foundation star and glue four of the points together. In the fifth
+point pierce two holes through both pieces, about an inch from
+the apex of the point. Slip in the picture. Take a piece of raffia
+or cord and tie a loop with two ends. Bring these ends through
+the holes from the back to the front and tie them in a bow. By
+the loop at the back the frame is hung.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 350px;">
+<img src="images/image046.png" width="350" height="371" alt="PICTURE FRAME FROM FIVE-POINTED STAR" title="PICTURE FRAME FROM FIVE-POINTED STAR" />
+<span class="caption">PICTURE FRAME FROM FIVE-POINTED STAR</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>15 Notebook</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, 6-1/2×7 inches, for cover. Manila
+paper, four pieces 6×6-1/2 inches, for leaves.</p></div><p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+
+<p>Fold the piece of construction paper down the middle, so as to
+form the 3-1/2×6-1/2-inch cover. In the same way crease the manila
+paper for the leaves. Place the leaves within the cover;
+with heavy silk or fine twine sew them to the back. Bring the
+needle through one inch from the upper edge, one inch from the
+lower edge, and in the middle. The long stitch is on the inside,
+the two short ones are on the outside, both ends of the thread
+are brought through the center to the inside and tied over the
+long stitch to hold it in place. Leave the ends an inch long and
+fringe them.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 238px;">
+<img src="images/image047.png" width="238" height="400" alt="NOTEBOOK" title="NOTEBOOK" />
+<span class="caption">NOTEBOOK</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>16 Bound Book</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Heavy construction paper, colored, 5×6 inches, for
+cover. Four pieces white paper, 11-1/2×19-1/2 inches, for leaves.
+Two pieces tape, 1/4×2 inches.</p></div><p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+
+<p><i>Cover.</i> Mark off and rule two and seven-eighths inches from
+each edge of the five-inch length; crease. This will leave in the
+middle a 1/4×5-inch space, in which the back of the leaves will go.
+Take each sheet of white paper, fold it once lengthwise, and once
+crosswise; this will make a "folio" four leaves thick, 2-3/4×5-3/4
+inches in size. We have four of these folios to be joined together
+and bound to the back. Take folio No. 1 and with needle and
+silk sew the leaves together, running the thread one inch from the
+upper edge and one inch from the
+lower edge and in the center, seeing
+that the last stitch brings the thread
+on the outside of the back of the
+leaves. Do not break the thread.
+Take folio No. 2, hold it close to folio
+No. 1, carry the thread across and
+take it through the middle of the back,
+one inch from front or back edge, as
+in folio No. 1.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 578px;">
+<img src="images/image048.png" width="578" height="400" alt="BOUND BOOK" title="BOUND BOOK" />
+<span class="caption">BOUND BOOK</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>On the back edges of these folios there will be two long stitches.
+Under these stitches pass the two pieces of tape. Keep one of
+these tapes as near the upper and the other as near the lower
+edge as the stitch will allow. As a folio is added and the leaves
+sewed together, connect the exposed stitch of the one previously
+added to the one last added, at the three places where the thread
+holds the leaves, by a buttonhole stitch (in bookbinding known as
+the "kettle stitch"). When the last folio is added, place the back
+of the leaves to the back of the cover in the 1/4×5-inch space.<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+Stretch the tapes down on the cover and paste (1-3). Take the
+first and the last leaf and paste them over the tapes, to the inside
+of the cover. The outside of the cover may have some simple
+decoration if such is desired.</p>
+
+<p>In Book VII of the <i>Text Book of Art Education</i>, published by
+The Prang Educational Company, is worked out a very interesting
+problem for the making of a scrap-book, and suggestions given
+for decorating the cover. The scrap or clipping books shown
+here were made in a similar way. The decoration and cover are
+left to the taste and ingenuity of the teacher or the child.</p>
+
+
+<h4>17 Japanese Book</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, colored, 4-1/4×12-1/4 inches, for
+cover. Manila paper, six leaves, 4×6 inches, double, with
+fold on outer edge.</p></div>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 399px;">
+<img src="images/image049.png" width="399" height="300" alt="JAPANESE BOOK" title="JAPANESE BOOK" />
+<span class="caption">JAPANESE BOOK</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The paper for the cover is 4-1/4×12-1/4 inches in size. Place the
+paper lengthwise in front of you and bring the left edge over to
+the right edge; crease, fold. Mark off a space three-fourths of
+an inch from the edge of the fold, draw a line, A-L. On this
+line three-quarters of an inch from the upper and the lower
+edges, place dots, B C, and one-fourth inch from B C place dots
+D E. Hold the leaves evenly together and press them in between
+the cover. With a large needle and cord sew through C, under,<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+up, and over A, through C again, under to F, over through C,
+under and up through E, back to G, under and up through E,
+down to D, through and over H, back to D, down and up through
+D, then to B; down under to K, back to B, through and under
+and around to L, to B, to D, to E, to C. Tie the two ends of the
+cord, which come together at C, and fringe them out.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 333px;">
+<img src="images/image050.jpg" width="333" height="400" alt="SCRAP OR CLIPPING BOOK
+
+Cover of grass cloth." title="SCRAP OR CLIPPING BOOK
+
+Cover of grass cloth." />
+<span class="caption">SCRAP OR CLIPPING BOOK<br />
+
+Cover of grass cloth.</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>18 Scrap-Book</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Construction paper, colored: 6-1/4×8-1/4 inches, for
+cover. Manila paper: three leaves 6×8 inches; three strips
+1-1/8×6 inches. Two paper clamps.</p></div>
+
+<p>Double the 6×8-inch leaves into six leaves 4×6 inches in size.
+Between leaves 1 and 2, 3 and 4, 5 and 6, place the 1-1/8×6-inch
+guards at the back. Have leaves and guards even and compact;<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+then set them between the cover. Measure from the back edge
+of the cover a space three-quarters of an inch wide, and draw a
+pencil line. Placing the sharp edge of a ruler on this line, bend
+the back edge toward the front until it is well creased. In the
+center of this 3/4-inch space, one inch from the upper edge and
+one inch from the lower edge of the book, pierce a hole and insert
+the brass clamps.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 342px;">
+<img src="images/image051.png" width="342" height="400" alt="SCRAP OR CLIPPING BOOK
+
+Cover of linen, stenciled." title="SCRAP OR CLIPPING BOOK
+
+Cover of linen, stenciled." />
+<span class="caption">SCRAP OR CLIPPING BOOK<br />
+
+Cover of linen, stenciled.</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h5>A PASTE</h5>
+
+<p>Mix until perfectly smooth one cup of flour with one cup of
+cold water.</p>
+
+<p>Put two cups of water in a vessel and set it over the fire until
+it heats. (Do not let it boil.) Add one teaspoonful of powdered
+alum, then stir in the mixture of flour and cold water. Continue<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+stirring until it thickens to a good consistency. Remove it from
+the fire and add one teaspoonful of oil of cloves or peppermint.
+Pour it into an air-tight jar and when it is cool screw on the top.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 314px;">
+<img src="images/image052.jpg" width="314" height="400" alt="SCRAP OR CLIPPING BOOK
+
+Cover of fancy paper&mdash;(For description see pages 51 and 52.)" title="SCRAP OR CLIPPING BOOK
+
+Cover of fancy paper&mdash;(For description see pages 51 and 52.)" />
+<span class="caption">SCRAP OR CLIPPING BOOK<br />
+
+Cover of fancy paper&mdash;(For description see pages <a href="#Page_51">51</a> and <a href="#Page_52">52</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Use the same cup all through. The oil of cloves or peppermint
+is simply a flavoring, and does not add to the quality. This
+quantity will nearly fill a quart jar.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PART_III" id="PART_III"></a>PART III<br /><br />
+
+WOOD CONSTRUCTION</h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2><a name="WOOD_CONSTRUCTION" id="WOOD_CONSTRUCTION"></a>WOOD CONSTRUCTION</h2>
+
+
+<h3><span class="smcap">Introductory Remarks</span></h3>
+
+<p>As the child develops, paper construction loses its charm, and a
+desire for something utilitarian arises. We suggest that at this
+stage the much-treasured pocket knife be brought into service, for
+from small pieces of wood many articles may be made. The construction
+of these will afford the child, especially the boy, much
+pleasure, and will at once arouse a new interest.</p>
+
+<p>Only the simplest articles will be given here&mdash;articles which
+may be fashioned from bits of wood commonly found around a
+house, such as old cigar boxes, small starch boxes, etc. But,
+should the teacher be able to obtain the proper materials, basswood
+a quarter or three-eighths of an inch thick, and whittling
+knives are the requisites.</p>
+
+<p>The reader will notice that the wood mentioned for each
+model is bass. Why? Because bass is the wood generally used
+for carving. The tree is the same as the linden and the lime. It
+is found in northern Asia, Europe, and North America, and
+grows to an immense height. The wood is soft, light, close-veined,
+pliable, tough, durable, and free from knots, and does not
+split easily; all of which qualities favor its suitability for carving.</p>
+
+<p>In whittling, it is always best to lay off the pattern on both
+sides of the wood. Then one can work from either side without
+fear of spoiling the material.</p>
+
+<p>In cutting, work with the grain, or the wood will be apt to
+split. Cut toward you, not from you.</p>
+
+<p>In grooving, use the point of the knife, and work slowly and
+carefully. If the knife slips the wood is ruined.</p>
+
+<p>Insist that nothing the child does is well done unless well sandpapered,
+and nothing is properly sandpapered until all roughness
+is done away with, and the grain appears.</p>
+
+<p>In the making of designs, let the child first have a piece of paper
+the size of the wood he is to use, and have him work out a
+design to be applied to his wood. This design may be most crude,<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+but with a suggestion here, and a correction there, from the
+teacher, it can be brought into shape. The child will be pleased,
+and will attack with more assurance of success each succeeding
+problem that he meets.</p>
+
+<p>For coloring, use water color paints. Red, green, and yellow
+are most satisfactory, as their identity is retained when staining
+is applied.</p>
+
+<p>Apply the stain with a brush, and with a soft cloth rub it in
+until it is dry. This develops or brings out the grain.</p>
+
+<p>When sure that the stain is well rubbed in and dry, apply
+butcher's wax, and polish with a soft cloth. Some articles need
+two coats of stain, and an equal amount of polish.</p>
+
+<p>In all work impress upon the child the fact that what is worth
+doing is worth doing well, or it should not be done at all.</p>
+
+<p>Each model given works out a problem in handling the knife
+and cutting the wood, and each problem leads up to the one
+that follows.</p>
+
+<p>We will begin with the simplest thing one can make&mdash;a puzzle.</p>
+
+
+<h4>1 Puzzle</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To cut with the grain of the wood, and how to cut
+corners. (See page <a href="#Page_57">57</a>.)</p>
+
+<p><i>Material</i>&mdash;Basswood: one piece 7×1-1/2×3/16 inches; one piece
+3×1-1/2×3/16 inches. One yard of macramé cord.</p></div>
+
+<p>Shave the 7×1-1/2-inch strip of wood down with a knife until it
+is an inch wide, being careful to keep the edges parallel. Measure
+off three-eighths of an inch in opposite directions on each
+corner and on both sides of the wood. Connect these points by a
+pencil line. Cut off each corner the space indicated by the line.
+Be careful always to cut with the grain of the wood; cutting
+against it will split the board. Next, three-fourths of an inch
+from each end, and equally distant from the sides, and in the
+center, bore holes. From the 3×1-1/2-inch piece of wood, cut two
+blocks one and one-half inches square, and bore a hole in the center
+of each. Double the string to a loop and draw this loop
+through the center hole of the rectangular strip. Pull the loop to
+the edge, and draw through it the two ends of the cord. String
+the 1-1/2-inch blocks, one on each cord, then tie the ends of cord in
+the two end holes of the rectangular strip.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<p>The puzzle is finished. What is the aim, and how can it be
+solved?</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 517px;">
+<img src="images/image057.png" width="517" height="580" alt="PUZZLE" title="PUZZLE" />
+<span class="caption">PUZZLE</span>
+</div>
+<hr style="width: 33%;" />
+
+<p><i>Solution.</i> Mark one block. Hold one in the hand and move the
+other along until it passes through the loop at the center.</p>
+
+<p>Pull the cord through the middle hole until it draws with it four
+thicknesses of cord. Now slide the block along until it passes
+through a double loop. Next, draw this double loop back through
+the hole; the string will be in position, and the block is now passed
+along through a single loop and onto the string containing the<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+other one. To replace the block, turn the puzzle around and
+repeat the process.</p>
+
+
+<h4>2 Plant Label</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To cut across the grain, and, by removing two equal
+triangles, to form a well-tapered point.</p>
+
+<p><i>Material</i>&mdash;One piece of basswood, 6×1×1/4 inches.</p></div>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/image058.png" width="550" height="259" alt="PLANT LABEL" title="PLANT LABEL" />
+<span class="caption">PLANT LABEL</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Take the end A B and find the center, C. From A measure
+off two and a half inches, and place point D. From B measure
+off two and a half inches, and place point E. Connect points CD
+and CE. Place the same measurements on the reverse side.
+With the knife cut off triangles A-C-D and B-C-E. Sandpaper
+the wood until it is smooth and the label is finished.</p>
+
+
+<h4>3 Pencil Sharpener</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;Curve-cutting.</p>
+
+<p><i>Material</i>&mdash;One piece of basswood, 6-1/2×1-1/4×1/4 inches. One piece
+of sandpaper, 1×3-1/8 inches. Glue. Stain.</p></div>
+
+<p>On the wood place points three and a quarter inches from each
+end, at A and B, and connect them by line A-B. Place points
+G and H half an inch from C and D. Start your curve at G, pass
+through I, and end at H. In the rectangle A-B-F-E draw a
+handle as indicated in the diagram. Shape the other end by removing
+spaces G-C-I and H-D-I. Sandpaper thoroughly.
+Shape one end of the 1×3-1/8-inch piece of sandpaper as curve
+G-I-H, and glue it to the wood. Stain the wood and polish it
+by rubbing it with a soft cloth.<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image059a.png" width="600" height="303" alt="PENCIL SHARPENER" title="PENCIL SHARPENER" />
+<span class="caption">PENCIL SHARPENER</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>4 Match Scratch</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;Curve and cross-grain cutting.</p>
+
+<p><i>Material</i>&mdash;One piece of basswood, 3-3/4×3×1/4 inches. One piece
+of sandpaper, 2-1/2×3 inches. Glue.</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image059b.png" width="600" height="338" alt="MATCH SCRATCH" title="MATCH SCRATCH" />
+<span class="caption">MATCH SCRATCH</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Place a point at the center of line A-B and of line C-D.
+Place a point on line A-C and line B-D, one and one-quarter
+inches from A and B. Connect these points by a pencil line, and
+draw another line one-eighth of an inch below. Score these two
+lines with the point of the knife, making a tiny groove. Draw
+curves A-E and B-E, the highest point of the curve being half<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+an inch from the edge A-E-B. Draw curves G-F and H-F.
+Remove spaces 1, 2, 3, and 4. Sandpaper thoroughly the edges
+and sides. Shape the piece of sandpaper, two and a half by three
+inches, to fit the space G-F-H, allowing a quarter-inch margin,
+and glue it on. Bore a hole at 5. Do not stain.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 541px;">
+<img src="images/image060.png" width="541" height="580" alt="KITE STRING WINDER" title="KITE STRING WINDER" />
+<span class="caption">KITE STRING WINDER</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>5 Kite-String Winder</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;Cross-grain cutting.</p>
+
+<p><i>Material</i>&mdash;One piece of basswood, 5-1/2×2-1/2×1/4 inches.</p></div>
+
+<p>Measure and lay off as shown in the diagram, and cut out all<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+spaces indicated by dotted lines. Sandpaper the wood until it is
+smooth. Stain the winder or not, as is preferred.</p>
+
+
+<h4>6 Thermometer Back</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;Beveling and grooving. (See page <a href="#thermometer">62</a>.)</p>
+
+<p><i>Material</i>&mdash;One piece of basswood 6×3×1/4 inches. Stain.</p></div>
+
+<p>For the thermometer back the measurements need be placed on
+but one side of the wood.</p>
+
+<p>Mark off a quarter-inch from the edge all around and draw
+a line. Place a second line a quarter-inch within this. Using the
+line nearest the edge as a guide, cut off the sharp edges on the
+face of the strip of wood until the slant surface is reached between
+the line and the back edge. This makes the bevel. The
+inner line is a guide for spacing the design. Originate a simple
+design, and lay it off on the board in pencil. Then, using the
+point of the knife, with the greatest care groove out the design.
+Place a hole near the top of the strip by means of which to hang
+it. Notice that the design fits around the hole. Sandpaper, stain,
+and polish the wood.</p>
+
+<p>The design given here is the simplest that can be made. It is
+suggested that until the child becomes accustomed to working
+with the knife, all designs for grooving had better be confined to
+straight lines. Combine in a design a vertical, a horizontal, and
+an oblique line, and some beautiful patterns may be originated.</p>
+
+
+<h4>7 Pocket Pin-Cushion</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;Circular cutting, grooving, stenciling, and coloring.
+(See page <a href="#pincushion">63</a>.)</p>
+
+<p><i>Material</i>&mdash;Basswood: two pieces, 3×3×1/4 inches. One piece of
+heavy felt 3×3×1/4 inches. Glue. Water-color paints. Stain.</p></div>
+
+<p>Find the center of each square of wood by drawing the diagonals.
+With the compass at the radius of one and one-half inches,
+describe a circle on each piece of wood (on one side only). Remove
+spaces A, B, C, and D with the knife, and you have a circular
+block. Remember to cut with the grain. Bevel the edges.
+Make an original design and apply it to your wood. With the
+knife groove the outline of this design. There should be a space
+three-eighths of an inch wide between the edge of the wood and
+the outer edge of the design. When the design is grooved in,<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+color it. Red, green and yellow are the best colors. Their identity
+is not lost in staining. Lastly, stain and polish the face of the
+blocks. Cut the felt the size of the blocks, cover the back of each
+block with glue, place the felt between the two, and keep the
+whole in press for several hours. The model here suggests two
+designs. These are given simply as illustrations. Use the same
+design for both backs of the cushion.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 298px;">
+<a name="thermometer" id="thermometer"></a>
+<img src="images/image062.png" width="298" height="580" alt="THERMOMETER BACK&mdash;(For description see page 61.)" title="THERMOMETER BACK&mdash;(For description see page 61.)" />
+<span class="caption">THERMOMETER BACK&mdash;(For description see page <a href="#Page_61">61</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+<div class="figcenter" style="width: 195px;">
+<a name="pincushion" id="pincushion"></a>
+<img src="images/image063a.png" width="195" height="200" alt="PIN CUSHION" title="PIN CUSHION" />
+<span class="caption">PIN CUSHION</span>
+</div>
+
+<div class="figcenter" style="width: 418px;">
+<img src="images/image063b.png" width="418" height="200" alt="DESIGNS FOR PIN CUSHION" title="DESIGNS FOR PIN CUSHION" />
+<span class="caption">DESIGNS FOR PIN CUSHION</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>8 Picture Frame</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Basswood, sweet gum, walnut or oak. One piece,
+8×6×1/4 inches, for frame; one piece, 5-1/4×4×1/4 inches, for
+back; one piece, 4-1/2×3×1/4 inches, for supports; two pieces,
+3-1/4×3/8×1/4 inches, and one piece, 5-1/4×3/8×1/4 inches for
+cleats. Glue. Half-inch brads.</p></div><p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+<p>Should basswood be used it must be stained. Sweet gum, walnut,
+or oak may be left in its natural state, and oiled to bring out
+the grain and finish.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image064.png" width="600" height="476" alt="PICTURE FRAME" title="PICTURE FRAME" />
+<span class="caption">PICTURE FRAME</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>On the 8×6×1/4-inch board mark off with a pencil a center space
+2-3/4×3-3/4 inches in size. With a gimlet bore holes at points A, B,
+C, and D. Connect these holes with a pencil line as a guide for
+cutting. Along the line make a groove which may be broadened
+and deepened until the board is cut through. By working around
+the square in this way, the center will soon be opened. Trim the
+wood as smoothly as possible with a knife; then use sandpaper
+to level and finish off. Bevel the edge of the opening if you wish.</p>
+
+<p>Cut in half the 4-1/2×3×1/4-inch piece of wood, and make two
+supports, as in Figure 2. With a pencil draw the shape of these
+supports on the wood; in whittling work very carefully, as they
+are small and will easily split. As far as possible, hold the pieces
+so that the knife will shave with the grain of the wood. In crosscut<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+work from the opposite side. In straight cut, keep notches at
+opposite ends, so that if the knife should slip and the wood split
+no serious damage will be done.</p>
+
+<p>Place the cleats on the back half an inch from the opening, the
+longer fitting in between the two shorter ones. Glue them on,
+then nail them. Against these cleats glue the back (1) before
+nailing it. Next glue and nail on the two supports against the
+back and on a level with the lower edge (Figure 4). On the
+fourth side, where there is no cleat, is the opening through which
+the picture is slipped. When the frame is satisfactorily sandpapered,
+oil and polish it.</p>
+
+
+<h4>9 Japanese Box</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a box having lid and bottom extend beyond
+sides.</p>
+
+<p><i>Stock</i>&mdash;Basswood: two pieces, each 8-1/2×3-1/2×1/4 inches, for lid
+and bottom; two pieces, each 8×2×1/4 inches, for sides; two
+pieces, each 2-1/2×2×1/4 inches, for ends; two pieces, each
+2-1/2×1/4×1/4 inches, for cleats. Glue. Half-inch brads.
+Stain. Wax.</p></div>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image065.png" width="600" height="296" alt="JAPANESE BOX" title="JAPANESE BOX" />
+<span class="caption">JAPANESE BOX</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>On the 8-1/2×3-1/2×1/4-inch pieces of wood, cut a bevel a quarter
+of an inch wide.</p>
+
+<p>Place the two ends between the two sides; glue and nail. Set
+this rectangular frame on the under side of the bottom, equally
+distant from each edge, and trace the shape with a pencil. Remove
+the frame; the pencil line indicates where the nails are to be<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+driven to secure the frame to the base. Now set the frame on
+the upper side of the bottom; aim for the same spacing as on the
+under side, and mark off. Carefully cover the lower edge of this
+frame with glue, place it on the base and press the two until the
+glue is dry. Drive the brads through from the under side of the
+base an eighth of an inch within the guiding line. Having beveled
+and sandpapered the lid, trace a design on it, and outline this
+design by grooving.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image066.png" width="600" height="552" alt="" title="" />
+</div>
+<hr style="width: 33%;" />
+
+<p>Nail the 2-1/2×1/4×1/4-inch cleats to the under side of the lid,
+five-eighths or an inch from each end and half an inch from each
+side. These cleats fit into the box and hold the lid on.</p>
+
+<p>Stain, wax, and polish the box.</p>
+
+
+<h4>10 Grandfather's Chair</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;Basswood: three pieces 5×2×1/8 inches; one piece
+2×2×1/8 inches. Brads. Sandpaper. Glue. Stain or oil.</p></div><p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+<div class="figcenter" style="width: 468px;">
+<img src="images/image067.png" width="468" height="580" alt="GRANDFATHER&#39;S CHAIR" title="GRANDFATHER&#39;S CHAIR" />
+<span class="caption">GRANDFATHER&#39;S CHAIR</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Measure and lay off as you have done in making the other
+small pieces of wood work. Handle the knife most cautiously,
+as the wood is so thin that it is easily split. When all parts are
+cut out and well sandpapered glue them together and secure them
+by driving in the brads about an inch apart along the line of the
+seat and where the arms join the back. Stain or oil as most convenient,
+or as taste dictates.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PART_IV" id="PART_IV"></a>PART IV<br /><br />
+
+BASKETRY</h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+<h2><a name="BASKETRY" id="BASKETRY"></a>BASKETRY</h2>
+
+
+<h3><span class="smcap">Introductory Remarks</span></h3>
+
+<p>The art of basket-making is a primitive one, and so simple that
+it appears to have been known among the rudest people and in
+very early ages.</p>
+
+<p>When Moses was found by Pharaoh's daughter, he was lying
+in a basket which had been woven by his mother.</p>
+
+<p>Later, when the Israelites were returning to the Promised
+Land, they were commanded to offer unto the Lord "the first of
+all the fruits of the earth" in a basket, as soon as Canaan became
+their possession. The baskets of the rich, of these ancient Israelites
+were made of gold and silver, and so valuable were they that
+when a gift was sent in one of them the basket was always
+returned.</p>
+
+<p>The ancient Britons were remarkably expert in the manufacture
+of baskets, which were so beautifully made that they were
+highly prized by the Romans.</p>
+
+<p>Our own American Indians were, and still are, such adepts in
+the art of basket-making that, for beauty and artistic effect, their
+baskets are excelled by none.</p>
+
+<p>The perfection attained in this art by the uncivilized is marvelous.
+Adapting the materials about them to their use, they
+produce masterpieces which the civilized man beholds in wonder
+and amazement.</p>
+
+<p>Though handed down to us through many ages, this ancient
+occupation has never lost its fascination. The adult and the
+child of to-day are as eager to learn its secrets as were those
+dwellers on the banks of the Nile, hundreds of years ago.</p>
+
+<p>As a plastic art it lies between paper construction and clay modeling
+on one side, and wood and iron work on the other.</p>
+
+<p>A keen interest in the art may be awakened by arousing in the
+child a desire for a basket for some practical purpose. In the
+autumn, the collecting of seeds for next spring's planting, the<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+gathering of nuts, the need for something in which to take the
+lunch to school, or, perhaps, a wish to make a pleasing gift for
+the coming Christmas, will immediately suggest its utility.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 439px;">
+<img src="images/image072.jpg" width="439" height="580" alt="NORTH CAROLINA PINE" title="NORTH CAROLINA PINE" />
+<span class="caption">NORTH CAROLINA PINE</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Of what shall the basket be made? Children enjoy those things
+most which they feel that they have exerted themselves to obtain;
+and the greater the effort involved, the greater the educational<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+value. Every child should be trained to keep his eyes open and
+to adapt to his use the things he sees about him. Materials for
+baskets may be obtained in just this way. City children may
+take a trip to the country and gather the long grasses found in
+swamps and low places. Perhaps in the garden at home there is
+a clump of yucca; when the fall comes and the bloom is gone
+the leaves or blades may be cut, dried and stripped, and transformed
+into an attractive basket or tray. Again, the husks which
+are stripped from the corn cooked for dinner may be torn into
+narrow ribbons and dried for use. Corn husks make a beautiful
+basket, for the different shades of green change, after the husks
+have dried, to as many shades of brown, which blend most artistically
+when worked up. The little children of the South may
+gather the long needles that fall from the southern pine, and combine
+them with raffia or twine to construct a basket. Country
+children have a most adaptable and convenient commodity in the
+tough, flexible willows found on the banks of almost every
+stream.</p>
+
+<p>The material most commonly used and easiest to begin with,
+however, is reed, which is pliable, and readily handled and
+moulded into simple forms by even small children. It is available
+when other materials are not to be had, for it may be purchased
+with the school supplies.</p>
+
+<p>Reed is the core or central part of the climbing calamus, a species
+of palm found in the jungles of Borneo and adjacent South
+Sea islands. The outside of the raw calamus is smooth and is
+made into commercial cane used for chairs. The shavings, made
+by the machine which separates the cane from the core or inner
+reed, are utilized for mats, polishing material, and stuffing for
+mattresses and furniture. Thus every part of the raw material is
+brought into use.</p>
+
+<p>Originally the calamus grew in a limited area and was difficult
+to obtain. Only the natives could gather it, as the white man
+contracted the jungle fever as soon as he subjected himself to
+the climate in which it grew. But within the last fifty or seventy-five
+years enterprising men have begun the cultivation of the rattan
+palm, and have met with so much success that now there are
+a number of factories in the United States making the reed and
+rattan of commerce, while Germany and Belgium export to us the
+best reed that is used.<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 489px;">
+<img src="images/image074.jpg" width="489" height="580" alt="REED BASKETS" title="REED BASKETS" />
+<span class="caption">REED BASKETS</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The teacher should never begin the use of any new material for
+construction without having made the child familiar with its history;
+nor should a finished article be laid aside until the pupil
+has given the teacher a description of how it is made, and of what
+it is made. If this method is carried out the child will show a
+greater appreciation of what he is doing, will value the finished
+article more highly, and will place a premium on the raw material.</p>
+
+<p>Overlook the pupils in their work, but grant them the privilege
+of adjusting size and shape, and of selecting material for the<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+requirements of the design they have in mind. By achieving
+what he can for himself, the pupil attains a realization of his own
+power, and the logic of size, shape, material, etc., is awakened.</p>
+
+
+<h3>REED CONSTRUCTION</h3>
+
+<p>In construction, the first thing to teach a child is how to handle
+the material. To do this, use small quantities and attempt only
+simple articles. Reed is the simplest thing to begin with, and the
+easiest of all basket-work models is the napkin ring. Soak all the
+reed and dry it with a cloth before using.</p>
+
+
+<h4>1 Napkin Ring No. I</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a napkin ring of reed.</p>
+
+<p><i>Material</i>&mdash;No. 2 reed, 7 feet.</p></div>
+
+<p>Take one end of the reed and form a loop two inches in diameter,
+and wind the reed three times to form the ring. Hold it in
+the left hand. Pass the loose end over the curve and through the
+circle. Pull it taut enough to make it lie in a natural curve. Repeat
+this movement&mdash;over and over, round and round&mdash;allowing
+the strands always to follow the valley between the two former
+laps. When the foundation is covered, clip the end where it finishes
+up, press it into place in the groove, drop a little glue over
+the point at which it is pressed in, and bind the ring with a string
+to hold the end in position. When the glue has dried, remove
+the string.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 500px;">
+<img src="images/image075.png" width="500" height="192" alt="REED NAPKIN RINGS" title="REED NAPKIN RINGS" />
+<span class="caption">No. I&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      No. II<br /><br />
+
+REED NAPKIN RINGS</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>When the napkin ring has been made, the child has learned the
+principle involved in constructing a basket handle.<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+
+<h4>2 Napkin Ring No. II</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a napkin ring of No. 5 reed. (See page
+<a href="#Page_75">75</a>.)</p>
+
+<p><i>Material</i>&mdash;No. 5 reed, 2-1/2 feet.</p></div>
+
+<p>In using No. 5 reed, form the loop two inches in diameter, but
+have the ring of only one thickness, and proceed as in ring No. 1.
+This will make a napkin ring of different appearance because
+the windings are fewer and the reed thicker.</p>
+
+
+<h4>3 Mat</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a simple mat of reed.</p>
+
+<p><i>Material</i>&mdash;No. 4 reed: eight spokes, 9 inches long; one spoke, 6
+inches long. Weavers of No. 2 reed.</p></div>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image076.png" width="600" height="281" alt="Figure 1      Figure 2
+
+TO START A REED MAT OR SIMPLE BASKET" title="Figure 1      Figure 2
+
+TO START A REED MAT OR SIMPLE BASKET" />
+<span class="caption">Figure 1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      Figure 2<br /><br />
+
+TO START A REED MAT OR SIMPLE BASKET</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Place together, at right angles, two groups of four spokes of
+No. 4 reed. To the under group add the six-inch spoke of No.
+4 reed (Figure 1). Hold the spokes firmly in the left hand. Take
+the No. 2 weaver and insert it under the thumb. Wind the
+weaver diagonally over the crossing point in both directions (Figure
+2). Then wind the weaver over and under alternate groups
+of spokes, three times around. Hold both spokes and weaver
+firmly in place with the left hand. Separate into single spokes
+now and continue weaving until your mat is four inches in
+diameter. Fasten the end of the weaver by tucking it down<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+beside a rib. The projecting ribs are trimmed to an even length
+and pointed. Take any given spoke, as No. 1, bend it to the left
+in front of No. 2 and insert it on the right side of No. 3. No. 2
+is now taken and carried to the left over No. 3 and inserted to
+the right of No. 4. Proceed thus until all the spokes are inserted,
+when the mat is finished. The scallops should form a
+semicircle.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 308px;">
+<img src="images/image077.png" width="308" height="300" alt="REED MAT" title="REED MAT" />
+<span class="caption">REED MAT</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>For a larger mat, take ten spokes, sixteen inches long, of No.
+4 reed, and one spoke nine inches long of the same. Use No. 1
+reed for the weaver and proceed as in making the smaller mat.</p>
+
+<p>To add a new weaver, place the end about two spokes back of
+where the former weaver ended and parallel with it.</p>
+
+
+<h4>4 Hamper Basket</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a simple reed basket.</p>
+
+<p><i>Material</i>&mdash;No. 4 reed: eight spokes 16 inches long; one spoke 9
+inches long. Weavers of No. 1 reed.</p></div>
+
+<p>Begin the basket exactly as the mat was begun. Weave until
+the bottom is three inches, or three and a half inches in diameter.
+Then bend the spokes at right angles with the base, drawing the
+weaver tight so as to hold the spokes in position and keep them
+separated at an equal distance. Continue weaving until the basket
+is three inches high, or until about one and a half inches of<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+spokes is left for the border. Finish the edge by turning down
+the spokes as in the edge of the mat, or bend them down flat with
+the edge of the basket. Take any spoke, as No. 1, bring from
+right to left over No. 2, then No. 2 over No. 3, and so on until
+the ends of all the spokes are turned to the inside of the basket.
+Keep both basket and weaver well dampened while weaving.
+After the basket is finished press it into shape while still damp.
+When it is thoroughly dry trim off the ends of the spokes which
+appear too long on the inside of the basket, leaving them just long
+enough to be held in place by the curved spoke under which each
+passes. This makes a beautiful hamper basket.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 366px;">
+<img src="images/image078.jpg" width="366" height="400" alt="HAMPER BASKET" title="HAMPER BASKET" />
+<span class="caption">HAMPER BASKET</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>A handle may be added to this little basket, but it is not advisable
+to encourage a child to add a handle until he has made his
+third basket or has shown in some way proficiency in what has
+been taught so far.</p>
+
+<p><i>To add a handle.</i> Take a length of reed, of the same number
+as the spokes, for the handle bow. For a small-sized basket take<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+ten inches. Insert one end down through the weaving beside
+one of the spokes. Bend the bow into the shape you wish for
+the handle and insert the other end of the bow beside a spoke on
+the opposite side of the basket, being careful that the two spaces
+between the two ends of the handle are equal. The handle should
+be about as high above the border as the border is above the bottom
+of the basket. The width of the handle should be a little
+less than the width of the basket at the top.</p>
+
+<p>You are now ready to cover the handle. Take a long weaver;
+push one end of it through the wale under the second row. Hold
+the end in place and wrap the weaver about the handle bow,
+keeping the spaces about equal, and drawing taut enough to be
+graceful, until it reaches the opposite side. Then draw the weaver
+through the wale and under the second row and up on that side;
+next wind about the handle bow again, back to the starting-point.
+Push the weaver through the wale, under the second row and
+out again, and once more wind across the handle bow. Repeat
+this operation from side to side until the handle bow is covered.
+Keep each row of winder close to the preceding one and parallel
+to it. When the bow is covered, tuck the end of the weaver
+through the wale and under the second row and clip the end,
+leaving it just long enough to stay in place. The handle bow
+needs to be damp enough to be flexible, but unless the winding
+weaver is well soaked it will crack and make trouble.</p>
+
+
+<h4>5 Basket Tray</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a reed basket or tray, having an even
+number of spokes, and using same number reed for both
+spokes and weaver.</p>
+
+<p><i>Material</i>&mdash;Sixteen spokes, each 11 inches long, of No. 3 or No. 4
+reed. Weaver of reed of same number as spokes.</p></div>
+
+<p>Separate the spokes into groups of four. Place set No. 1 on
+and at right angles to set No. 2. Sets 3 and 4 are laid diagonally
+across sets 1 and 2.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 494px;">
+<img src="images/image080.png" width="494" height="500" alt="HOW TO BEGIN THE BASKET TRAY" title="HOW TO BEGIN THE BASKET TRAY" />
+<span class="caption">HOW TO BEGIN THE BASKET TRAY</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Hold the spokes firmly, attach the weaver and go in and out
+four times round, over and under the same set of spokes each
+time. At the end of the fourth round, pass the weaver over two
+sets of spokes and weave four rows. Next separate the spokes
+into sets of two and weave one row; now each time that the<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>
+weaver comes to starting-point in the circle, pass it over two sets
+of spokes instead of one, and then weave the next round. When
+you have been around seven times using double spokes, bend the
+spokes up for sides and weave two more rows over double spokes.
+Then separate into single spokes and weave six rows, remembering
+each time to pass the weaver at the end of a new round over
+two spokes instead of one, so as to have them properly alternated.
+Trim the ends of the spokes to an equal length and start the border
+by bending any given spoke to the right and inside the tray,
+holding it in place. Continue with each succeeding one until all<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+the spokes have been bent into position. These spokes being
+bent so closely and consecutively over each other, form a coil resembling
+the handle of a basket. The points of the spokes are
+pushed under the coil, through from the inside to the outside of
+the basket. Keep a vessel of water at hand and wet the material
+constantly as you weave. When the tray is finished, press it into
+shape and set aside to dry. When it is well dried, clip off the
+projecting ends.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image081.png" width="600" height="435" alt="REED BASKET TRAY" title="REED BASKET TRAY" />
+<span class="caption">REED BASKET TRAY</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>6 Basket with Handle</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a basket using an uneven number of
+spokes, spokes and weaver the same number reed; and to add
+a handle.</p>
+
+<p><i>Material</i>&mdash;No. 3 reed: eight stakes, each 20 inches long; one stake
+11 inches long. Weavers of No. 3 reed.</p></div>
+
+<p>Make two groups of four each of the twenty-inch stakes. Place
+one set at right angles across the other, and beside the under set
+insert the eleven-inch spoke. Hold the spokes firmly between the
+thumb and the forefinger of the left hand, and with the weaver
+in the right hand place the starting end under the edge of the<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
+upper set; bring it around and over set No. 1, under No. 2, over
+No. 3, under No. 4, and repeat this operation four times. Now
+separate the spokes into groups of eight twos and one single, and
+weave four rounds. Next cut seventeen eleven-inch stakes and
+push one in beside each stake already used. Divide them into
+seventeen pairs. Weave round and round until you have a base
+three and one-half inches in diameter. Being sure that the weaver
+is damp and pliable, with fingers, or "pliers," bend up the stakes
+close to the weaving, at right angles with the base, and continue
+weaving until the basket is four inches deep. Then trim the
+stakes, if necessary, to uniform length and bend them over to
+form the border. Take any stake, as No. 1, and work from right
+to left. Bend down No. 1, pass under No. 2 and over No. 3.
+Then take No. 2, pass under No. 3 and over No. 4. Continue<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+until every pair of stakes has been turned down and worked into
+the border. All ends must come inside the basket; after it is dry,
+trim them off. You will find that in working with the wet reed
+your basket may seem not to have the proper shape. Soak it well
+and you will be able to mould as you wish it. Add a handle.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 386px;">
+<img src="images/image082.jpg" width="386" height="500" alt="REED BASKET WITH HANDLE" title="REED BASKET WITH HANDLE" />
+<span class="caption">REED BASKET WITH HANDLE</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>This basket is made almost exactly like the little hamper basket
+previously described, except that in this one, we use double stakes,
+while in that one, single stakes were used; the sides of this one
+are vertical, those of that one slightly curved.</p>
+
+<hr style="width: 15%;" />
+
+<p>In passing from the reed basket, the next step would be the
+raffia and then the combination of reed and raffia, which is worked
+out in all forms of Indian basketry. The most common stitch is
+known as the "lazy squaw," and is made by winding the raffia
+round the reed one, two, or three times, as space is desired; and
+then the needle is taken through the row below to make the
+stitch. Each stitch is a repetition of the one before and the mat,
+tray or basket grows with the effort. There are innumerable opportunities
+for design in Indian basketry, and it is here that the
+work of an artist may be realized and recognized.</p>
+
+
+<h3>RAFFIA CONSTRUCTION</h3>
+
+<p>We may correlate and combine raffia with reed in construction.
+The two materials may be worked together to great advantage
+and interest to the child. For instance, when a napkin ring has
+been made of reed let the child next construct one of raffia, and
+then compare the finished article as to the material vised, the
+beauty, the flexibility, the durability, and the nativity of each.</p>
+
+<p>As in the case of reed, so with raffia before constructing with
+it, pass a piece to each child and give the life history of the plant.
+Madagascar may be a name only to the small child, but the very
+vagueness of his knowledge concerning it may cause him to realize
+the distance of the island from us and appreciate that this simple
+material with which he is working has traveled thousands of
+miles to bring him a story and an occupation.</p>
+
+<p>Raffia, a native of the South Sea Islands and of Madagascar,
+is the inner bark of the raphia palm, pulled off, torn into narrow
+strips, dried in the sun, and bound into bunches, which are plaited
+together and stored ready for use or shipping.</p>
+
+<p>We receive the raffia in its natural state, but many colors may<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+easily be had by dyeing. In <i>Practical Basket Making</i>, by George
+Wharton James, some valuable suggestions on dyeing are given;
+but the small quantity of raffia a teacher will need may be dyed
+with very little trouble with the "Easy Dyes" manufactured by
+the American Color Company. Follow directions and the results
+will be most satisfactory. Be very careful to have the dyes
+strong enough, as raffia absorbs an enormous amount of coloring.
+All raffia should be washed before dyeing; it should be well dried
+before being put into the dye pot, since it takes the color better
+when dry.</p>
+
+<p>If you have pupils old enough, or a class on which you can rely,
+nothing will delight them more than to do their own dyeing. A
+fourth-grade class in one of the Baltimore schools has successfully
+dyed all the raffia, cord, cotton, and textiles used in their
+classroom. The child dearly loves color; the possibility of having
+different shades to work with will arouse an intense interest in
+procuring these colors. It will be unusual if the pupils do not
+handle with care the materials and the dye pot.</p>
+
+<p>In adapting a commodity to circumstances in this way, the
+broader knowledge of how the colors in clothing are obtained will
+develop and there will be created in the child a new idea of life
+and of man's work.</p>
+
+<p>The natural color of the raffia is much improved by washing;
+therefore, before using it loosen it and soak it in clean water so
+that all dust and dirt may be removed and the strips or strings
+straightened out; then hang it in the air until thoroughly dry.</p>
+
+<p>Before offering any models of the combined reed and raffia, we
+shall give a few of raffia alone, as we did of the reed.</p>
+
+
+<h4>7 Plaited Rope</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To teach different ways in which the plaited rope of
+raffia may be applied.</p>
+
+<p><i>Material</i>&mdash;Raffia.</p></div>
+
+<p>Begin the use of raffia by teaching the child the three-strand
+plait, adding a new thread from time to time, until a long rope
+is made. Next teach how to coil this rope into a mat, a purse, a
+basket, or a hat.</p>
+
+<p>In plaiting, keep the raffia damp and use strands of equal size.
+Dampness adds gloss and smoothness to the finished article.<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image085a.png" width="600" height="100" alt="THREE-STRAND PLAIT" title="THREE-STRAND PLAIT" />
+<span class="caption">THREE-STRAND PLAIT</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>In the construction of articles of plaited raffia an opportunity
+opens up to bring the child's inventive ingenuity into play. Get
+him to think of something he might make, and to construct it
+roughly of paper. With his model as a guide for shape and size,
+he can easily reproduce it in raffia. The first pattern may be
+crude, but each repetition will produce a better one, and interest
+will lend enchantment, until both pattern and reproduction will
+be most creditable.</p>
+
+
+<h4>8 Plaited Mat</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a mat of plaited raffia rope.</p>
+
+<p><i>Material</i>&mdash;Raffia.</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image085b.png" width="600" height="348" alt="MAT OF PLAITED BRAID" title="MAT OF PLAITED BRAID" />
+<span class="caption">MAT OF PLAITED BRAID</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The starting-point in all these designs is the little round coil,
+called the button.</p>
+
+<p>To make a mat, first plait a rope several feet long. To form
+the button hold the end of the rope between thumb and forefinger,
+and begin to roll the rope just as a watch spring is coiled.
+With a needle and fine thread of raffia, make the button firm;<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+then keep on coiling around the button and, as each row is added,
+tack it to the preceding row by pushing the needle in and out at
+right angles with the braid, so that the stitch may be invisible.
+When finished the mat should be about four inches in diameter.
+The object of winding the plait sideways is to give the mat firmness
+and thickness.</p>
+
+
+<h4>9 Purse</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a purse or bag of plaited raffia rope.
+(See page <a href="#Page_87">87</a>.)</p>
+
+<p><i>Material</i>&mdash;Raffia.</p></div>
+
+<p>To make a purse, plait enough rope to make two mats three
+and a half inches in diameter. To construct these mats first make
+the button. Work this time with the braid flat. Sew by holding
+the inner edge of the plait just under the outer edge of the preceding
+row. When both mats are finished, place them flat against
+each other, and overseam or buttonhole the edges together for
+about two-thirds of the circumference. Plait a rope, seven inches
+long, for a handle. Tie a knot in each end, and ravel the ends of
+raffia to form a tassel. Attach this handle to the purse at each
+side, where the opening begins. Girls especially delight in this little
+purse or bag.</p>
+
+
+<h4>10 Plaited Basket</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To sew braid together to form ONE angle. (See page
+<a href="#Page_88">88</a>.)</p>
+
+<p><i>Material</i>&mdash;Raffia.</p>
+
+<p><i>Dimensions</i>&mdash;Bottom three inches in diameter; sides two inches
+high; handle six inches long and two braids wide.</p></div>
+
+<p>Using three threads of raffia, plait a rope several feet long.
+Proceed just as with purse, and sew until you have a mat three
+inches in diameter. Now place the braid at right angles with the
+base, and sew round and round to form the sides. When these
+are two inches high fasten the braid; and, without cutting it, carry
+it to the opposite side to form the handle. Fasten it there and
+bring it back again, to make the handle two braids wide. Either
+overseam these together to make a broad handle, or leave them
+separated to form a double handle.</p>
+
+<p>An easy way to obtain a more uniform shape in constructing<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+this basket is to have a smooth tumbler or a tin box, and, as you
+work, fit the material to the form. When it is finished, dampen
+it and let it remain on the form until it dries.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 381px;">
+<img src="images/image087.png" width="381" height="580" alt="PURSE OR BAG OF PLAITED RAFFIA&mdash;(For description see page 86.)" title="PURSE OR BAG OF PLAITED RAFFIA&mdash;(For description see page 86.)" />
+<span class="caption">PURSE OR BAG OF PLAITED RAFFIA&mdash;(For description see page <a href="#Page_86">86</a>.)</span>
+</div>
+<hr style="width: 33%;" /><p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+<div class="figcenter" style="width: 408px;">
+<img src="images/image088a.png" width="408" height="400" alt="BASKET OF PLAITED RAFFIA&mdash;(For description see page 86.)" title="BASKET OF PLAITED RAFFIA&mdash;(For description see page 86.)" />
+<span class="caption">BASKET OF PLAITED RAFFIA&mdash;(For description see page <a href="#Page_86">86</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>11 Hat of Plaited Rope</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To sew the braid together to form two angles.</p>
+
+<p><i>Material</i>&mdash;Raffia.</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image088b.png" width="600" height="209" alt="HAT OF PLAITED RAFFIA" title="HAT OF PLAITED RAFFIA" />
+<span class="caption">HAT OF PLAITED RAFFIA</span>
+</div><hr style="width: 33%;" />
+
+<p>First plait the raffia together until you have a very long braid.
+Take the starting end, make the button, and sew round and round,
+as in making the purse. When the top of the crown is as
+large as you wish it, turn the braid at right angles and form the<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>
+sides. When, in your judgment, the crown is high enough, make
+a second right angle to form the brim, which may be wide or narrow
+as taste dictates. Use a blunt needle (Smith's tapestry,
+No. 18).</p>
+
+
+<h4>12 Napkin Ring</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To construct a raffia napkin ring.</p>
+
+<p><i>Material</i>&mdash;Raffia. A piece of tag-board 1-1/2 or 2 inches wide
+and 6 inches long. Quarter-inch ribbon or strip of paper, or
+raffia of a contrasting color.</p></div>
+
+<p>There is mentioned a raffia napkin ring in comparison with the
+one of reed.</p>
+
+<p>Take the strip of tag-board, fasten the ends together and wrap
+with raffia until the board is covered.</p>
+
+<p>It may be ornamented with a narrow strip of ribbon, paper or
+colored raffia woven around the center. If ribbon or raffia is used
+tie the ends in a bow. If paper is used the ends must be glued.</p>
+
+
+<h4>13 Indian Basket</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To teach construction with twisted raffia rope. (See
+page <a href="#Page_91">91</a>.)</p>
+
+<p><i>Material</i>&mdash;Two contrasting colors of raffia.</p></div>
+
+<p>First think of what shape and size you would like a basket;
+then roughly sketch a design, in order that an idea of shape, size,
+and proportion may be had. Keep the design before you and
+work as closely from it as possible.</p>
+
+<p>Take three thick strands of raffia and twist them into a rope.
+In starting have the threads unequal in length, as it is much neater
+to add one new thread at a time than two or three. Keep the
+rope of the same thickness throughout, and as each thread is used
+up, insert another overlapping the old one two or three inches.
+Around this rope, and twisted in the same way, wrap a contrasting
+color of raffia, aiming to have the spaces equal and using
+threads of the same size. Having twisted and wound four or
+five inches start the basket by forming a button, then, holding
+the button firmly with the left hand, coil the rope round and
+round and sew it. Use the sharp-pointed needle and join the
+coils in such a way that the threads will coincide with the twist.<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p>
+
+<p>When the basket is finished, the opening at the top should be
+either greater or less in diameter than the base. Make a lid exactly
+as the base is made, and have it just a shade wider than
+the opening so that it will be supported. The ring with which to
+lift the lid is made by wrapping raffia three or four times over
+the finger, and then buttonholing it over. Sew the ring to the
+middle of the lid and attach the lid to the basket.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 580px;">
+<img src="images/image090.jpg" width="580" height="580" alt="INDIAN BASKETS" title="INDIAN BASKETS" />
+<span class="caption">INDIAN BASKETS</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The model here given is made of white raffia twisted with red.
+Diameter of base, 4 inches; height, 2-1/2 inches; opening at top,
+3-1/2 inches; diameter of lid, 3-3/4 inches.<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 484px;">
+<img src="images/image091.png" width="484" height="400" alt="INDIAN BASKET&mdash;(For description see pages 89 and 90.)" title="INDIAN BASKET&mdash;(For description see pages 89 and 90.)" />
+<span class="caption">INDIAN BASKET&mdash;(For description see pages <a href="#Page_89">89</a> and <a href="#Page_90">90</a>.)</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>14 Grass Basket or Tray</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To teach how to construct a basket of grass, pine needles,
+or corn husks.</p>
+
+<p><i>Material</i>&mdash;Narrow-blade marsh or sweet grass. Raffia for sewing.</p></div>
+
+<p>Make a design in pencil, ink, or colored crayon.</p>
+
+<p>Here the adaptability of material gathered about the home is
+illustrated. The tall, fine marsh grasses may be collected, spread
+out for three or four days where they will dry, and then utilized.
+You will find that almost every blade of this grass varies in color.
+The root end may be brown, while toward the tip the leaf shades
+into a light green, or white, or vice versa; this blending, when
+the grass is bunched, is most artistic.</p>
+
+<p>Bunch a sufficient number of blades to make a coil a half or
+three-quarters of an inch in diameter. Do not twist. Never
+allow the coil to lessen in size. Keep adding fresh strands by
+slipping the root ends of the new blades up between those already<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+in the coil. When we begin to sew we do not wrap the grasses
+as we wrapped the strands of raffia, but simply use as a sewing
+thread raffia of a contrasting or blending color. To form the
+button, wrap the threads three or four times around the root ends
+of the bunch, fasten tightly, then coil to form the center. Take
+the needle through the center and over the coil as many times
+as you think necessary to make the button firm. These stitches
+are the beginning of the spiral rays which radiate to the edge of
+the basket. Take the stitches at equal distances from each other.
+Handle the needle so as to pass from back to front, and always
+have the new stitch pass through the stitch of the coil just below
+it from right to left. When the coil has been wound around four
+or five times, the stitches will be seen to interlock and form a
+spiral. Soon the spaces will become too wide; then take an extra
+stitch in the center of each space, thus adding another set of rays.
+Continue adding new sets of rays as the spaces widen, until the
+basket is finished.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image092.png" width="600" height="360" alt="BEGINNING OF BASKET TRAY" title="BEGINNING OF BASKET TRAY" />
+<span class="caption">BEGINNING OF BASKET TRAY</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>When the base has grown to the required size, turn up for sides
+and continue sewing in the same way until the necessary depth
+is obtained. To give a finish add enough grass to make a thick
+coil around the edge.</p>
+
+<p>Colored hemp may be woven in with the grass either as a lining
+or so inserted as to make a beautiful pattern. The value of the<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+basket will be enhanced by the use of sweetgrass, if this material
+is obtainable.</p>
+
+<p>The model given is made of marsh grass, sewed with raffia of
+natural color, and the design is made in pink hemp. Its base is
+five inches in diameter; its depth one and one-fourth inches.</p>
+
+<p>Corn husks may be used instead of grasses, and are unexcelled
+for beauty and artistic effect. Use the inner husk from the ear
+when green; though the husks will dry, the varied color will not
+be lost. When made up with a contrasting color of green or
+golden brown raffia they are most attractive. Grasses may be
+kept a long time; but before using them soak them thoroughly,
+and let them dry out. This treatment will make them so pliable
+that they may be handled as easily as though freshly gathered.
+The long needles of the southern pine also are thus worked up.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 411px;">
+<img src="images/image093.jpg" width="411" height="400" alt="BASKET TRAY" title="BASKET TRAY" />
+<span class="caption">BASKET TRAY</span>
+</div>
+<hr style="width: 33%;" />
+
+
+<h4>15 Basket of Splints and Raffia</h4>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To teach construction, using splints and raffia.</p>
+
+<p><i>Material</i>&mdash;Splints of ash or flat reed: eighteen splints, each
+1/4×12 inches; 3 splints, each 1/4×18 inches, for binding of
+edge. Raffia of two or three colors.<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+
+<p><i>Dimensions</i>&mdash;Base, 4×4 inches. Depth, 2 inches. Sides, 2×4
+inches.</p></div>
+
+<p>Lay a set of nine splints flat on a surface. Take one of the
+remaining nine and weave across for the first row. Add a second
+splint, weaving in and out through alternate ones. Continue until
+all the nine splits are woven in and the square base of the basket
+is formed. Have splints sufficiently damp to be flexible; otherwise
+they may break. Bend up the splints at right angles to the base
+for sides, thus making corners. Now with the raffia weave in and
+out, interlace the thread at the corners, and draw it tight enough to
+hold the splints in place. Introduce color to suit taste.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 403px;">
+<img src="images/image094.png" width="403" height="400" alt="BOTTOM OF SPLINT AND RAFFIA BASKET" title="BOTTOM OF SPLINT AND RAFFIA BASKET" />
+<span class="caption">BOTTOM OF SPLINT AND RAFFIA BASKET</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>When the sides are finished, take an eighteen-inch splint and lay
+it around on the inside of the basket close to the last row of raffia.
+Hold it in place and turn the ends of the basket splints over it
+inward. These end splints must be trimmed evenly and left just<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
+long enough to bend over the splint running round on the inner
+side. Take two more eighteen-inch splints; having placed one
+inside the edge and the other outside the edge of the basket, with
+a needle and a long thread of raffia whip over and over. Bring
+the needle through each opening between the splints until you
+have gone around the four sides. This makes a suitable border
+and completes the basket.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 292px;">
+<img src="images/image095.png" width="292" height="300" alt="BASKET OF SPLINTS AND RAFFIA" title="BASKET OF SPLINTS AND RAFFIA" />
+<span class="caption">BASKET OF SPLINTS AND RAFFIA</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The model given here has ten rows of natural color, ten rows of
+green, six rows of brown, ten of green and ten of natural color,
+which combination makes it two inches deep.</p>
+
+
+<h3>COMBINED REED AND RAFFIA</h3>
+
+<div class="blockquot"><p><i>Problem</i>&mdash;To teach how reed and raffia may be combined in construction.</p></div>
+
+<p>The models suggested here are very simple and can be made by
+the younger children of the lower grades. These have been held to
+purposely, for the child needs first to learn how both to use his
+fingers and to handle a needle; and afterward he must have much
+practice before he can take up the more difficult stitch in the Indian
+basketry.</p>
+
+<p>In beginning the combined reed and raffia work, the first thing
+I should make is a miniature umbrella.<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 420px;">
+<img src="images/image096.png" width="420" height="580" alt="UMBRELLA
+
+(For description see opposite page.)" title="UMBRELLA
+
+(For description see opposite page.)" />
+<span class="caption">UMBRELLA<br />
+
+(For description see <a href="#Page_97">opposite page</a>.)</span>
+</div>
+<hr style="width: 33%;" /><p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+
+<h4>16 Umbrella</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;One 9-inch spoke of No. 4 reed for handle. Nine
+4-inch spokes of No. 1 reed for ribs. Raffia for weaver.</p></div>
+
+<p>Have the spokes thoroughly soaked and keep them wet. Also,
+have the raffia damp. Place the four-inch spokes around the nine-inch
+spoke, hold them firmly, and wrap tightly with the damp
+weaver four or five times; then tie, but do not cut the weaver.
+Now stand this bunch of spokes on end on a board or desk top,
+press the nine spokes out so as to form a circle parallel with the
+surface of the desk, and with the weaver work in and out among
+the spokes. The convex top of the umbrella will soon form. To
+lengthen the weaver, tie on a new piece of raffia. Continue weaving
+until within an inch of the ends of the ribs, or until the umbrella
+is four or four and one-half inches across; then fasten by
+tying the weaver to one of the ribs.</p>
+
+<p>To form a ferrule, slide end No. 1 of the handle reed down
+until it stands three-quarters of an inch above the outside of the
+umbrella. Drop a little glue into the cavity to hold the reed in
+place. Now take end No. 2 of the handle reed and curve it to
+form a ring or to appear like the handle of a real umbrella. Tie
+it with raffia to keep it in place and lay the umbrella aside to dry.
+When it is thoroughly dry, clip the points of the ribs to equal
+lengths.</p>
+
+<p>This little toy suggests the invention of primitive life or of an
+uncivilized nation of which the pupil has some previous knowledge.
+It is most attractive, and to have made it greatly pleases
+the child.</p>
+
+
+<h4>17 Miniature Chair No. I</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;No. 4 reed: one piece 15 inches long; one piece 6
+inches long; four pieces 10 inches long. Several lengths of
+raffia.</p></div>
+
+<p>Take three ten-inch lengths of reed and bend them so: <span class="figcenter" style="width: 44px;">
+<img src="images/image097.png" width="44" height="60" alt="" title="" />
+</span>
+Fasten them together at the joints and wrap with the raffia
+for about two inches to form the front legs. Next attach
+the fifteen-inch length of reed, placing the ends together to
+form the back legs and allowing the extra amount to extend
+above in a bow to form the back.</p>
+
+<p>You now have the framework of back, seat, and legs. At the<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+back, where the bow extends above the line of the seat, place a
+five-inch piece of very wet reed to the front of the bow and at
+the edge of the seat; carry it around and lap it at the back and
+fasten to hold the back legs together and shape the seat.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 317px;">
+<img src="images/image098.jpg" width="317" height="500" alt="CHAIR No. I
+
+Made of reed and raffia." title="CHAIR No. I
+
+Made of reed and raffia." />
+<span class="caption">CHAIR No. I<br />
+
+Made of reed and raffia.</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>This chair has a woven seat of raffia. Use a very long needle
+and carry the raffia from one side of the seat to the other in close
+lines until the space is covered one way. Then reverse the action<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+and work from front to back, weaving in and out among the cross
+threads exactly as you do in darning. Be careful to keep the
+thread even, to prevent sagging. When the seat is woven whip
+the edge all around with raffia for a finish.</p>
+
+<p>Next take the remaining ten-inch piece of reed, bend it to a
+four-inch square and insert it between the legs one inch below the
+seat. Tie it to each leg and wrap the intervening space with the
+raffia as you go from leg to leg. This forms the brace which holds
+the legs in position.</p>
+
+<p>For the back take a very long thread of raffia in your needle,
+make seven cross threads and weave a spider's web, having the
+center fill about one-fourth the space. When the web is finished,
+buttonhole around the reed to fasten the spirals in position and to
+give a finish to the frame of the back.</p>
+
+<p>Lastly measure and trim off the legs to equal length. The back
+should extend two and one-half inches above the seat, and the legs
+should be two and one-fourth inches long.</p>
+
+
+<h4>18 Miniature Chair No. II</h4>
+
+<div class="blockquot"><p><i>Material</i>&mdash;No. 1 reed: six spokes, 10 inches long; one spoke, 6
+inches long. No. 4 reed: two 15-inch lengths; six 10-inch
+lengths and one 12-inch length. Several lengths of raffia.</p></div>
+
+<p>Weave two mats two inches in diameter in the following manner:
+Lay three ten-inch spokes across three ten-inch spokes at
+right angles. Place beside the under set the six-inch spoke.
+Take a piece of raffia, not too thick, for a weaver, and beginning
+as you would begin a basket or mat with a reed weaver, weave
+until the mat is two inches in diameter. Do not cut either spokes
+or weaver. Have the reed well soaked, that it may be very pliable
+and in no danger of breaking.</p>
+
+<p>To construct the back, take a mat and a fifteen-inch length of
+reed, bend the latter to a bow and place it back of the spokes at
+the edge of the last row of weaving. Bend each spoke consecutively
+over this reed and bring the end of the spoke through between
+the last row of weaving and the reed. This forms a loop
+over the No. 4 reed. Thread the weaver into a needle, and
+take it in and out where the No. 1 reed, or spoke, crosses between
+the mat edge and the No. 4 reed in the form of a back
+stitch. The first one fastened, continue in the same way until ten<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
+spokes are bent over and tied down. Next take the
+twelve-inch length of No. 4 reed, bend it to this shape: <span class="figcenter" style="width: 50px;">
+<img src="images/image100a.png" width="50" height="60" alt="" title="" />
+</span>
+then fasten the three remaining spokes to the two-inch
+space as you have done with the other ten. Take the
+second fifteen-inch length of No. 4 reed, bend around again and
+fasten by running a piece of raffia in and out and over through each
+space between the loops. Lay it aside until the seat is prepared.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 349px;">
+<img src="images/image100b.jpg" width="349" height="500" alt="CHAIR No. II
+
+Made of reed and raffia." title="CHAIR No. II
+
+Made of reed and raffia." />
+<span class="caption">CHAIR No. II<br />
+
+Made of reed and raffia.</span>
+</div>
+<hr style="width: 33%;" />
+
+<p><i>Seat.</i> The mat is ready. Bend a ten-inch length of No. 4
+reed into a 2-1/4-inch square. Set this around the mat, bend the
+spokes over it and fasten as you did those of the back. Again<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>
+take three ten-inch lengths of No. 4 reed and bend so: <span class="figcenter" style="width: 26px;">
+<img src="images/image101a.png" width="26" height="60" alt="" title="" />
+</span>
+Place these around three sides of the prepared seat and
+fasten them by wrapping them over and over with raffia,
+and the front and two sides of the chair are formed.
+Adjust the back to the fourth side of the seat; fasten it by wrapping
+it closely with raffia. Next bend to a form near the size of the
+seat a piece of No. 4 reed. Place this around the legs, to form a
+brace, about one inch below the seat in front and about three-fourths
+of an inch below in the back. Let the joining point of
+the reed come at the back. With a piece of raffia fasten this to
+one leg, then wrap the raffia over and over along the brace until
+the next leg is reached, secure it and pass on to the third, then to
+the fourth, when the entire brace will be wrapped with raffia and
+the four legs held in place.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 348px;">
+<img src="images/image101b.jpg" width="348" height="400" alt="BACK OF CHAIR No. II" title="BACK OF CHAIR No. II" />
+<span class="caption">BACK OF CHAIR No. II</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Where the back is attached to the seat, you will have four No. 4
+reeds coming together to form the back legs. This would make<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+them too thick and clumsy and they would not be symmetrical
+with the front ones. To prevent this, clip two of the reeds between
+the seat and the brace on the legs. Cut out the ends of the
+one of the back first worked in, and the ends of the one forming
+the back brace. There is left the outer fifteen-inch spoke you
+put on and the one which came around from the side of the seat.
+These two form the back leg on each side. Wrap closely with
+raffia the intervening spaces between the seat and the brace so as
+to leave no unsightly ends.</p>
+
+<p>In bending the reed to fashion the legs it is impossible to have
+it all the same length; adjust this by letting the unevenness come
+out at the foot of the leg and when the chair is finished measure
+and cut off the legs to the same length.</p>
+
+
+<h3><span class="smcap">Rules for Caning Chairs</span></h3>
+
+<p><i>First: Verticals.</i></p>
+
+<p>Setting up: Begin at the center hole of the front, pass the
+cane up through the hole from the underside and down through
+the corresponding hole at the back, leaving about four inches to
+tie off; then up through the next hole to the right, pass to the
+corresponding hole to the front, continue to the right and then to
+the left, until all the holes are filled except the corner ones.</p>
+
+<p><i>Second: Horizontals.</i></p>
+
+<p>Begin at the center hole at the left, pass the cane up through
+the hole and over all the verticals and down through the corresponding
+hole on the right, filling all the holes toward the front
+and then toward the back until all the holes are filled except the
+corner ones.</p>
+
+<p><i>Third: Verticals.</i></p>
+
+<p>Begin at the center hole at the back, pass the cane up through
+the hole at the front, then fill all the holes to the right and the
+left, except the corner ones.</p>
+
+<p><i>Fourth: Weaving Horizontally.</i></p>
+
+<p>Begin at the right-hand side, pass the cane over the upper vertical
+and under the lower vertical, pulling the upper one to the
+right and keeping the weaver to the back of the first horizontal:
+continue this until you have two horizontals in each hole.</p>
+
+<p><i>Fifth: Diagonals Running from Left to Right.</i></p>
+
+<p>Pass the cane up through the front left-hand corner, under<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+the verticals and over the horizontals, working toward the upper
+right-hand corner; first the right, and then the left-hand side of
+the frame is filled in this manner.</p>
+
+<p><i>Sixth: Diagonals Running from Right to Left.</i></p>
+
+<p>Pass the cane up through the front right-hand corner and work
+toward the back left-hand corner, passing the cane over the vertical
+and under the horizontal pairs; continue in this way until the
+entire frame is filled with these diagonals.</p>
+
+<p>Tie all the ends securely on the under side of the frame.</p>
+
+<p><i>Bind Off.</i></p>
+
+<p>Lay a piece of cane over the holes on the upper side of the
+frame. Take a second long piece of cane as a weaver, pass it
+from the under side of the frame up through a hole, over the
+cane, and down through the same hole to the under side again.
+Carry it along to the next or second next hole, pass up, over cane,
+and down in the same way. Continue this until the entire frame
+is bound around.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PART_V" id="PART_V"></a>PART V<br /><br />
+
+THE SCHOOL GARDEN</h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/image107.png" width="600" height="302" alt="" title="" />
+</div>
+
+<h2>THE SCHOOL GARDEN</h2>
+
+
+<h3><span class="smcap">Introductory Remarks</span></h3>
+
+<p>In the spring of 1906, at the request of President R. W. Silvester
+of the Maryland Agricultural College, I wrote, for publication
+as a <i>College Bulletin</i>, my experience of one year's work in a
+city school garden. The introduction of school gardens as a
+factor in the school curriculums was then in its infancy. Three
+years have shown great advancement along this line, though the
+main issue is the same to-day as it was then. This paper is a revised
+edition of the <i>M. A. C. Bulletin</i>. That President Silvester
+was a pioneer in the thought that "agriculture should enter into
+education" is shown by the following quotation from his introduction
+to my article of 1906:&mdash;</p>
+
+<div class="blockquot"><p>"The time must come when the child of rural environment
+must find in the only school which ninety per cent will ever attend,
+a training which will give it an intelligent adjustment to its
+environment. With this adjustment, the future work of the
+child cannot reasonably expect to escape the state of drudgery.
+When a life's work degenerates into this condition, then contentment
+with it, or happiness as a result of it, becomes an idle
+dream. Can the accuracy of this statement be questioned? If
+so, it would be a great privilege for the writer to receive from
+some teacher a letter setting forth the particulars in which he is
+wrong.</p>
+
+<p>"Let all who are interested in the child from the country, and
+every one should be, take this as a motto in this great work before
+us: 'The country is entitled from its state and from its
+county, to that consideration which will give him every opportunity<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+to secure an education as well suited to his conditions, as
+is enjoyed by his city brothers and sisters.'"</p></div>
+
+
+<h3>A CITY SCHOOL GARDEN</h3>
+
+<p>If a country boy were to hear his little city brother say, "Our
+class has a garden and I have a share in the working of it," the
+country chap would "non plus" him by quickly exclaiming,
+"What's that! I work in my father's garden every year and
+know all about raising and gathering vegetables."</p>
+
+<p>But to the city child, who sees only cobblestones beneath his
+feet, whose view is contracted by rows of dingy houses, or who
+plays on a lot used both as a dump-pile and as a baseball ground,
+the privilege of working in a garden plat is a great one and the
+products of its soil a revelation.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image108.jpg" width="600" height="402" alt="WEEDING THE BEDS" title="WEEDING THE BEDS" />
+<span class="caption">WEEDING THE BEDS</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The aim here is to give an account of one season's work in
+such a garden&mdash;a garden treasured by children whose only knowledge
+of vegetable foods was that mother got them in the market.</p>
+
+<p>Through the courtesy of the City Park Superintendent of Baltimore,
+sections of ground in some of the parks are placed at the
+disposal of the Board of Education for school gardens, and the<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+privilege of cultivating these gardens is granted to teachers in an
+adjacent building.</p>
+
+<p>It is of the section in Riverside Park that I am writing, and
+the accompanying illustrations are pictures of this garden, taken
+at various times through the season.</p>
+
+<p>These sections are not in prominent places, but for the most
+part in undesirable corners that the park gardener is willing to
+relinquish for the good of the cause. In Riverside Park the
+plat is adjacent to the summer playground, and the second year
+that I had the garden, at the end of June when school closed, a
+few of the children volunteered to attend to it during vacation.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image109.jpg" width="600" height="407" alt="GIRL INTEREST" title="GIRL INTEREST" />
+<span class="caption">GIRL INTEREST</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The interest of these children attracted the attention of the
+director of the playground and she offered to oversee the work
+while the playground was in session if some of her children might
+have the privilege of working in the garden.</p>
+
+<p>This proved to be an amicable arrangement, as by it the garden
+was kept in good condition all summer. When school opened in
+September I took charge again, that the children might have the
+full experience. In my memory lingers a most vivid picture of a
+cold November afternoon when we gathered what remained of
+the crops, cleaned off the beds, heaped the refuse in the center<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span>
+of the garden, and had a most glorious bonfire, though it was not
+election day. We watched the last spark die out, closed the gate,
+and with regretful steps wended our way back to the schoolroom,
+to await the coming of another spring.</p>
+
+<p>Our plat measures fifty by twenty-five feet and is enclosed by
+a fence. The park gardener became interested in the children's
+effort and added to the success of the work by giving the necessary
+top soil, lending wheelbarrows, and offering occasional
+suggestions.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image110.jpg" width="600" height="408" alt="MAY I COME IN?" title="MAY I COME IN?" />
+<span class="caption">MAY I COME IN?</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>As a preparation for the outside work we made a thorough
+study of soil composition and seed germination early in the winter.
+The children brought pieces of rock, pebbles, shells, wood,
+and leaves as concrete illustrations and with these before us the
+following lessons were developed:&mdash;</p>
+
+<ol>
+<li>That soil is made from the wasting away of all kinds of rock.</li>
+<li>That soil is made by decaying wood.</li>
+<li>That soil is made by decaying leaves.</li>
+<li>That the above composites combine to form productive soil.</li>
+</ol>
+
+<p>The object of the first lesson was to teach that soil is made
+from rock.</p>
+
+<p>The pupils examined stones, pebbles, and shells. They found<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
+some rough, some smooth. Through the teacher's questions&mdash;"Why
+are some rough?" "Why are some smooth?" "If those
+having a smooth surface now were once rough, what has become
+of the particles which must have broken away?"&mdash;the class was
+led to express opinions until the final generalization was made:
+Soil may be formed from the breaking up of rocks and shells.</p>
+
+<p>Each topic was treated in a similar manner, the specific qualities
+of the specimen being brought out, until we were able to
+make the summary:&mdash;</p>
+
+<p>"Soil is made from decayed rocks and shells; soil is made from
+decayed leaves; the rocks make a coarse soil called sand; the
+wood and leaves make finer soil called loam; the mixture of these
+soils makes productive soil."</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image111.jpg" width="600" height="434" alt="WHOSE BED LOOKS THE BEST?" title="WHOSE BED LOOKS THE BEST?" />
+<span class="caption">WHOSE BED LOOKS THE BEST?</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>This summary led to the next lesson, "The Productive Qualities
+of Soil." The question was asked, "How can we determine
+the productive quality of soil?"</p>
+
+<p>"We can plant some seeds in each kind of soil," said a child.
+Several pupils volunteered to bring pots of earth.</p>
+
+<p>Ready for the experiment, we proceeded to analyze as follows
+the soil brought by the children:<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>&mdash;</p>
+
+<p>"Take some of the soil in your hands, powder it as finely as
+possible.&mdash;John, what do you find in yours?"</p>
+
+<p>"I can feel grains of sand," said John.</p>
+
+<p>"Do you think there is more sand or more loam?"</p>
+
+<p>"I think there is more loam," said another child.</p>
+
+<p>"Why do you think there is more loam?"</p>
+
+<p>"Because, when I rub it between my fingers there seems to
+be more soft material than grains," came the answer.</p>
+
+<p>"Can any one suggest a means of proving that there is some
+of each kind of soil in what we have here?"</p>
+
+<p>Various suggestions were made, but none directly to the point.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image112.jpg" width="600" height="412" alt="LAST DAY OF SCHOOL" title="LAST DAY OF SCHOOL" />
+<span class="caption">LAST DAY OF SCHOOL</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>"Mary, fill that glass jar three parts full of water. We will
+now drop into the water some of this soil and mix it well. What
+do you think will happen when we stop stirring?"</p>
+
+<p>"The sand will settle at the bottom of the jar," was the ready
+reply from a bright child.</p>
+
+<p>"The coarse loam will settle next," was a second answer; and
+then came the statement that the finest loam would remain on top.</p>
+
+<p>We waited a few days and were rewarded by seeing the soil
+in distinct layers in the jar.<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+
+<p>"Now we will try to discover which kind will produce the best
+plant. How shall we determine this?"</p>
+
+<p>"Plant some seeds," was the immediate suggestion.</p>
+
+<p>One pot was filled with the original soil, and one each with the
+kinds of soil that we had gotten from our experiment. A seed
+bean was placed in each pot, and all pots subjected to the same
+conditions and watched by anxious eyes.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 494px;">
+<img src="images/image113.jpg" width="494" height="500" alt="STUDYING NATURE" title="STUDYING NATURE" />
+<span class="caption">STUDYING NATURE</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>"I see a bean pushing up," came the statement one morning
+and every child wished for a peep at the tiny plant.</p>
+
+<p>"In which soil did the plant appear?"</p>
+
+<p>Another look was taken and answer given that the plant came
+from the mixed soil.</p>
+
+<p>The second plant to appear came from the bed of coarse loam;<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
+the one in the pot of fine loam came third; and last the one in
+the sand struggled to a small shoot, then died of starvation.</p>
+
+<p>After this the life of one plant was studied. Thus slowly and
+cautiously the study of seed germination was made, the teacher
+getting all from the child possible, and aiming to have him cull
+his information from the plant before his eyes.</p>
+
+<p>Now that we were familiar with the facts concerning soil composition
+and seed germination, we felt prepared to take up the
+outside work.</p>
+
+<p>Between the first and the fifteenth of April our first visit to
+the garden was made. The ground was so saturated with water
+that it was impossible to think of working it in that condition.
+After taking a view of the surroundings we discovered that the
+plat was on low ground and that the water from the rising slopes
+at the back ran down and settled upon it.</p>
+
+<p>The question which naturally arose was, "How may this water
+be gotten rid of?" A short talk on drainage solved this problem.
+The children decided that ditches, ten feet apart, should be dug
+crosswise in the garden. They were dug, and, as the weather
+was favorable, in a week's time the soil was in condition to be
+worked.</p>
+
+<p>Meanwhile interest did not flag, though it was impossible to
+accomplish any outside work. Writing letters to an imaginary
+hardware dealer, stating what tools we needed and inquiring the
+price, became an all-absorbing exercise. Next, we turned dealers
+ourselves and rendered itemized bills and receipts to purchasers
+of garden materials. In this way two forms of letter-writing
+were taught and the children derived both pleasure and
+profit from the work.</p>
+
+<p>In the construction period were made the labels they would
+need when the planting-time came. These were cut from small
+pieces of wood with penknives and marked ready for use.</p>
+
+<p>A plan by which to landscape this same plat had been drawn
+the year before by the supervisor of our city school gardens.
+This plan suggested a talk on landscape gardening and intense
+interest was at once aroused. The talk developed such questions
+as these:&mdash;</p>
+
+<p>"Is the plan before us a good one?"</p>
+
+<p>"Can we improve on it?"</p>
+
+<p>"Is there any waste space which we should utilize?"<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+<p>"Is the plan artistic in its arrangement?"</p>
+
+<p>"Suppose we work out some plans to see what is possible."</p>
+
+<p>A lesson such as this followed:&mdash;</p>
+
+<p>A rectangle was drawn on the board to represent the plat.
+Beside it was a statement of the number of beds to be laid off
+and the width of the paths between. In the arrangement of these
+beds and paths there must be artistic effect.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 508px;">
+<img src="images/image115.jpg" width="508" height="500" alt="A FLOWER FROM THE COUNTRY" title="A FLOWER FROM THE COUNTRY" />
+<span class="caption">A FLOWER FROM THE COUNTRY</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>Each child then drew a rectangle on paper and made an original
+plan for landscaping. Those showing most thought were
+placed before the class and their good points commended. The
+children decided that not one met every requirement. The supervisor's
+plan was again shown, discussed, and adopted.</p>
+
+<p>This plan called for twenty rectangular beds 3×11 feet in area,<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
+four shorter rectangular beds with a triangular section marked
+off from the end of each toward the center of the garden; and
+a circular bed, four feet in diameter, in the middle of the plat.
+It also allowed for one three-foot path running through the
+center the entire length of the garden, and a one-foot path
+separating the beds. There was to be a 1-1/2-foot path around
+the middle circle.</p>
+
+<p>In a further study of this plan the following arithmetic problems
+were developed:&mdash;</p>
+
+<p>"What is the area of a garden plat fifty feet long and twenty-five
+feet wide?"</p>
+
+<p>"What would be the cost of this plat at one dollar and twenty-five
+cents a square foot?"</p>
+
+<p>"How many feet of fence will be required to enclose this plat?"</p>
+
+<p>"If the posts are set five feet apart, how many posts will be
+required?"</p>
+
+<p>"There are two rows of cross beams, and each beam is ten
+feet long; how many will be needed for the fence?"</p>
+
+<p>"How much will it cost to fence this garden at twelve cents
+a foot?"</p>
+
+<p>"What is the area of a garden bed three feet by eleven feet?
+the perimeter?"</p>
+
+<p>"What is the circumference of a circular flower bed four feet
+in diameter?"</p>
+
+<p>By this time the ground was in condition to be worked. Which
+should we do first, spade it up, or lay it off? We decided that
+we would first dig up the entire plat and level it. Now, in
+spacing off, should we begin at the center or from opposite
+ends? The advantages of each method were strongly advocated,
+and finally, the children themselves concluded that it
+would be easier to measure for the center and space off from
+that point.</p>
+
+<p>Stakes and cord had been brought. Children stood at the sides
+and ends of the garden. The middle points of the sides were
+determined and connected with a cord, and likewise the two ends.
+The intersection of the cords was the center of the plat and here
+a stake was driven. Attaching a cord to this stake two feet
+along the cord was measured and a small stick tied there. Using
+the cord as a radius, a circle was made and the middle bed staked<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+off. Next the three-foot path to opposite ends was marked
+off, then the center one-foot path to opposite sides. This much
+accomplished, spacing the rest of the plat was easy. Two small
+boys, with lines and stakes, marked off the remaining portion
+and when the ends were reached the measurements were found
+to be accurate. The paths between the beds were next made and
+the ground prepared for planting.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 521px;">
+<img src="images/image117.jpg" width="521" height="500" alt="A SUGGESTION FOR RECESS HOUR" title="A SUGGESTION FOR RECESS HOUR" />
+<span class="caption">A SUGGESTION FOR RECESS HOUR</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>After spading, leveling, and thoroughly pulverizing the native
+soil, we added a top layer of foreign soil as a fertilizer. The
+latter came from a compost heap of street sweepings which
+had been standing two years and was supposed to be nutritious.
+As it turned out, however, this soil contained little<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
+nutriment and was productive of more fine weeds than fine
+vegetables, and it required much labor to fight these enemies.</p>
+
+<p>Now came the seed-planting, which was intensely interesting
+to the children. Rows twelve inches apart were marked off
+across the beds and the seeds planted according to the relative
+height of the plants which they would produce, those that would
+grow tallest being placed next to the fence, and the rest graduating
+to the center; thus:&mdash;</p>
+
+<p>
+<span style="margin-left: 2em;"><big><b>Fence</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Corn</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Pole Beans</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Peas</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>String Beans</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Lettuce</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Radishes</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Lettuce</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Parsley</b></big></span><br />
+<span style="margin-left: 2em;"><big><b>Flowers</b></big></span><br />
+</p>
+
+<p>First came corn, three grains to a hill, the
+hills twelve inches apart. Then pole beans,
+three beans to a hill and these hills separated
+twelve inches. Next we planted two peas in
+a hill and made the hills six inches apart. The
+string beans were planted just as the peas had
+been. Then came a row of lettuce, next radishes,
+a second row of lettuce, and last parsley.
+The end of the bed was left for flowers. On
+Arbor Day, in the classroom, we had sown tomato
+and lettuce seeds in boxes, that we might
+have the plants ready for transplanting when
+our outside soil was in condition. The lettuce
+plants turned out satisfactorily, but, for
+some unaccountable reason, the tomatoes were
+a failure. To replace the latter, we took a
+corner bed in the garden, divided it into three
+sections and planted tomato, onion, and cabbage
+seeds. In five weeks the tomato and cabbage plants were
+large enough to transplant, and, as the radishes and lettuce matured
+and were used, tomato and cabbage plants were put in the
+vacant places.</p>
+
+<p>Two pumpkin seeds were planted in each bed, but if they
+both came up, after the plants had reached a good size, the
+weaker one of the two was weeded out (as the bed was too small
+to support both) and the stronger one left to bear fruit.</p>
+
+<p>Why had we planted onion seed? One of the boys had brought
+an onion and asked if he might plant it in his bed, and if it would
+produce other onions. I explained to him and then allowed him
+to plant the seeds in the supply bed at the same time that he
+planted the onion in his own bed. The onion planted produced
+seed, while the seeds sown yielded the small sets for the next<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+year's planting. Thus by the act of one child the fact was clearly
+demonstrated to the class that fruit produces seed, and seed produces
+fruit.</p>
+
+<p>The supervisor had given us a wren-box, made by a child in a
+more advanced class as manual work. The children were delighted
+with the gift; they built a framework around a stout pole in
+the center bed and set the wren-box on the pole. They then suggested
+that a vine should cover this framework. Consequently,
+Japanese morning glories were chosen as the vine and the remaining
+space in the bed was filled with marigolds, nasturtiums
+and coleus.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image119.jpg" width="600" height="498" alt="A GARDEN IN THE YARD OF A CITY SCHOOL" title="A GARDEN IN THE YARD OF A CITY SCHOOL" />
+<span class="caption">A GARDEN IN THE YARD OF A CITY SCHOOL</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The seeds being planted, the work in the garden was at a
+standstill until the plants appeared, then systematic visits began.<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
+The class was divided into three groups and two children were
+assigned to a plat. We worked in the garden on Mondays,
+Wednesdays, and Fridays for half an hour each day. Thus, each
+group had its day once a week regularly. Finding that it was
+impossible to direct satisfactorily more than twelve children at a
+time, I devised the above plan, which worked admirably. To go
+to and come from the garden took a half-hour, and with half
+an hour's work there the child was away from the classroom
+one hour a week. This allowed ample time to keep the beds
+in order, for two children were apportioned to a bed, and these
+two went on separate days, so that each plat was worked
+twice a week.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image120.jpg" width="600" height="501" alt="GARDEN BEDS AROUND THREE SIDES OF THE PLAYGROUND" title="GARDEN BEDS AROUND THREE SIDES OF THE PLAYGROUND" />
+<span class="caption">GARDEN BEDS AROUND THREE SIDES OF THE PLAYGROUND</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The first crop of peas and of beans were gathered as vegetables.<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>
+When the plants ceased to bear a second planting was
+made and the yield from this was left to mature as seedlings.
+When ripe, the seeds were gathered and carefully put away in
+the sectional seed-boxes which the children had constructed for
+the purpose.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image121.jpg" width="600" height="489" alt="ANOTHER SECTION OF THE SAME GARDEN" title="ANOTHER SECTION OF THE SAME GARDEN" />
+<span class="caption">ANOTHER SECTION OF THE SAME GARDEN</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>The children took care of the garden during vacation, gathered
+the vegetables as they ripened, and with pardonable pride carried
+them home to their parents. The parents, in turn, were gratified
+and as much interested as the children. Several of the boys had
+individual appliances made by their fathers for use in the garden.
+Often on Monday mornings would come the account of the
+Sunday walk with mother and father, the visit to the garden and
+how much the parents admired it.<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<p>One instance occurred which proved the value of this garden
+work and showed how devoid of a knowledge of vegetable
+growth many city children are. I noticed a boy digging around
+the root of his tomato vine as though he were searching for something.
+I asked what he was doing.</p>
+
+<p>"I want to see if there are any small tomatoes there," he replied.
+As the fruit of the radish had come from under the
+ground he expected to find the tomato there, too.</p>
+
+<p>The value of educating the child through his self-activity was
+proved in several instances, one of which I will mention. A large
+boy of the fourth grade, though a poor student, was placed on the
+list of garden children and proved to be the most industrious and
+active child of the group. Why? His father was a baker; the
+boy worked in the bakery until eleven every night; slept until
+four, then arose and delivered goods until eight, and was in the
+classroom at nine. Is there any wonder that this child lacked
+energy as a student? When he was removed from the confinement
+of the classroom the pure outside air acted as a tonic, his
+interest was awakened and his work well done.</p>
+
+<p>This same child, whenever relieved of home duties out of
+school hours, spent the time in the garden instead of devoting it
+to play. He hauled a quantity of shells with which to pave the
+paths, and brought all the sod we needed to form a firm edge
+around the center bed. Can there be any doubt that this boy was
+benefited?</p>
+
+<p>There is a social side to this industrial outside work which is
+superior to that of the classroom.</p>
+
+<p>First: The teacher has but a small number of children under
+her care at one time; consequently, she is enabled to learn more
+of each individual nature.</p>
+
+<p>Secondly: The child is under no apparent restraint, so expresses
+himself freely and shows his natural self.</p>
+
+<p>Thirdly: The boys and girls mingle with one another with the
+same freedom that they have on their own playground.</p>
+
+<p>In the two months spent in the garden not a single child took
+undue advantage of the privileges allowed, and the opportunity
+afforded the teacher for the study of child-nature was of great
+value.</p>
+
+<p>Some one might ask, "While garden work is being done, does
+not the work of the classroom suffer?" No, it does not. When<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>
+classes are taught in sections, this outside work may be fitted in
+as a sectional part and the routine be kept intact.</p>
+
+<p>In summarizing, the lessons developed from garden work were
+these: Science (soil physics and seed germination); geography;
+arithmetic; spelling; English; drawing, and construction. The
+greatest benefit to the teacher was the chance to study the child
+under natural conditions. The greatest benefit to the child was
+his awakening to a knowledge of things by personal contact. I
+sincerely believe that the after-life of each one of these children
+will be the richer for this experience of outdoor study.</p>
+
+<hr style="width: 33%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image123.jpg" width="600" height="490" alt="GATHERING THE VEGETABLES" title="GATHERING THE VEGETABLES" />
+<span class="caption">GATHERING THE VEGETABLES</span>
+</div>
+<hr style="width: 33%;" />
+
+<p>In some of the school yards the pavement near the fence has
+been removed, and the space divided into small beds for gardening.
+Many of these gardens make a fine showing and you will<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+find here three pictures of such a yard, illustrating what may be
+done within the limits of the playground of a city school. When
+you consider that between six and eight hundred children play
+in this yard at the same recess time every day, you can appreciate
+what it means to yield a portion of the limited space to vegetables
+and flowers; and, since these plants are never molested,
+how much the children are pleased to have their playground so
+decorated.</p>
+
+<p>Nearly all the garden products may be correlated with the
+classroom work. The kindergarten children use peas in construction.
+The peas raised in the garden may be applied here.
+The first-grade children use lentils in construction. Why not as
+well use pumpkin seed and grains of corn&mdash;the product of the
+garden? Every class enjoys having a Jack-o'-lantern at Hallowe'en,
+so here again the pumpkin from the garden comes into
+play. In the construction of miniature wagons and wheelbarrows
+of paper, peas may be soaked and used as axles for the wheels.
+Both peas and beans may be soaked and given to the small children
+to string for chains, thus teaching number and spacing.
+Every layer of husk (beneath the outside one) from the ear of
+corn may be dried and made into a basket by the more advanced
+pupil.</p>
+
+<p>If a city teacher, with opportunities so limited and numberless
+disadvantages, can accomplish even a little in this line for the
+children in her charge, how much more should the teacher of the
+rural school accomplish when she has space at her command, children
+in the environment of country life, and seemingly all things
+that tend to work together to produce good results!</p>
+
+<p>So much interest is shown in this phase of industrial work all
+over the country that I doubt that there is anywhere a teacher
+who does not wish to add the study of it to the curriculum, unless
+she is already working along these lines. Feeling sure of the
+sympathy aroused in every teacher's heart, I have included among
+the illustrations of this article three scenes from rural school life.
+(See pages <a href="#Page_113">113</a>, <a href="#Page_115">115</a>, and <a href="#Page_117">117</a>.)</p>
+
+<p>In connection with these pictures let me say a few more words
+to the rural teacher. You may think yourself much poorer than
+your city co-worker, but the fact is that you are the one of affluence,
+she is the struggler. You have all about you the materials
+that a city teacher can secure only at second hand. All the riches<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+of nature are at your command&mdash;the birds that nest at your door,
+the fishes that swim in the brook, the grasses that grow by the
+roadside, the trees of the forest, and the flowers that spring up
+everywhere; the ground space for your garden; the intelligent
+child of country environment who does not need to work the garden
+to learn how vegetables grow, but who does need to work it
+for the education, the aim and object of school gardens. If you
+are not interested in such work, try doing it once because you
+should. Next year there will be no should; love will lead you on.</p>
+
+<p>I have the same feeling in my heart about the school garden
+that the poet who wrote "The Little Fir Trees" must have
+had about them. Each stanza winds up with</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">And so,<br /></span>
+<span class="i0">Little evergreens, grow!<br /></span>
+<span class="i2">Grow, grow!<br /></span>
+<span class="i0">Grow, little evergreens, grow!<br /></span>
+</div></div>
+
+<p>I would say:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">And so,<br /></span>
+<span class="i0">Grow, school gardens, grow!<br /></span>
+<span class="i2">Grow, grow!<br /></span>
+<span class="i0">Grow, school gardens, grow!<br /></span>
+</div></div>
+
+<p>The three pictures, "Studying Nature," "A Flower from the
+Country" and "A Suggestion for Recess Hour," came to me
+from a country school. They speak so vividly for themselves
+that I feel that each one carries with it its own message and
+appeals so strongly in behalf of the deepest love of nature in even
+the youngest child as to point to the possibilities of what might
+be when this love is fed and made to grow with the physical nature
+of the child.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<h3><a name="Transcribers_Notes" id="Transcribers_Notes"></a>Transcriber's Notes</h3>
+
+
+<p>
+Corrected minor punctuation typos. Moved some of the illustrations to
+avoid breaking up paragraphs of text. Page references pertain to the
+original book but link to the correct image/topic in the HTML version.<br />
+<br />
+Page <a href="#Page_17">17</a>: Changed Portiere to Portière for consistency.<br />
+<span style="margin-left: 1em;">(9 Miniature Portiere&mdash;Knotted)</span><br />
+<br />
+Page <a href="#Page_55">55</a>: Changed sand-papered to sandpapered for consistency:<br />
+<span style="margin-left: 1em;">(and nothing is properly sand-papered until all roughness)</span><br />
+<br />
+Page <a href="#Page_56">56</a>: Changed the page reference from 59 to 57:<br />
+<span style="margin-left: 1em;">(with the grain of the wood, and how to cut corners. (See page 59.))</span><br />
+<br />
+Page <a href="#Page_65">65</a>: Changed exend to extend:<br />
+<span style="margin-left: 1em;">(To construct a box having lid and bottom exend beyond sides.)</span><br />
+<br />
+Page <a href="#Page_107">107</a>: Original text might be missing "child" after country:<br />
+<span style="margin-left: 1em;">('The country is entitled from its state and from its county,)</span><br />
+<br />
+Page <a href="#Page_109">109</a>: Changed attenion to attention:<br />
+<span style="margin-left: 1em;">(The interest of these children attracted the attenion of the)</span><br />
+</p>
+
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Construction Work for Rural and
+Elementary Schools, by Virginia McGaw
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CONSTRUCTION WORK ***
+
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+</body>
+</html>
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+The Project Gutenberg EBook of Construction Work for Rural and Elementary
+Schools, by Virginia McGaw
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Construction Work for Rural and Elementary Schools
+
+Author: Virginia McGaw
+
+Release Date: April 5, 2009 [EBook #28501]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CONSTRUCTION WORK ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, Diane Monico, and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+Construction Work
+for
+Rural and Elementary
+Schools
+
+
+BY
+
+VIRGINIA McGAW
+
+Teacher in the Elementary School
+of Baltimore
+
+
+A. FLANAGAN COMPANY
+CHICAGO
+
+
+
+
+COPYRIGHT 1909
+BY
+A. FLANAGAN COMPANY
+
+
+
+
+PREFACE
+
+
+In offering this volume to the public the author has but one
+wish--namely, that it may supply a want in time of need and help some
+one over a difficult place.
+
+Most of the subject-matter in Parts One, Two, Three, and Four was
+written for and has been previously published in the _Atlantic
+Educational Journal_, with a view to assisting the rural teacher. The
+present volume comprises a revision of the articles published, together
+with a short account of one season's work in a school garden, and has
+the same object--that of aiding the rural teacher by means of a few
+simple suggestions.
+
+The work is divided into five parts--"Cord Construction," "Paper
+Construction," "Wood Construction," "Basketry," and "The School
+Garden." No subject is dealt with at length. The aim has been to give
+simple models that may be made without elaborate preparation or special
+material.
+
+Believing that a child is most likely to appreciate his tools when he
+realizes their value or knows their history, a brief introduction to
+each part is given, and wherever possible, the place of the occupation
+in race history is dealt with, and an account of the culture and
+habitat of the material is given.
+
+As clear a statement as is possible is made of how the model is
+constructed, and in most cases both a working drawing and a picture are
+given.
+
+                              VIRGINIA McGAW.
+
+BALTIMORE, MARYLAND,
+  April, 1909.
+
+
+
+
+ACKNOWLEDGMENTS
+
+
+To the _Atlantic Educational Journal_ for the privilege of revising and
+relinquishing the articles on Cord, Paper, Wood, and Basketry.
+
+To Mr. George M. Gaither, Supervisor of Manual Training in the Public
+Schools of Baltimore, for five of the woodwork patterns.
+
+To President Richard W. Silvester, of the Maryland Agricultural
+College, for the inspiration to write the _Garden Bulletin_, his
+consent to its republication, and his hearty cooeperation in its
+revision.
+
+
+
+
+CONTENTS
+
+
+CORD CONSTRUCTION
+
+INTRODUCTORY REMARKS                             9
+
+KNOTS                                            9
+    1 Overhand Knot                             10
+    2 Square Knot                               10
+    3 "Granny" Knot                             11
+
+CHAINS                                          11
+    4 Loop Chain                                11
+    5 Overhand Knot Chain                       13
+    6 Solomon's Knot Chain                      13
+
+COMBINED KNOTS AND CHAINS                       15
+    7 Knotted Bag                               15
+    8 Miniature Hammock--Knotted                16
+    9 Miniature Portiere--Knotted               17
+
+WEAVING                                         17
+    10 Miniature Hammock--Woven                 17
+
+
+PAPER CONSTRUCTION
+
+INTRODUCTORY REMARKS                            25
+
+A MODEL LESSON                                  27
+    1 Windmill or Pin-wheel                     31
+    2 Square Tray No. I                         31
+    3 Square Tray No. II                        31
+    4 Square Box with Cover                     32
+    5 Square or Rectangular Box                 33
+    6 Pencil Box with Sliding Cover             35
+    7 Seed Box with Sections                    37
+    8 Picture Frame No. I, Diagonal Folds       37
+    9 Picture Frame No. II                      37
+    10 Portfolio                                40
+    11 Barn--House--Furniture                   41
+    12 Hexagonal Tray                           42
+    13 Lamp Shade                               44
+    14 Star                                     45
+    15 Notebook                                 46
+    16 Bound Book                               47
+    17 Japanese Book                            49
+    18 Scrap-Book                               50
+
+
+WOOD CONSTRUCTION
+
+INTRODUCTORY REMARKS                            55
+    1 Puzzle                                    56
+    2 Plant Label                               58
+    3 Pencil Sharpener                          58
+    4 Match Scratch                             59
+    5 Kite-String Winder                        60
+    6 Thermometer Back                          61
+    7 Pocket Pin-Cushion                        61
+    8 Picture Frame                             63
+    9 Japanese Box                              65
+    10 Grandfather's Chair                      66
+
+
+BASKETRY
+
+INTRODUCTORY REMARKS                            71
+
+REED CONSTRUCTION                               75
+    1 Napkin Ring No. I                         75
+    2 Napkin Ring No. II                        76
+    3 Mat                                       76
+    4 Hamper Basket                             77
+    5 Basket Tray                               79
+    6 Basket with Handle                        81
+
+RAFFIA CONSTRUCTION                             83
+    7 Plaited Rope                              84
+    8 Plaited Mat                               85
+    9 Purse                                     86
+    10 Plaited Basket                           86
+    11 Hat of Plaited Rope                      88
+    12 Napkin Ring                              89
+    13 Indian Basket                            89
+    14 Grass Basket or Tray                     91
+    15 Basket of Splints and Raffia             93
+
+COMBINED REED AND RAFFIA                        95
+    16 Umbrella                                 97
+    17 Miniature Chair No. I                    97
+    18 Miniature Chair No. II                   99
+
+RULES FOR CANING CHAIRS                        102
+
+
+THE SCHOOL GARDEN
+
+INTRODUCTORY REMARKS                           107
+
+A CITY SCHOOL GARDEN                           108
+
+
+
+
+PART I
+
+CORD CONSTRUCTION
+
+
+
+
+CORD CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+To a child one of the most attractive of possessions is a piece of
+cord. He has so many uses for it that it becomes part of the prized
+contents of his pocket. Since this commodity affords so much pleasure
+to the untrained child, how greatly may the pleasure be enhanced if he
+is taught how to make the number of beautiful things that may be
+wrought from cord or twine! Having this knowledge, he will
+unconsciously employ many otherwise weary moments in fashioning some
+coveted article.
+
+Among the things he can make are chains, reins, bags, nets, miniature
+hammocks, portieres, and rugs for the dollhouse. He must be guided step
+by step from the simplest to the more intricate. He must be taught that
+only when a thing is well done has it any use or value, therefore the
+best effort is necessary to the success of his work. If he ties a knot,
+it must be properly tied or it will not hold. If he makes a bag or a
+hammock, the meshes must be uniform and the color blendings pleasing or
+it will lack beauty, and even he, himself, will not care for it. Should
+he make a chain or reins, they ought to be attractive-looking as well
+as useful; hence the aim should be for artistic combination and perfect
+execution. The success the child will meet with will depend greatly
+upon the attitude of the teacher toward the work and the amount of
+spirit she may be able to infuse into it.
+
+
+KNOTS
+
+     _Aim_--To teach the names of different knots, how they are
+     tied, and the utilitarian value of each.
+
+Begin by teaching how to tie a knot, and that all knots are not alike
+nor tied in the same way. There are three kinds of knots--the overhand
+knot, the square knot and the "Granny" knot. Each of these has its use,
+its place, and a utilitarian value.
+
+
+1 Overhand Knot
+
+     _Material_--One 10-inch piece of heavy twine.
+
+Hold one end of the twine firmly in the left hand and throw the other
+end over with the right hand to form a loop; then pass the end in the
+right hand under the loop; and draw it through tightly, making a firm
+knot.
+
+[Illustration: OVERHAND KNOT]
+
+A long piece of twine in which are tied either single knots at regular
+intervals, or groups of three or five knots with spaces between, will
+make a chain which will delight any small child.
+
+
+2 Square Knot
+
+     _Aim_--To teach how to tie a knot that will not slip.
+
+     _Material_--One 12-inch piece of heavy twine.
+
+Take an end of the twine between the thumb and the forefinger of each
+hand. Holding in the left hand end No. 1, pass it to the right over end
+No. 2; then pass it under No. 2; finally, pass it out and over, making
+the first tie. Now, holding end No. 1 firmly in the right hand and end
+No. 2 in the left, pass No. 1 to the left over No. 2, then under, out
+and over; draw the two ties together, and you will have a firm, square
+knot.
+
+[Illustration: SQUARE KNOT]
+
+
+3 "Granny" Knot
+
+     _Aim_--To teach the name of the knot one usually ties and
+     how to tie it.
+
+     _Material_--One 12-inch piece of heavy twine.
+
+Take an end of the twine between the thumb and the forefinger of each
+hand and hold firmly. Pass end No. 1 to the right over end No. 2, under
+and out. Next pass end No. 2 to the right over end No. 1, under and
+out.
+
+We now have the knot known as the "Granny," which we ordinarily tie.
+
+
+CHAINS
+
+4 Loop Chain
+
+     _Material_--One piece, 5 yards long, of macrame cord, No.
+     12, one color. (See page 12.)
+
+About five inches from one end of the cord make a short loop. Using
+this loop as a starting-point, work up the length of the cord to within
+about eighteen inches of the other end, by repeatedly drawing a new
+loop through the one previously made as one does in crocheting. The
+child can easily manipulate the cord with his tiny fingers. Aim to have
+the loops of uniform size. Finish with a loop five inches long, leaving
+an end of the same length. Now, placing together the two ends of the
+chain, we have a loop and two single ends of cord. Take these single
+cords together and buttonhole them over the loop for about three
+inches, then twist. Tie the single ends with a square knot, and fringe
+them out; leave the loop.
+
+[Illustration: LOOP CHAIN
+Showing how stitch is made and appearance of finished chain.]
+
+Instead of being fringed, the ends may have a large bead attached to
+each, and a whistle may be strung on the loop. This would both make
+the chain attractive to the child and demonstrate a use for it.
+
+
+5 Overhand Knot Chain
+
+     _Material_--Macrame cord, No. 12: one piece 2 yards long,
+     white; one piece 2 yards long, red.
+
+[Illustration: OVERHAND KNOT CHAIN]
+
+Fasten the two pieces together in the middle. Pin them to a board or
+slip them over a hook where the cord will be held firmly. Using the
+overhand knot, tie each color alternately, until all except about four
+inches of cord is used up. Taking four ends as one, tie a slip-knot
+close up to the point where you stopped forming the chain. Next, fringe
+out the four ends close up to the knot. The result is a circular cord
+with stripes running diagonally around it, very pleasing to the eye of
+a child.
+
+The lengths here given make a fob-chain about five inches long.
+
+
+6 Solomon's Knot Chain
+
+     _Material_--Four pieces of macrame cord, No. 12, 2-1/2 yards
+     long, of one color. (See page 14.)
+
+Double in the middle and leave two loops, each two inches long. Take
+two strands as the center and foundation and attach them to a hook or a
+board where they will be held firmly. Loop the two remaining threads
+alternately over the two central ones, first the one on the right, then
+the one on the left. For instance: Take a single cord on the left, form
+a loop to the left of the double cords, draw the end over the two
+foundation pieces and hold firmly. Then take a single cord on the
+right, pass it over the piece of cord which forms the loop, then under
+where the three pieces cross and up through the loop; draw it tight.
+Then work with a single cord on the right in the same way and continue,
+alternating the two single cords, until there is left about four
+inches. Clip the middle cords so that the four ends may be of equal
+length. Finish by tying them in a square knot and fringing the ends.
+This forms a flat chain one-quarter of an inch wide and one-eighth of
+an inch thick, which may be made any length desired.
+
+[Illustration: SOLOMON'S KNOT CHAIN
+Showing how stitch is made.]
+
+[Illustration: KNOTTED BAG]
+
+
+COMBINED KNOTS AND CHAINS
+
+7 Knotted Bag
+
+     _Material_--Macrame cord, No. 12, one or two colors; twelve
+     pieces 1 yard long or six pieces 1 yard long, of each of the
+     two colors.
+
+Double each piece of cord in the middle and tie it in a loop over a
+pencil or some other object that will make the loops of equal size.
+Slip the loops from the pencil and string them to a cord, alternating
+the colors. Join the ends of the cord so as to form a hoop. You now
+have twelve loops on this hoop and one row of knots. Form a second row
+of knots by tying cords of different colors together. The meshes should
+be uniform and of the size of the loops. Continue knotting one row
+below the other until about three inches of cord remain. Now stretch
+the bag out straight and double and tie together the four cords, which
+operation will form the bottom and close the bag. Fringe the ends and
+trim them off evenly.
+
+Make a loop chain, and run it through the top loops, having removed the
+working cord. Small brass rings may be used at the top instead of
+loops, and the drawing string may be run through them. A larger bag may
+be made by the addition of more and longer pieces of twine.
+
+[Illustration: MINIATURE HAMMOCK--KNOTTED]
+
+
+8 Miniature Hammock--Knotted
+
+     _Material_--Twelve pieces of seine cord, No. 12, each 2
+     yards long. Two iron rings, 1 inch in diameter.
+
+String the pieces of cord through a ring, taking care that the ends are
+of the same length. About three inches from the ring, knot each piece
+of cord. This will make twelve knots and form the first row. For the
+second row, knot alternate pieces of cord. Continue until there are
+twelve rows of knots. Be careful to make the meshes the same size.
+Leave about three inches unknotted and attach these ends to the second
+ring. Make a twisted cord (of four thicknesses of macrame) of some
+contrasting color and run through the meshes of each side, taking it
+twice through each mesh and attaching it to rings at the ends of the
+hammock. The meshes should be about an inch square. Make the cords a
+little shorter than the sides of the hammock, in order to give it the
+proper spring. Take an extra piece of cord the color of the hammock and
+wrap it around the cords close up to the rings, winding it evenly and
+firmly for about an inch from the ring; fasten it securely.
+
+
+9 Miniature Portiere--Knotted
+
+     _Material_--Twelve 36-inch lengths of macrame cord, No. 12.
+
+Double each piece in the middle and, using the overhand knot, tie it
+over a stout lead pencil or a very narrow ruler. See that each knot is
+pressed close to the foundation holder, that the loops may be of equal
+size. These loops and knots form the first row. Do not remove them from
+the holder. Separate the cords and knot together each two adjacent
+ones, alternating at every other row. Continue knotting until about
+three inches of cord remain to form the fringe at the bottom. Before
+tying the last row of knots, slip a colored glass bead over each set of
+cords, then make the knot so as to hold the bead in place. These beads
+are an ornament, apart from giving weight to the portiere to make it
+hang well. Trim the fringe evenly, slip the portiere from the
+foundation holder, and it is ready to hang.
+
+Use beads the color of the cord, or of some effective contrasting
+shade. If a child is expert enough, a bead may be placed at every knot,
+adding decidedly to the attractiveness of the little portiere. (See
+page 18.)
+
+
+WEAVING
+
+10 Miniature Hammock--Woven
+
+     _Material_--Tag-board loom 8x10 inches. Cord of one, two or
+     three colors. Two brass rings, 1/2 inch in diameter.
+
+[Illustration: MINIATURE PORTIERE--(For description see page 17.)]
+
+To make a loom, take a piece of tag-board 8x10 inches in size. Measure
+off one inch from the back edge and draw a line parallel to the back
+edge. Measure off one inch from the front edge and draw a line parallel
+to the front edge. Measure off one inch from the right edge and draw a
+line parallel to the right edge. Measure off one inch from the left
+edge and draw a line parallel to the left edge. You have now a 6x8-inch
+rectangle marked off, leaving a one-inch space around the edge of the
+tag-board. Start at a point where a vertical and a horizontal line
+intersect and mark off the six-inch ends into spaces one-fourth inch
+apart. Next with a large needle pierce the board at each point of
+intersection. This will make twenty-five eyelets at each end. On the
+reverse side of the board draw diagonals to determine the center. Tie
+together the two brass rings and fasten them firmly to the center of
+the reverse side.
+
+[Illustration: BLANKET FOR DOLL'S BED
+Showing how it is started.]
+
+To string the loom requires about fifteen yards of cord. Divide the
+cord into two lengths. Thread a length into a needle and tie one end of
+it to one of the brass rings. Next carry the cord from the ring through
+the thirteenth perforation, then across the face of the loom to the
+thirteenth perforation at the opposite end, through again to the
+reverse side and pass through the opposite ring from which it started.
+Repeat this operation by carrying the cord in a reverse direction each
+time until one-half the loom is strung. Then with the other length of
+cord start, by attaching it to the same ring to which the first piece
+was tied, and work in the opposite direction until the second half is
+strung. Should it be necessary to add to the cord, arrange that the
+knot be on an end near a ring. A knot in the warp hampers the weaving.
+
+[Illustration: A RUG
+Made of narrow strips of cotton cloth.]
+
+Have the warp threads and the predominant woof thread of the same
+color.
+
+To begin weaving, cut a quantity of ten-inch lengths. Take one of these
+lengths, start in the center of the loom, and weave in and out among
+the warp threads, allowing it to extend two inches beyond on each side.
+Have a perfectly smooth, narrow, thin ruler and weave it in across the
+warp threads. As each horizontal or woof thread is added, shove it
+close to the preceding one with the ruler, which acts as a pusher.
+Weave first on one side of the center and then on the other, until the
+entire 6x8-inch space is covered. If a border is to be put in, gauge
+equal spaces from the center and work in the border of a different
+shade or color. The borders must be placed equally distant from the
+center and the same distance from each end. Take the overhanging cords
+and knot each alternate two together along the line of the outer warp
+thread. This will hold the woof threads in place, as well as finish the
+edges of the hammock. Comb these ends out and trim them, to get the
+fringe even. At each end where the weaving stops, take a needle
+threaded with a length of cord and run in and out along the warp
+threads, first to the right and then to the left of the final woof
+thread. This makes a secure finish and holds the woof threads in
+position. Next unfasten the rings and remove the hammock from the loom
+by tearing the tag-board along the lines of perforations. Finally,
+where the cords pass through the ring, hold them close to the ring and
+wrap them with a piece of cord for the distance of an inch, then fasten
+off by forcing the needle up through the wrapped space toward the ring;
+draw the end through and clip close to the ring. The hammock is now
+finished.
+
+The question may arise: Why begin weaving in the center of the loom?
+The answer is: Because small children, and even older ones, sometimes,
+are not able to keep their warp threads parallel and as they approach
+the middle, where these threads give more, they naturally draw them in.
+This tendency is remedied to a great extent by beginning in the middle
+and weaving toward the ends, where the warp is confined in the board
+and keeps its place with no effort on the part of the child.
+
+
+
+
+PART II
+
+PAPER CONSTRUCTION
+
+
+
+
+PAPER CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+Whatever may have been the true origin of the art of paper-making, it
+is now lost in obscurity. It is almost certain that the earliest form
+of paper was the papyrus of the Egyptians and that they were the first
+to use it as a writing material. They manufactured it from the stem of
+the papyrus plant, from which the name _paper_ comes.
+
+It is also known that the Chinese were versed in this art before the
+Christian Era, and that they made paper from the bark of various trees,
+the soft part of bamboo stems, and cotton. In India and China the
+practice of writing on dried palm and other leaves still obtains. It is
+probable that the employment of these fibrous substances, together with
+observation of the methods of paper-making wasps and other insects, led
+to manufacturing by pulping the materials and spreading them out.
+
+As the Chinese seem to have been the pioneers in so many great
+inventions, so also they appear to have been the inventors of this art.
+From the Chinese the Arabians learned, in the seventh century, the
+craft of making paper from cotton, and they established a manufactory
+at Samarcand in 706 A. D. Here the Moors learned the art, and through
+them it was introduced into Spain. It is thought that the Moors used
+flax and hemp in addition to cotton in their manufacture of paper. The
+products of their mills are known to have been of a most superior
+quality, but, with the decline of the Moors, paper-making passed into
+less skilled hands, and the quality of the paper became inferior.
+
+From Spain the art spread through the other countries of Europe, and as
+factories were established further north, where cotton was not a
+product nor easy to import, the necessity of substituting some other
+material probably led to the introduction of linen rags; but when they
+began to be used is uncertain. England was far behind the other
+countries of Northern Europe in introducing the industry of
+paper-making.
+
+[Illustration: SCREEN--SIX-BY-NINE-INCH CONSTRUCTION PAPER]
+
+In the United States to-day paper in all varieties is manufactured to
+an enormous extent, and almost exclusively from vegetable matter. The
+book and newspaper trades demand an untold quantity.
+
+There are three great types--writing, printing, and wrapping paper.
+Writing paper is made from rags and wood pulp. The staple for wrapping
+paper is old rope, and in some cases jute. The best writing and
+printing papers, however, are made from rags. From these as staples,
+all other varieties are developed, and we have paper for every use to
+which man can apply it.
+
+Paper folding and modeling is not an ancient occupation, but a modern
+device, yet to the child it has a utilitarian value not to be
+overlooked. His nature demands that he be employed, and change of
+occupation is conducive to his happiness. Nothing is quite so restful
+to him as to do something with his hands; therefore, with his blocks he
+builds a house, fences it around with his splints, and strews the
+ground with imaginary trees and animals. He lives in this nursery play,
+and in it he is happy.
+
+When he enters school, should he have only books? No, his hands still
+demand employment. He is now led to fashion from paper what he has
+already made with his blocks and toys. He is occupied, he is
+interested, and he is cultivating concentration and industrious habits.
+Is this worth while?
+
+Begin the lessons with a talk on the manufacture and uses of paper. By
+a story, an association or the suggestion of a future use the child
+should be made to feel that he is doing something worth while. This
+will accentuate the interest and deepen the impression.
+
+All models given may be increased or decreased in size if the
+proportions are adhered to, but the dimensions stated are those
+commonly used.
+
+
+A MODEL LESSON
+
+     _Aim_--To construct a windmill or pin-wheel.
+
+Each child should have a five-inch square, a slender stick five inches
+long, a pin, a ruler, a pair of scissors, and a lead pencil.
+
+The children are supposed to know that every piece of paper, laid in
+position, has a back edge, a front edge, a right edge, a left edge, a
+right-back corner, a left-back corner, a right-front corner, a
+left-front corner, and that, in tracing, the forefinger of the right
+hand is used.
+
+Three questions after each direction will be sufficient. The questions
+aim to have a complete statement in answer, and to develop an
+unconsciously correct use of the verb. This may appear slow at first,
+but soon the replies will come quickly and the answer will be correctly
+given.
+
+[Illustration: WINDMILL, A]
+
+_Teacher_: "Children, lay your papers on your desk parallel with the
+front edge of the desk.--John, where are you to lay your paper?"
+
+_John_: "I am to lay my paper on my desk parallel with the front edge
+of my desk."
+
+_Teacher_: "Mary, where did you lay your paper?"
+
+_Mary_: "I laid my paper on my desk parallel with the front edge of my
+desk."
+
+_Teacher_: "Willie, where has Mary laid her paper?"
+
+_Willie_: "Mary has laid her paper on her desk, parallel with the front
+edge of her desk."
+
+_Teacher_: "Trace the back edge of your paper.--Anna, what are you to
+do to your paper?"
+
+_Anna_: "I am to trace the back edge of my paper."
+
+_Teacher_: "Harry, what did you do to your paper?"
+
+_Harry_: "I traced the back edge of my paper."
+
+_Teacher_: "Jessie, what have you done to your paper?"
+
+_Jessie_: "I have traced the back edge of my paper."
+
+_Teacher_: "Each child place the forefinger on the right-back corner of
+the paper.--Charles, what are you to do?"
+
+_Charles_: "I am to place my forefinger on the right-back corner of my
+paper."
+
+_Teacher_: "Anna, what did you do?"
+
+_Anna_: "I placed my forefinger on the right-back corner of my paper."
+
+_Teacher_: "Laurence, what have you done?"
+
+_Laurence_: "I have placed my forefinger on the right-back corner of my
+paper."
+
+_Teacher_: "Take your ruler and lay it across your paper from the
+left-back corner to the right-front corner.--Margaret, what are you to
+do?"
+
+_Margaret_: "I am to lay my ruler on my paper from the left-back corner
+to the right-front corner."
+
+_Teacher_: "Draw a line connecting the left-back corner of your paper
+with the right-front corner.--James, what did you draw?"
+
+_James_: "I drew a line connecting the left-back corner of my paper
+with the right-front corner."
+
+_Teacher_: "Alice, what have you drawn?"
+
+_Alice_: "I have drawn a line connecting the left-back corner of my
+paper with the right-front corner."
+
+Now have the children draw a line connecting the reverse diagonal
+corners and proceed as follows:
+
+_Teacher_: "Find the point where the lines cross. This is the center or
+middle point of your paper.--Albert, what are you to find?"
+
+_Albert_: "I am to find the point where the lines cross, which is the
+center of my paper."
+
+_Teacher_: "Measure one inch from this point on each of the four lines
+and place a dot.--Sara, what did you measure?"
+
+_Sara_: "I measured one inch from the center of my paper on each of the
+four lines and placed a dot."
+
+_Teacher_: "Lay your pencil and your ruler down. Place your paper on
+your desk parallel with its front edge and lay your left hand on the
+right-front corner. Turn the paper until this corner is directly in
+front of you. Take your scissors and cut along the ruled line from the
+corner to the point one inch from the center.
+
+[Illustration: WINDMILL, B]
+
+"Lay down your scissors. Turn your paper from right to left until the
+next corner faces you. Cut. Move the paper from right to left again
+until the third corner faces you. Cut. Bring the fourth corner to face
+you. Cut. There are now eight points. Turn each alternate point to the
+center, run the pin through all of them and fasten the wheel to the
+stick."
+
+_Final questions._
+
+_Teacher_: "What did you make?"
+
+_Pupil_: "I made a pin-wheel."
+
+_Teacher_: "What have you made?"
+
+_Pupil_: "I have made a pin-wheel."
+
+_Teacher_: "What has Ellen made?"
+
+_Pupil_: "Ellen has made a pin-wheel."
+
+When older pupils have completed a model it is excellent practice to
+have them write a full description of how it is made and the materials
+used.
+
+
+1 Windmill, or Pin-Wheel
+
+     _Material_--One piece of construction paper, 5x5 inches.
+     Stick, 5x1/4x1/4 inches. One pin. (See pages 28 and 30.)
+
+Fold the square on the diagonals. Cut the diagonals to within one-half
+inch of the center. Bend alternate corners over until the point of each
+touches the center. Fasten the four points in the center by running the
+pin through them and driving it into the stick.
+
+
+2 Square Tray No. I
+
+     _Material_--Construction paper, 5x5 inches. (See page 32.)
+
+Measure off one inch on four sides, and connect the points with a line
+parallel to the edge of the paper. Score lightly each line. Cut out the
+four corner squares. Turn up the sides, fasten the corners together
+with raffia or cord, tying a small bow.
+
+
+3 Square Tray No. II
+
+     _Material_--Construction paper, 5x5 inches. (See page 33.)
+
+Fold and crease into sixteen small squares. Score lightly the four
+lines nearest the outer edge. Draw one diagonal pointing toward the
+center of each corner square. Next draw half of the diagonal extending
+in the opposite direction. Fold the paper on the lines scored. Crease
+the diagonals 1-2, making the crease extend to the inside of the tray,
+and press until lines 1-4 and 1-3 meet. Now we have a triangle on the
+inside of the tray. Fold this over on half-diagonal, No. 5, and press
+to the side of the tray. This will fasten together firmly the corners
+of the tray.
+
+[Illustration: SQUARE TRAY No. I--(For description see page 31.)]
+
+
+4 Square Box with Cover
+
+     _Materials_--Construction paper, 6x6 inches. (See page 34.)
+
+Measure off from the outer edge two lines, one inch apart. Score these
+lines. In each corner there are four one-inch squares. Cut off 1, 2,
+and 3; then draw the diagonal of 4 pointing toward the center of the
+paper. Crease and fold on these diagonals, extending the triangle
+inward. Fold this triangle over to half its size; press to the inside
+of the box. Edges 5-6, 5-7 will meet to form the corners of the box,
+and cover flaps 8-9 will fall naturally into place. Result, box four
+inches square, one inch deep, with folding cover.
+
+
+5 Square or Rectangular Box
+
+[Illustration: SQUARE TRAY No. II--(For description see page 31.)]
+
+     _Material_--Construction paper, 4x4 inches or 4x6 inches.
+
+Measure off a margin one inch all around, and score. Cut as indicated
+on page 35. Fold over the border to half its width, as 1 over to 2.
+Bend up on line 2-3. When the edge is folded over a little tongue is
+formed at each end. Slip this tongue under the fold of the adjacent
+side, and it will fasten the sides of the box firmly together. A lid
+may be made exactly as the box is made.
+
+[Illustration: SQUARE BOX WITH COVER--(For description see page 32.)]
+
+A beautiful Christmas box may be made of red paper, or gray decorated
+with holly. Made of white paper, with a chicken (in yellow) painted on
+the lid, it is appropriate for Easter.
+
+[Illustration: SQUARE BOX--(For description see pages 33 and 34.)]
+
+
+6 Pencil Box with Sliding Cover
+
+     _Material_--Construction paper: one 7-inch square; one
+     rectangle 4x9 inches. (See page 36.)
+
+_Drawer._ Lay the rectangle on the desk with the nine-inch edge
+parallel with the front edge of the desk. Draw a line one inch from the
+back edge and parallel with it. Draw a line one inch from the front
+edge and parallel with it. Draw a line one inch from the right edge and
+parallel with it; and a line one inch from the left edge and parallel
+with it. Score, bend and crease on these lines. Cut the lines on the
+right and the left edges to where they intersect the lines on the back
+and the front edges. Fold and glue. The laps are pasted on the inside
+and give strength to the ends of the drawer.
+
+[Illustration: PENCIL BOX WITH SLIDING COVER]
+
+_Cover_ (seven-inch square). Measure off one and one-fourth inches, and
+construct a line parallel to the back edge. Measure one inch and draw a
+line parallel to this. Measure off two and one-sixteenth inches (shy)
+and draw a third parallel line. Measure one inch again and draw a
+fourth line parallel to the other three. Score and fold on these lines.
+Lap the space at the back edge over the space at the front edge until
+they form a rectangle two and one-sixteenth by seven inches in size, to
+correspond with the opposite one, which is the top of the cover. Glue.
+Slide in the drawer and the pencil box is completed.
+
+
+7 Seed Box with Sections
+
+     _Material_--Construction paper: two rectangles 8x9 inches;
+     one rectangle 2x5-1/2 inches; one rectangle 2x4-1/2 inches.
+     (See page 38.)
+
+Take one 8x9-inch rectangle for the body of the box and lay off a
+two-inch space all around. Cut on dotted lines. Score and crease, fold
+and glue. The laps are glued to the inside and each one turned to the
+right. When the partitions are put in the laps mark where the ends go,
+as well as brace the ends of them. Take the two rectangles, 2x4-1/2
+inches and 2x5-1/2 inches, and draw a line one-half inch from each of
+the two-inch edges. Score and crease. These form the laps for pasting
+the partitions in. On these partitions turn all four laps to the right,
+to coincide with the laps on the box. Dovetail the partitions by
+cutting a slit one inch deep in the center of each and slipping one
+over the other. Next glue them to the inside of the box.
+
+_Cover._ Take the second 8x9-inch rectangle and mark off a two-inch
+space (shy) all around. Find middle of nine-inch edges and draw lines
+1-2, 2-3, and 2-4. Cut out these two triangles. Cut the corners on the
+dotted lines. Score, fold, and glue. Notice that in the lids the laps
+are not turned as in the body of the box. Here, as in the drawer of the
+pencil-box, the laps are glued to the ends of the cover, concentrating
+strength there and producing symmetry in construction.
+
+
+8 Picture Frame No. I--Diagonal Folds
+
+     _Material_--Construction paper, 5x5 inches. (See page 39.)
+
+Fold on the diagonals. Bring each corner over until it touches the
+center; crease. Fold each corner back again until its point touches the
+outside edge at the middle section; crease.
+
+[Illustration: SEED BOX WITH SECTIONS--(For description see page 37.)]
+
+
+9 Picture Frame No. II
+
+     _Material_--Construction paper, 4-1/2x16-1/2 inches. (See
+     page 40.)
+
+Divide the length into three equal parts, making three rectangles
+4-1/2x5-1/2 inches in size. In the middle rectangle, measure off and
+cut out a rectangle 2-1/4x3 inches in size. Fold rectangle No. 3 up and
+back of rectangle No. 2. Holding the two firmly together, punch two
+holes, one-fourth inch apart, on each side, and one-fourth inch from
+the outer edges (see diagram). Draw a piece of raffia or ribbon through
+these holes and tie in a bow. Fold back rectangle No. 1 for support.
+
+[Illustration: PICTURE FRAME No. I--(For description see page 37.)]
+
+[Illustration: PICTURE FRAME No. II--(For description see pages 37 and
+39.)]
+
+
+10 Portfolio
+
+     _Material_--Heavy manila paper, 7-1/2x12 inches. (See page 41.)
+
+Fold edge No. 1 over and even with edge No. 2. Crease and fold. On each
+side of A mark and cut off one-half inch. Clip off the corners of the
+flaps on B. Fold the flaps of B over on A and paste. Find the middle of
+edges 1 and 2. With a radius of one inch, describe a semicircle and cut
+it out.
+
+[Illustration: PORTFOLIO--(For description see page 40.)]
+
+
+11 Barn--House--Furniture
+
+     _Material_--Construction paper, 8x8 inches or 10x10 inches.
+     (See page 42.)
+
+Fold a square into sixteen small squares of equal size; crease. With
+this as a basis throw the child on his own resources, allowing him to
+invent a pattern and make a chair, a sofa, or any piece of furniture
+that he can devise from such a square. A corner may have to be cut out
+or a slit made, but impress upon the child that, as far as possible,
+the model must be gotten by folding, with very little or no cutting.
+
+By using a larger square and folding in the same way, a house or a
+barn may be made. Add a chimney and steps from an extra piece of paper.
+
+[Illustration]
+
+
+12 Hexagonal Tray
+
+     _Material_--Construction paper, 7x7 inches.
+
+[Illustration: HEXAGONAL TRAY]
+
+Draw one diameter; find the center. With a radius of three and one-half
+inches describe a circle. (The circumference of a circle is six times
+the radius). Place a point of the compass at one intersection of the
+circumference and the diameter, and divide the circle into six equal
+parts. With a radius of two inches, describe an inner circle parallel
+to the outer one. Connect opposite points of the outer circle by
+drawing two more diameters. This will divide the inner circle into six
+equal parts. Connect by straight lines the adjacent points of the inner
+circle, as 1-2; score. At the intersections of the outer circle, mark
+off one-half inch on each side and by straight lines connect both these
+points with the opposite points of intersection of the inner circle, as
+2-3, 2-4. This forms two equal triangles, one of which is to be cut
+out, as 4-2-5, and the other, as 3-2-5, left. Having cut out the six
+triangles, bend up on lines scored, bring the sides together, and use
+triangle 3-2-5 as a lap for pasting.
+
+
+13 Lamp Shade
+
+     _Material_--Construction paper, 7x10 inches. Japanese rice
+     paper, 7x10 inches.
+
+[Illustration: LAMP SHADE, A]
+
+Select a pretty shade of brown, green or red construction paper.
+Measure off two inches and construct a line parallel to the ten-inch
+length. Bisect this line. Place the compass at this point of bisection
+and with a radius of four inches describe a semicircle, 1-2; extend
+this arc to 3, and draw the line 3-4. With a radius of one inch
+describe an inner semicircle (5-6) parallel to the outer one. Again,
+with a radius of one inch describe a third semicircle, parallel to the
+other two. Set the compass at half the radius and divide each
+semicircle into six equal parts. Connect these points of intersection
+by straight lines (9-10). Make a stencil that will fit in one of these
+sections. Using the stencil, draw the same figure in each section.
+Carefully cut out the stenciled space. Next lay the construction paper
+on the Japanese rice paper and trace on it the stencil design. Remove
+the construction paper and, with two blending colors of crayon, color
+the figure or design traced on the Japanese paper. Again, lay the
+construction paper on the rice paper and glue the two together. Cut out
+the shade as marked off, bring the two edges together, and glue.
+
+[Illustration: LAMP SHADE, B]
+
+If you wish the lower edge scalloped, cut it as shown in the diagram.
+By folding and creasing on the lines of intersection the shade may be
+made hexagonal in shape. All designs for decoration are supposed to be
+original.
+
+
+14 Star
+
+     _Material_--Construction paper, two 8-inch squares. Raffia.
+
+Take an eight-inch square. Fold the front edge over to the back edge;
+crease. On the left edge place a point one and one-half inches from the
+left-back corner. Carry the right-front corner over to this point; fold
+and crease. Turn the left triangle under; fold and crease. Next, as the
+paper stands in your hand with the triangle facing you, fold the right
+edge over to the left edge; crease. Where the three edges of the paper
+come together, begin at the highest point and cut across the paper from
+right to left to within two and one-half inches of the center. Open out
+the paper and you have the star.
+
+A picture frame made of a five-pointed star is very pretty. Cut two
+stars of the same size. From the center of one cut a star one inch
+smaller for a mat. Lay this mat on the solid or foundation star and
+glue four of the points together. In the fifth point pierce two holes
+through both pieces, about an inch from the apex of the point. Slip in
+the picture. Take a piece of raffia or cord and tie a loop with two
+ends. Bring these ends through the holes from the back to the front and
+tie them in a bow. By the loop at the back the frame is hung.
+
+[Illustration: PICTURE FRAME FROM FIVE-POINTED STAR]
+
+
+15 Notebook
+
+     _Material_--Construction paper, 6-1/2x7 inches, for cover.
+     Manila paper, four pieces 6x6-1/2 inches, for leaves.
+
+Fold the piece of construction paper down the middle, so as to form the
+3-1/2x6-1/2-inch cover. In the same way crease the manila paper for the
+leaves. Place the leaves within the cover; with heavy silk or fine
+twine sew them to the back. Bring the needle through one inch from the
+upper edge, one inch from the lower edge, and in the middle. The long
+stitch is on the inside, the two short ones are on the outside, both
+ends of the thread are brought through the center to the inside and
+tied over the long stitch to hold it in place. Leave the ends an inch
+long and fringe them.
+
+[Illustration: NOTEBOOK]
+
+
+16 Bound Book
+
+     _Material_--Heavy construction paper, colored, 5x6 inches,
+     for cover. Four pieces white paper, 11-1/2x19-1/2 inches,
+     for leaves. Two pieces tape, 1/4x2 inches.
+
+_Cover._ Mark off and rule two and seven-eighths inches from each edge
+of the five-inch length; crease. This will leave in the middle a
+1/4x5-inch space, in which the back of the leaves will go. Take each
+sheet of white paper, fold it once lengthwise, and once crosswise; this
+will make a "folio" four leaves thick, 2-3/4x5-3/4 inches in size. We
+have four of these folios to be joined together and bound to the back.
+Take folio No. 1 and with needle and silk sew the leaves together,
+running the thread one inch from the upper edge and one inch from the
+lower edge and in the center, seeing that the last stitch brings the
+thread on the outside of the back of the leaves. Do not break the
+thread. Take folio No. 2, hold it close to folio No. 1, carry the
+thread across and take it through the middle of the back, one inch from
+front or back edge, as in folio No. 1.
+
+[Illustration: BOUND BOOK]
+
+On the back edges of these folios there will be two long stitches.
+Under these stitches pass the two pieces of tape. Keep one of these
+tapes as near the upper and the other as near the lower edge as the
+stitch will allow. As a folio is added and the leaves sewed together,
+connect the exposed stitch of the one previously added to the one last
+added, at the three places where the thread holds the leaves, by a
+buttonhole stitch (in bookbinding known as the "kettle stitch"). When
+the last folio is added, place the back of the leaves to the back of
+the cover in the 1/4x5-inch space. Stretch the tapes down on the cover
+and paste (1-3). Take the first and the last leaf and paste them over
+the tapes, to the inside of the cover. The outside of the cover may
+have some simple decoration if such is desired.
+
+In Book VII of the _Text Book of Art Education_, published by The Prang
+Educational Company, is worked out a very interesting problem for the
+making of a scrap-book, and suggestions given for decorating the cover.
+The scrap or clipping books shown here were made in a similar way. The
+decoration and cover are left to the taste and ingenuity of the teacher
+or the child.
+
+
+17 Japanese Book
+
+     _Material_--Construction paper, colored, 4-1/4x12-1/4
+     inches, for cover. Manila paper, six leaves, 4x6 inches,
+     double, with fold on outer edge.
+
+[Illustration: JAPANESE BOOK]
+
+The paper for the cover is 4-1/4x12-1/4 inches in size. Place the paper
+lengthwise in front of you and bring the left edge over to the right
+edge; crease, fold. Mark off a space three-fourths of an inch from the
+edge of the fold, draw a line, A-L. On this line three-quarters of an
+inch from the upper and the lower edges, place dots, B C, and
+one-fourth inch from B C place dots D E. Hold the leaves evenly
+together and press them in between the cover. With a large needle and
+cord sew through C, under, up, and over A, through C again, under to
+F, over through C, under and up through E, back to G, under and up
+through E, down to D, through and over H, back to D, down and up
+through D, then to B; down under to K, back to B, through and under and
+around to L, to B, to D, to E, to C. Tie the two ends of the cord,
+which come together at C, and fringe them out.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of grass cloth.]
+
+
+18 Scrap-Book
+
+     _Material_--Construction paper, colored: 6-1/4x8-1/4 inches,
+     for cover. Manila paper: three leaves 6x8 inches; three
+     strips 1-1/8x6 inches. Two paper clamps.
+
+Double the 6x8-inch leaves into six leaves 4x6 inches in size. Between
+leaves 1 and 2, 3 and 4, 5 and 6, place the 1-1/8x6-inch guards at the
+back. Have leaves and guards even and compact; then set them between
+the cover. Measure from the back edge of the cover a space
+three-quarters of an inch wide, and draw a pencil line. Placing the
+sharp edge of a ruler on this line, bend the back edge toward the front
+until it is well creased. In the center of this 3/4-inch space, one
+inch from the upper edge and one inch from the lower edge of the book,
+pierce a hole and insert the brass clamps.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of linen, stenciled.]
+
+
+A PASTE
+
+Mix until perfectly smooth one cup of flour with one cup of cold water.
+
+Put two cups of water in a vessel and set it over the fire until it
+heats. (Do not let it boil.) Add one teaspoonful of powdered alum, then
+stir in the mixture of flour and cold water. Continue stirring until
+it thickens to a good consistency. Remove it from the fire and add one
+teaspoonful of oil of cloves or peppermint. Pour it into an air-tight
+jar and when it is cool screw on the top.
+
+[Illustration: SCRAP OR CLIPPING BOOK
+Cover of fancy paper--(For description see pages 51 and 52.)]
+
+Use the same cup all through. The oil of cloves or peppermint is simply
+a flavoring, and does not add to the quality. This quantity will nearly
+fill a quart jar.
+
+
+
+
+PART III
+
+WOOD CONSTRUCTION
+
+
+
+
+WOOD CONSTRUCTION
+
+
+INTRODUCTORY REMARKS
+
+As the child develops, paper construction loses its charm, and a desire
+for something utilitarian arises. We suggest that at this stage the
+much-treasured pocket knife be brought into service, for from small
+pieces of wood many articles may be made. The construction of these
+will afford the child, especially the boy, much pleasure, and will at
+once arouse a new interest.
+
+Only the simplest articles will be given here--articles which may be
+fashioned from bits of wood commonly found around a house, such as old
+cigar boxes, small starch boxes, etc. But, should the teacher be able
+to obtain the proper materials, basswood a quarter or three-eighths of
+an inch thick, and whittling knives are the requisites.
+
+The reader will notice that the wood mentioned for each model is bass.
+Why? Because bass is the wood generally used for carving. The tree is
+the same as the linden and the lime. It is found in northern Asia,
+Europe, and North America, and grows to an immense height. The wood is
+soft, light, close-veined, pliable, tough, durable, and free from
+knots, and does not split easily; all of which qualities favor its
+suitability for carving.
+
+In whittling, it is always best to lay off the pattern on both sides of
+the wood. Then one can work from either side without fear of spoiling
+the material.
+
+In cutting, work with the grain, or the wood will be apt to split. Cut
+toward you, not from you.
+
+In grooving, use the point of the knife, and work slowly and carefully.
+If the knife slips the wood is ruined.
+
+Insist that nothing the child does is well done unless well
+sandpapered, and nothing is properly sandpapered until all roughness is
+done away with, and the grain appears.
+
+In the making of designs, let the child first have a piece of paper the
+size of the wood he is to use, and have him work out a design to be
+applied to his wood. This design may be most crude, but with a
+suggestion here, and a correction there, from the teacher, it can be
+brought into shape. The child will be pleased, and will attack with
+more assurance of success each succeeding problem that he meets.
+
+For coloring, use water color paints. Red, green, and yellow are most
+satisfactory, as their identity is retained when staining is applied.
+
+Apply the stain with a brush, and with a soft cloth rub it in until it
+is dry. This develops or brings out the grain.
+
+When sure that the stain is well rubbed in and dry, apply butcher's
+wax, and polish with a soft cloth. Some articles need two coats of
+stain, and an equal amount of polish.
+
+In all work impress upon the child the fact that what is worth doing is
+worth doing well, or it should not be done at all.
+
+Each model given works out a problem in handling the knife and cutting
+the wood, and each problem leads up to the one that follows.
+
+We will begin with the simplest thing one can make--a puzzle.
+
+
+1 Puzzle
+
+     _Problem_--To cut with the grain of the wood, and how to cut
+     corners. (See page 57.)
+
+     _Material_--Basswood: one piece 7x1-1/2x3/16 inches; one
+     piece 3x1-1/2x3/16 inches. One yard of macrame cord.
+
+Shave the 7x1-1/2-inch strip of wood down with a knife until it is an
+inch wide, being careful to keep the edges parallel. Measure off
+three-eighths of an inch in opposite directions on each corner and on
+both sides of the wood. Connect these points by a pencil line. Cut off
+each corner the space indicated by the line. Be careful always to cut
+with the grain of the wood; cutting against it will split the board.
+Next, three-fourths of an inch from each end, and equally distant from
+the sides, and in the center, bore holes. From the 3x1-1/2-inch piece
+of wood, cut two blocks one and one-half inches square, and bore a hole
+in the center of each. Double the string to a loop and draw this loop
+through the center hole of the rectangular strip. Pull the loop to the
+edge, and draw through it the two ends of the cord. String the
+1-1/2-inch blocks, one on each cord, then tie the ends of cord in the
+two end holes of the rectangular strip.
+
+The puzzle is finished. What is the aim, and how can it be solved?
+
+[Illustration: PUZZLE]
+
+_Solution._ Mark one block. Hold one in the hand and move the other
+along until it passes through the loop at the center.
+
+Pull the cord through the middle hole until it draws with it four
+thicknesses of cord. Now slide the block along until it passes through
+a double loop. Next, draw this double loop back through the hole; the
+string will be in position, and the block is now passed along through a
+single loop and onto the string containing the other one. To replace
+the block, turn the puzzle around and repeat the process.
+
+
+2 Plant Label
+
+     _Problem_--To cut across the grain, and, by removing two
+     equal triangles, to form a well-tapered point.
+
+     _Material_--One piece of basswood, 6x1x1/4 inches.
+
+[Illustration: PLANT LABEL]
+
+Take the end A B and find the center, C. From A measure off two and a
+half inches, and place point D. From B measure off two and a half
+inches, and place point E. Connect points CD and CE. Place the same
+measurements on the reverse side. With the knife cut off triangles
+A-C-D and B-C-E. Sandpaper the wood until it is smooth and the label is
+finished.
+
+
+3 Pencil Sharpener
+
+     _Problem_--Curve-cutting.
+
+     _Material_--One piece of basswood, 6-1/2x1-1/4x1/4 inches.
+     One piece of sandpaper, 1x3-1/8 inches. Glue. Stain.
+
+On the wood place points three and a quarter inches from each end, at A
+and B, and connect them by line A-B. Place points G and H half an inch
+from C and D. Start your curve at G, pass through I, and end at H. In
+the rectangle A-B-F-E draw a handle as indicated in the diagram. Shape
+the other end by removing spaces G-C-I and H-D-I. Sandpaper thoroughly.
+Shape one end of the 1x3-1/8-inch piece of sandpaper as curve G-I-H,
+and glue it to the wood. Stain the wood and polish it by rubbing it
+with a soft cloth.
+
+[Illustration: PENCIL SHARPENER]
+
+
+4 Match Scratch
+
+     _Problem_--Curve and cross-grain cutting.
+
+     _Material_--One piece of basswood, 3-3/4x3x1/4 inches. One
+     piece of sandpaper, 2-1/2x3 inches. Glue.
+
+[Illustration: MATCH SCRATCH]
+
+Place a point at the center of line A-B and of line C-D. Place a point
+on line A-C and line B-D, one and one-quarter inches from A and B.
+Connect these points by a pencil line, and draw another line one-eighth
+of an inch below. Score these two lines with the point of the knife,
+making a tiny groove. Draw curves A-E and B-E, the highest point of the
+curve being half an inch from the edge A-E-B. Draw curves G-F and H-F.
+Remove spaces 1, 2, 3, and 4. Sandpaper thoroughly the edges and sides.
+Shape the piece of sandpaper, two and a half by three inches, to fit
+the space G-F-H, allowing a quarter-inch margin, and glue it on. Bore a
+hole at 5. Do not stain.
+
+[Illustration: KITE STRING WINDER]
+
+
+5 Kite-String Winder
+
+     _Problem_--Cross-grain cutting.
+
+     _Material_--One piece of basswood, 5-1/2x2-1/2x1/4 inches.
+
+Measure and lay off as shown in the diagram, and cut out all spaces
+indicated by dotted lines. Sandpaper the wood until it is smooth. Stain
+the winder or not, as is preferred.
+
+
+6 Thermometer Back
+
+     _Problem_--Beveling and grooving. (See page 62.)
+
+     _Material_--One piece of basswood 6x3x1/4 inches. Stain.
+
+For the thermometer back the measurements need be placed on but one
+side of the wood.
+
+Mark off a quarter-inch from the edge all around and draw a line. Place
+a second line a quarter-inch within this. Using the line nearest the
+edge as a guide, cut off the sharp edges on the face of the strip of
+wood until the slant surface is reached between the line and the back
+edge. This makes the bevel. The inner line is a guide for spacing the
+design. Originate a simple design, and lay it off on the board in
+pencil. Then, using the point of the knife, with the greatest care
+groove out the design. Place a hole near the top of the strip by means
+of which to hang it. Notice that the design fits around the hole.
+Sandpaper, stain, and polish the wood.
+
+The design given here is the simplest that can be made. It is suggested
+that until the child becomes accustomed to working with the knife, all
+designs for grooving had better be confined to straight lines. Combine
+in a design a vertical, a horizontal, and an oblique line, and some
+beautiful patterns may be originated.
+
+
+7 Pocket Pin-Cushion
+
+     _Problem_--Circular cutting, grooving, stenciling, and
+     coloring. (See page 63.)
+
+     _Material_--Basswood: two pieces, 3x3x1/4 inches. One piece
+     of heavy felt 3x3x1/4 inches. Glue. Water-color paints.
+     Stain.
+
+Find the center of each square of wood by drawing the diagonals. With
+the compass at the radius of one and one-half inches, describe a circle
+on each piece of wood (on one side only). Remove spaces A, B, C, and D
+with the knife, and you have a circular block. Remember to cut with the
+grain. Bevel the edges. Make an original design and apply it to your
+wood. With the knife groove the outline of this design. There should be
+a space three-eighths of an inch wide between the edge of the wood and
+the outer edge of the design. When the design is grooved in, color
+it. Red, green and yellow are the best colors. Their identity is not
+lost in staining. Lastly, stain and polish the face of the blocks. Cut
+the felt the size of the blocks, cover the back of each block with
+glue, place the felt between the two, and keep the whole in press for
+several hours. The model here suggests two designs. These are given
+simply as illustrations. Use the same design for both backs of the
+cushion.
+
+[Illustration: THERMOMETER BACK--(For description see page 61.)]
+
+[Illustration: PIN CUSHION]
+
+[Illustration: DESIGNS FOR PIN CUSHION]
+
+
+8 Picture Frame
+
+     _Material_--Basswood, sweet gum, walnut or oak. One piece,
+     8x6x1/4 inches, for frame; one piece, 5-1/4x4x1/4 inches,
+     for back; one piece, 4-1/2x3x1/4 inches, for supports; two
+     pieces, 3-1/4x3/8x1/4 inches, and one piece, 5-1/4x3/8x1/4
+     inches for cleats. Glue. Half-inch brads.
+
+Should basswood be used it must be stained. Sweet gum, walnut, or oak
+may be left in its natural state, and oiled to bring out the grain and
+finish.
+
+[Illustration: PICTURE FRAME]
+
+On the 8x6x1/4-inch board mark off with a pencil a center space
+2-3/4x3-3/4 inches in size. With a gimlet bore holes at points A, B, C,
+and D. Connect these holes with a pencil line as a guide for cutting.
+Along the line make a groove which may be broadened and deepened until
+the board is cut through. By working around the square in this way, the
+center will soon be opened. Trim the wood as smoothly as possible with
+a knife; then use sandpaper to level and finish off. Bevel the edge of
+the opening if you wish.
+
+Cut in half the 4-1/2x3x1/4-inch piece of wood, and make two supports,
+as in Figure 2. With a pencil draw the shape of these supports on the
+wood; in whittling work very carefully, as they are small and will
+easily split. As far as possible, hold the pieces so that the knife
+will shave with the grain of the wood. In crosscut work from the
+opposite side. In straight cut, keep notches at opposite ends, so that
+if the knife should slip and the wood split no serious damage will be
+done.
+
+Place the cleats on the back half an inch from the opening, the longer
+fitting in between the two shorter ones. Glue them on, then nail them.
+Against these cleats glue the back (1) before nailing it. Next glue and
+nail on the two supports against the back and on a level with the lower
+edge (Figure 4). On the fourth side, where there is no cleat, is the
+opening through which the picture is slipped. When the frame is
+satisfactorily sandpapered, oil and polish it.
+
+
+9 Japanese Box
+
+     _Problem_--To construct a box having lid and bottom extend
+     beyond sides.
+
+     _Stock_--Basswood: two pieces, each 8-1/2x3-1/2x1/4 inches,
+     for lid and bottom; two pieces, each 8x2x1/4 inches, for
+     sides; two pieces, each 2-1/2x2x1/4 inches, for ends; two
+     pieces, each 2-1/2x1/4x1/4 inches, for cleats. Glue.
+     Half-inch brads. Stain. Wax.
+
+[Illustration: JAPANESE BOX]
+
+On the 8-1/2x3-1/2x1/4-inch pieces of wood, cut a bevel a quarter of an
+inch wide.
+
+Place the two ends between the two sides; glue and nail. Set this
+rectangular frame on the under side of the bottom, equally distant from
+each edge, and trace the shape with a pencil. Remove the frame; the
+pencil line indicates where the nails are to be driven to secure the
+frame to the base. Now set the frame on the upper side of the bottom;
+aim for the same spacing as on the under side, and mark off. Carefully
+cover the lower edge of this frame with glue, place it on the base and
+press the two until the glue is dry. Drive the brads through from the
+under side of the base an eighth of an inch within the guiding line.
+Having beveled and sandpapered the lid, trace a design on it, and
+outline this design by grooving.
+
+[Illustration]
+
+Nail the 2-1/2x1/4x1/4-inch cleats to the under side of the lid,
+five-eighths or an inch from each end and half an inch from each side.
+These cleats fit into the box and hold the lid on.
+
+Stain, wax, and polish the box.
+
+
+10 Grandfather's Chair
+
+     _Material_--Basswood: three pieces 5x2x1/8 inches; one piece
+     2x2x1/8 inches. Brads. Sandpaper. Glue. Stain or oil.
+
+[Illustration: GRANDFATHER'S CHAIR]
+
+Measure and lay off as you have done in making the other small pieces
+of wood work. Handle the knife most cautiously, as the wood is so thin
+that it is easily split. When all parts are cut out and well
+sandpapered glue them together and secure them by driving in the brads
+about an inch apart along the line of the seat and where the arms join
+the back. Stain or oil as most convenient, or as taste dictates.
+
+
+
+
+PART IV
+
+BASKETRY
+
+
+
+
+BASKETRY
+
+
+INTRODUCTORY REMARKS
+
+The art of basket-making is a primitive one, and so simple that it
+appears to have been known among the rudest people and in very early
+ages.
+
+When Moses was found by Pharaoh's daughter, he was lying in a basket
+which had been woven by his mother.
+
+Later, when the Israelites were returning to the Promised Land, they
+were commanded to offer unto the Lord "the first of all the fruits of
+the earth" in a basket, as soon as Canaan became their possession. The
+baskets of the rich, of these ancient Israelites were made of gold and
+silver, and so valuable were they that when a gift was sent in one of
+them the basket was always returned.
+
+The ancient Britons were remarkably expert in the manufacture of
+baskets, which were so beautifully made that they were highly prized by
+the Romans.
+
+Our own American Indians were, and still are, such adepts in the art of
+basket-making that, for beauty and artistic effect, their baskets are
+excelled by none.
+
+The perfection attained in this art by the uncivilized is marvelous.
+Adapting the materials about them to their use, they produce
+masterpieces which the civilized man beholds in wonder and amazement.
+
+Though handed down to us through many ages, this ancient occupation has
+never lost its fascination. The adult and the child of to-day are as
+eager to learn its secrets as were those dwellers on the banks of the
+Nile, hundreds of years ago.
+
+As a plastic art it lies between paper construction and clay modeling
+on one side, and wood and iron work on the other.
+
+A keen interest in the art may be awakened by arousing in the child a
+desire for a basket for some practical purpose. In the autumn, the
+collecting of seeds for next spring's planting, the gathering of nuts,
+the need for something in which to take the lunch to school, or,
+perhaps, a wish to make a pleasing gift for the coming Christmas, will
+immediately suggest its utility.
+
+[Illustration: NORTH CAROLINA PINE]
+
+Of what shall the basket be made? Children enjoy those things most
+which they feel that they have exerted themselves to obtain; and the
+greater the effort involved, the greater the educational value. Every
+child should be trained to keep his eyes open and to adapt to his use
+the things he sees about him. Materials for baskets may be obtained in
+just this way. City children may take a trip to the country and gather
+the long grasses found in swamps and low places. Perhaps in the garden
+at home there is a clump of yucca; when the fall comes and the bloom is
+gone the leaves or blades may be cut, dried and stripped, and
+transformed into an attractive basket or tray. Again, the husks which
+are stripped from the corn cooked for dinner may be torn into narrow
+ribbons and dried for use. Corn husks make a beautiful basket, for the
+different shades of green change, after the husks have dried, to as
+many shades of brown, which blend most artistically when worked up. The
+little children of the South may gather the long needles that fall from
+the southern pine, and combine them with raffia or twine to construct a
+basket. Country children have a most adaptable and convenient commodity
+in the tough, flexible willows found on the banks of almost every
+stream.
+
+The material most commonly used and easiest to begin with, however, is
+reed, which is pliable, and readily handled and moulded into simple
+forms by even small children. It is available when other materials are
+not to be had, for it may be purchased with the school supplies.
+
+Reed is the core or central part of the climbing calamus, a species of
+palm found in the jungles of Borneo and adjacent South Sea islands. The
+outside of the raw calamus is smooth and is made into commercial cane
+used for chairs. The shavings, made by the machine which separates the
+cane from the core or inner reed, are utilized for mats, polishing
+material, and stuffing for mattresses and furniture. Thus every part of
+the raw material is brought into use.
+
+Originally the calamus grew in a limited area and was difficult to
+obtain. Only the natives could gather it, as the white man contracted
+the jungle fever as soon as he subjected himself to the climate in
+which it grew. But within the last fifty or seventy-five years
+enterprising men have begun the cultivation of the rattan palm, and
+have met with so much success that now there are a number of factories
+in the United States making the reed and rattan of commerce, while
+Germany and Belgium export to us the best reed that is used.
+
+[Illustration: REED BASKETS]
+
+The teacher should never begin the use of any new material for
+construction without having made the child familiar with its history;
+nor should a finished article be laid aside until the pupil has given
+the teacher a description of how it is made, and of what it is made. If
+this method is carried out the child will show a greater appreciation
+of what he is doing, will value the finished article more highly, and
+will place a premium on the raw material.
+
+Overlook the pupils in their work, but grant them the privilege of
+adjusting size and shape, and of selecting material for the
+requirements of the design they have in mind. By achieving what he can
+for himself, the pupil attains a realization of his own power, and the
+logic of size, shape, material, etc., is awakened.
+
+
+REED CONSTRUCTION
+
+In construction, the first thing to teach a child is how to handle the
+material. To do this, use small quantities and attempt only simple
+articles. Reed is the simplest thing to begin with, and the easiest of
+all basket-work models is the napkin ring. Soak all the reed and dry it
+with a cloth before using.
+
+
+1 Napkin Ring No. I
+
+     _Problem_--To construct a napkin ring of reed.
+
+     _Material_--No. 2 reed, 7 feet.
+
+Take one end of the reed and form a loop two inches in diameter, and
+wind the reed three times to form the ring. Hold it in the left hand.
+Pass the loose end over the curve and through the circle. Pull it taut
+enough to make it lie in a natural curve. Repeat this movement--over
+and over, round and round--allowing the strands always to follow the
+valley between the two former laps. When the foundation is covered,
+clip the end where it finishes up, press it into place in the groove,
+drop a little glue over the point at which it is pressed in, and bind
+the ring with a string to hold the end in position. When the glue has
+dried, remove the string.
+
+[Illustration: No. I     No. II
+REED NAPKIN RINGS]
+
+When the napkin ring has been made, the child has learned the principle
+involved in constructing a basket handle.
+
+
+2 Napkin Ring No. II
+
+     _Problem_--To construct a napkin ring of No. 5 reed. (See
+     page 75.)
+
+     _Material_--No. 5 reed, 2-1/2 feet.
+
+In using No. 5 reed, form the loop two inches in diameter, but have the
+ring of only one thickness, and proceed as in ring No. 1. This will
+make a napkin ring of different appearance because the windings are
+fewer and the reed thicker.
+
+
+3 Mat
+
+     _Problem_--To construct a simple mat of reed.
+
+     _Material_--No. 4 reed: eight spokes, 9 inches long; one
+     spoke, 6 inches long. Weavers of No. 2 reed.
+
+[Illustration: Figure 1     Figure 2
+TO START A REED MAT OR SIMPLE BASKET]
+
+Place together, at right angles, two groups of four spokes of No. 4
+reed. To the under group add the six-inch spoke of No. 4 reed (Figure
+1). Hold the spokes firmly in the left hand. Take the No. 2 weaver and
+insert it under the thumb. Wind the weaver diagonally over the crossing
+point in both directions (Figure 2). Then wind the weaver over and
+under alternate groups of spokes, three times around. Hold both spokes
+and weaver firmly in place with the left hand. Separate into single
+spokes now and continue weaving until your mat is four inches in
+diameter. Fasten the end of the weaver by tucking it down beside a
+rib. The projecting ribs are trimmed to an even length and pointed.
+Take any given spoke, as No. 1, bend it to the left in front of No. 2
+and insert it on the right side of No. 3. No. 2 is now taken and
+carried to the left over No. 3 and inserted to the right of No. 4.
+Proceed thus until all the spokes are inserted, when the mat is
+finished. The scallops should form a semicircle.
+
+[Illustration: REED MAT]
+
+For a larger mat, take ten spokes, sixteen inches long, of No. 4 reed,
+and one spoke nine inches long of the same. Use No. 1 reed for the
+weaver and proceed as in making the smaller mat.
+
+To add a new weaver, place the end about two spokes back of where the
+former weaver ended and parallel with it.
+
+
+4 Hamper Basket
+
+     _Problem_--To construct a simple reed basket.
+
+     _Material_--No. 4 reed: eight spokes 16 inches long; one
+     spoke 9 inches long. Weavers of No. 1 reed.
+
+Begin the basket exactly as the mat was begun. Weave until the bottom
+is three inches, or three and a half inches in diameter. Then bend the
+spokes at right angles with the base, drawing the weaver tight so as to
+hold the spokes in position and keep them separated at an equal
+distance. Continue weaving until the basket is three inches high, or
+until about one and a half inches of spokes is left for the border.
+Finish the edge by turning down the spokes as in the edge of the mat,
+or bend them down flat with the edge of the basket. Take any spoke, as
+No. 1, bring from right to left over No. 2, then No. 2 over No. 3, and
+so on until the ends of all the spokes are turned to the inside of the
+basket. Keep both basket and weaver well dampened while weaving. After
+the basket is finished press it into shape while still damp. When it is
+thoroughly dry trim off the ends of the spokes which appear too long on
+the inside of the basket, leaving them just long enough to be held in
+place by the curved spoke under which each passes. This makes a
+beautiful hamper basket.
+
+[Illustration: HAMPER BASKET]
+
+A handle may be added to this little basket, but it is not advisable to
+encourage a child to add a handle until he has made his third basket or
+has shown in some way proficiency in what has been taught so far.
+
+_To add a handle._ Take a length of reed, of the same number as the
+spokes, for the handle bow. For a small-sized basket take ten inches.
+Insert one end down through the weaving beside one of the spokes. Bend
+the bow into the shape you wish for the handle and insert the other end
+of the bow beside a spoke on the opposite side of the basket, being
+careful that the two spaces between the two ends of the handle are
+equal. The handle should be about as high above the border as the
+border is above the bottom of the basket. The width of the handle
+should be a little less than the width of the basket at the top.
+
+You are now ready to cover the handle. Take a long weaver; push one end
+of it through the wale under the second row. Hold the end in place and
+wrap the weaver about the handle bow, keeping the spaces about equal,
+and drawing taut enough to be graceful, until it reaches the opposite
+side. Then draw the weaver through the wale and under the second row
+and up on that side; next wind about the handle bow again, back to the
+starting-point. Push the weaver through the wale, under the second row
+and out again, and once more wind across the handle bow. Repeat this
+operation from side to side until the handle bow is covered. Keep each
+row of winder close to the preceding one and parallel to it. When the
+bow is covered, tuck the end of the weaver through the wale and under
+the second row and clip the end, leaving it just long enough to stay in
+place. The handle bow needs to be damp enough to be flexible, but
+unless the winding weaver is well soaked it will crack and make
+trouble.
+
+
+5 Basket Tray
+
+     _Problem_--To construct a reed basket or tray, having an
+     even number of spokes, and using same number reed for both
+     spokes and weaver.
+
+     _Material_--Sixteen spokes, each 11 inches long, of No. 3 or
+     No. 4 reed. Weaver of reed of same number as spokes.
+
+Separate the spokes into groups of four. Place set No. 1 on and at
+right angles to set No. 2. Sets 3 and 4 are laid diagonally across sets
+1 and 2.
+
+[Illustration: HOW TO BEGIN THE BASKET TRAY]
+
+Hold the spokes firmly, attach the weaver and go in and out four times
+round, over and under the same set of spokes each time. At the end of
+the fourth round, pass the weaver over two sets of spokes and weave
+four rows. Next separate the spokes into sets of two and weave one row;
+now each time that the weaver comes to starting-point in the circle,
+pass it over two sets of spokes instead of one, and then weave the next
+round. When you have been around seven times using double spokes, bend
+the spokes up for sides and weave two more rows over double spokes.
+Then separate into single spokes and weave six rows, remembering each
+time to pass the weaver at the end of a new round over two spokes
+instead of one, so as to have them properly alternated. Trim the ends
+of the spokes to an equal length and start the border by bending any
+given spoke to the right and inside the tray, holding it in place.
+Continue with each succeeding one until all the spokes have been bent
+into position. These spokes being bent so closely and consecutively
+over each other, form a coil resembling the handle of a basket. The
+points of the spokes are pushed under the coil, through from the inside
+to the outside of the basket. Keep a vessel of water at hand and wet
+the material constantly as you weave. When the tray is finished, press
+it into shape and set aside to dry. When it is well dried, clip off the
+projecting ends.
+
+[Illustration: REED BASKET TRAY]
+
+
+6 Basket with Handle
+
+     _Problem_--To construct a basket using an uneven number of
+     spokes, spokes and weaver the same number reed; and to add a
+     handle.
+
+     _Material_--No. 3 reed: eight stakes, each 20 inches long;
+     one stake 11 inches long. Weavers of No. 3 reed.
+
+Make two groups of four each of the twenty-inch stakes. Place one set
+at right angles across the other, and beside the under set insert the
+eleven-inch spoke. Hold the spokes firmly between the thumb and the
+forefinger of the left hand, and with the weaver in the right hand
+place the starting end under the edge of the upper set; bring it
+around and over set No. 1, under No. 2, over No. 3, under No. 4, and
+repeat this operation four times. Now separate the spokes into groups
+of eight twos and one single, and weave four rounds. Next cut seventeen
+eleven-inch stakes and push one in beside each stake already used.
+Divide them into seventeen pairs. Weave round and round until you have
+a base three and one-half inches in diameter. Being sure that the
+weaver is damp and pliable, with fingers, or "pliers," bend up the
+stakes close to the weaving, at right angles with the base, and
+continue weaving until the basket is four inches deep. Then trim the
+stakes, if necessary, to uniform length and bend them over to form the
+border. Take any stake, as No. 1, and work from right to left. Bend
+down No. 1, pass under No. 2 and over No. 3. Then take No. 2, pass
+under No. 3 and over No. 4. Continue until every pair of stakes has
+been turned down and worked into the border. All ends must come inside
+the basket; after it is dry, trim them off. You will find that in
+working with the wet reed your basket may seem not to have the proper
+shape. Soak it well and you will be able to mould as you wish it. Add a
+handle.
+
+[Illustration: REED BASKET WITH HANDLE]
+
+This basket is made almost exactly like the little hamper basket
+previously described, except that in this one, we use double stakes,
+while in that one, single stakes were used; the sides of this one are
+vertical, those of that one slightly curved.
+
+       *       *       *       *       *
+
+In passing from the reed basket, the next step would be the raffia and
+then the combination of reed and raffia, which is worked out in all
+forms of Indian basketry. The most common stitch is known as the "lazy
+squaw," and is made by winding the raffia round the reed one, two, or
+three times, as space is desired; and then the needle is taken through
+the row below to make the stitch. Each stitch is a repetition of the
+one before and the mat, tray or basket grows with the effort. There are
+innumerable opportunities for design in Indian basketry, and it is here
+that the work of an artist may be realized and recognized.
+
+
+RAFFIA CONSTRUCTION
+
+We may correlate and combine raffia with reed in construction. The two
+materials may be worked together to great advantage and interest to the
+child. For instance, when a napkin ring has been made of reed let the
+child next construct one of raffia, and then compare the finished
+article as to the material vised, the beauty, the flexibility, the
+durability, and the nativity of each.
+
+As in the case of reed, so with raffia before constructing with it,
+pass a piece to each child and give the life history of the plant.
+Madagascar may be a name only to the small child, but the very
+vagueness of his knowledge concerning it may cause him to realize the
+distance of the island from us and appreciate that this simple material
+with which he is working has traveled thousands of miles to bring him a
+story and an occupation.
+
+Raffia, a native of the South Sea Islands and of Madagascar, is the
+inner bark of the raphia palm, pulled off, torn into narrow strips,
+dried in the sun, and bound into bunches, which are plaited together
+and stored ready for use or shipping.
+
+We receive the raffia in its natural state, but many colors may easily
+be had by dyeing. In _Practical Basket Making_, by George Wharton
+James, some valuable suggestions on dyeing are given; but the small
+quantity of raffia a teacher will need may be dyed with very little
+trouble with the "Easy Dyes" manufactured by the American Color
+Company. Follow directions and the results will be most satisfactory.
+Be very careful to have the dyes strong enough, as raffia absorbs an
+enormous amount of coloring. All raffia should be washed before dyeing;
+it should be well dried before being put into the dye pot, since it
+takes the color better when dry.
+
+If you have pupils old enough, or a class on which you can rely,
+nothing will delight them more than to do their own dyeing. A
+fourth-grade class in one of the Baltimore schools has successfully
+dyed all the raffia, cord, cotton, and textiles used in their
+classroom. The child dearly loves color; the possibility of having
+different shades to work with will arouse an intense interest in
+procuring these colors. It will be unusual if the pupils do not handle
+with care the materials and the dye pot.
+
+In adapting a commodity to circumstances in this way, the broader
+knowledge of how the colors in clothing are obtained will develop and
+there will be created in the child a new idea of life and of man's
+work.
+
+The natural color of the raffia is much improved by washing; therefore,
+before using it loosen it and soak it in clean water so that all dust
+and dirt may be removed and the strips or strings straightened out;
+then hang it in the air until thoroughly dry.
+
+Before offering any models of the combined reed and raffia, we shall
+give a few of raffia alone, as we did of the reed.
+
+
+7 Plaited Rope
+
+     _Problem_--To teach different ways in which the plaited rope
+     of raffia may be applied.
+
+     _Material_--Raffia.
+
+Begin the use of raffia by teaching the child the three-strand plait,
+adding a new thread from time to time, until a long rope is made. Next
+teach how to coil this rope into a mat, a purse, a basket, or a hat.
+
+In plaiting, keep the raffia damp and use strands of equal size.
+Dampness adds gloss and smoothness to the finished article.
+
+[Illustration: THREE-STRAND PLAIT]
+
+In the construction of articles of plaited raffia an opportunity opens
+up to bring the child's inventive ingenuity into play. Get him to think
+of something he might make, and to construct it roughly of paper. With
+his model as a guide for shape and size, he can easily reproduce it in
+raffia. The first pattern may be crude, but each repetition will
+produce a better one, and interest will lend enchantment, until both
+pattern and reproduction will be most creditable.
+
+
+8 Plaited Mat
+
+     _Problem_--To construct a mat of plaited raffia rope.
+
+     _Material_--Raffia.
+
+[Illustration: MAT OF PLAITED BRAID]
+
+The starting-point in all these designs is the little round coil,
+called the button.
+
+To make a mat, first plait a rope several feet long. To form the button
+hold the end of the rope between thumb and forefinger, and begin to
+roll the rope just as a watch spring is coiled. With a needle and fine
+thread of raffia, make the button firm; then keep on coiling around
+the button and, as each row is added, tack it to the preceding row by
+pushing the needle in and out at right angles with the braid, so that
+the stitch may be invisible. When finished the mat should be about four
+inches in diameter. The object of winding the plait sideways is to give
+the mat firmness and thickness.
+
+
+9 Purse
+
+     _Problem_--To construct a purse or bag of plaited raffia
+     rope. (See page 87.)
+
+     _Material_--Raffia.
+
+To make a purse, plait enough rope to make two mats three and a half
+inches in diameter. To construct these mats first make the button. Work
+this time with the braid flat. Sew by holding the inner edge of the
+plait just under the outer edge of the preceding row. When both mats
+are finished, place them flat against each other, and overseam or
+buttonhole the edges together for about two-thirds of the
+circumference. Plait a rope, seven inches long, for a handle. Tie a
+knot in each end, and ravel the ends of raffia to form a tassel. Attach
+this handle to the purse at each side, where the opening begins. Girls
+especially delight in this little purse or bag.
+
+
+10 Plaited Basket
+
+     _Problem_--To sew braid together to form ONE angle. (See
+     page 88.)
+
+     _Material_--Raffia.
+
+     _Dimensions_--Bottom three inches in diameter; sides two
+     inches high; handle six inches long and two braids wide.
+
+Using three threads of raffia, plait a rope several feet long. Proceed
+just as with purse, and sew until you have a mat three inches in
+diameter. Now place the braid at right angles with the base, and sew
+round and round to form the sides. When these are two inches high
+fasten the braid; and, without cutting it, carry it to the opposite
+side to form the handle. Fasten it there and bring it back again, to
+make the handle two braids wide. Either overseam these together to make
+a broad handle, or leave them separated to form a double handle.
+
+An easy way to obtain a more uniform shape in constructing this basket
+is to have a smooth tumbler or a tin box, and, as you work, fit the
+material to the form. When it is finished, dampen it and let it remain
+on the form until it dries.
+
+[Illustration: PURSE OR BAG OF PLAITED RAFFIA--(For description see
+page 86.)]
+
+[Illustration: BASKET OF PLAITED RAFFIA--(For description see page
+86.)]
+
+
+11 Hat of Plaited Rope
+
+     _Problem_--To sew the braid together to form two angles.
+
+     _Material_--Raffia.
+
+[Illustration: HAT OF PLAITED RAFFIA]
+
+First plait the raffia together until you have a very long braid. Take
+the starting end, make the button, and sew round and round, as in
+making the purse. When the top of the crown is as large as you wish it,
+turn the braid at right angles and form the sides. When, in your
+judgment, the crown is high enough, make a second right angle to form
+the brim, which may be wide or narrow as taste dictates. Use a blunt
+needle (Smith's tapestry, No. 18).
+
+
+12 Napkin Ring
+
+     _Problem_--To construct a raffia napkin ring.
+
+     _Material_--Raffia. A piece of tag-board 1-1/2 or 2 inches
+     wide and 6 inches long. Quarter-inch ribbon or strip of
+     paper, or raffia of a contrasting color.
+
+There is mentioned a raffia napkin ring in comparison with the one of
+reed.
+
+Take the strip of tag-board, fasten the ends together and wrap with
+raffia until the board is covered.
+
+It may be ornamented with a narrow strip of ribbon, paper or colored
+raffia woven around the center. If ribbon or raffia is used tie the
+ends in a bow. If paper is used the ends must be glued.
+
+
+13 Indian Basket
+
+     _Problem_--To teach construction with twisted raffia rope.
+     (See page 91.)
+
+     _Material_--Two contrasting colors of raffia.
+
+First think of what shape and size you would like a basket; then
+roughly sketch a design, in order that an idea of shape, size, and
+proportion may be had. Keep the design before you and work as closely
+from it as possible.
+
+Take three thick strands of raffia and twist them into a rope. In
+starting have the threads unequal in length, as it is much neater to
+add one new thread at a time than two or three. Keep the rope of the
+same thickness throughout, and as each thread is used up, insert
+another overlapping the old one two or three inches. Around this rope,
+and twisted in the same way, wrap a contrasting color of raffia, aiming
+to have the spaces equal and using threads of the same size. Having
+twisted and wound four or five inches start the basket by forming a
+button, then, holding the button firmly with the left hand, coil the
+rope round and round and sew it. Use the sharp-pointed needle and join
+the coils in such a way that the threads will coincide with the twist.
+
+When the basket is finished, the opening at the top should be either
+greater or less in diameter than the base. Make a lid exactly as the
+base is made, and have it just a shade wider than the opening so that
+it will be supported. The ring with which to lift the lid is made by
+wrapping raffia three or four times over the finger, and then
+buttonholing it over. Sew the ring to the middle of the lid and attach
+the lid to the basket.
+
+[Illustration: INDIAN BASKETS]
+
+The model here given is made of white raffia twisted with red. Diameter
+of base, 4 inches; height, 2-1/2 inches; opening at top, 3-1/2 inches;
+diameter of lid, 3-3/4 inches.
+
+[Illustration: INDIAN BASKET--(For description see pages 89 and 90.)]
+
+
+14 Grass Basket or Tray
+
+     _Problem_--To teach how to construct a basket of grass, pine
+     needles, or corn husks.
+
+     _Material_--Narrow-blade marsh or sweet grass. Raffia for
+     sewing.
+
+Make a design in pencil, ink, or colored crayon.
+
+Here the adaptability of material gathered about the home is
+illustrated. The tall, fine marsh grasses may be collected, spread out
+for three or four days where they will dry, and then utilized. You will
+find that almost every blade of this grass varies in color. The root
+end may be brown, while toward the tip the leaf shades into a light
+green, or white, or vice versa; this blending, when the grass is
+bunched, is most artistic.
+
+Bunch a sufficient number of blades to make a coil a half or
+three-quarters of an inch in diameter. Do not twist. Never allow the
+coil to lessen in size. Keep adding fresh strands by slipping the root
+ends of the new blades up between those already in the coil. When we
+begin to sew we do not wrap the grasses as we wrapped the strands of
+raffia, but simply use as a sewing thread raffia of a contrasting or
+blending color. To form the button, wrap the threads three or four
+times around the root ends of the bunch, fasten tightly, then coil to
+form the center. Take the needle through the center and over the coil
+as many times as you think necessary to make the button firm. These
+stitches are the beginning of the spiral rays which radiate to the edge
+of the basket. Take the stitches at equal distances from each other.
+Handle the needle so as to pass from back to front, and always have the
+new stitch pass through the stitch of the coil just below it from right
+to left. When the coil has been wound around four or five times, the
+stitches will be seen to interlock and form a spiral. Soon the spaces
+will become too wide; then take an extra stitch in the center of each
+space, thus adding another set of rays. Continue adding new sets of
+rays as the spaces widen, until the basket is finished.
+
+[Illustration: BEGINNING OF BASKET TRAY]
+
+When the base has grown to the required size, turn up for sides and
+continue sewing in the same way until the necessary depth is obtained.
+To give a finish add enough grass to make a thick coil around the edge.
+
+Colored hemp may be woven in with the grass either as a lining or so
+inserted as to make a beautiful pattern. The value of the basket will
+be enhanced by the use of sweetgrass, if this material is obtainable.
+
+The model given is made of marsh grass, sewed with raffia of natural
+color, and the design is made in pink hemp. Its base is five inches in
+diameter; its depth one and one-fourth inches.
+
+Corn husks may be used instead of grasses, and are unexcelled for
+beauty and artistic effect. Use the inner husk from the ear when green;
+though the husks will dry, the varied color will not be lost. When made
+up with a contrasting color of green or golden brown raffia they are
+most attractive. Grasses may be kept a long time; but before using them
+soak them thoroughly, and let them dry out. This treatment will make
+them so pliable that they may be handled as easily as though freshly
+gathered. The long needles of the southern pine also are thus worked
+up.
+
+[Illustration: BASKET TRAY]
+
+
+15 Basket of Splints and Raffia
+
+     _Problem_--To teach construction, using splints and raffia.
+
+     _Material_--Splints of ash or flat reed: eighteen splints,
+     each 1/4x12 inches; 3 splints, each 1/4x18 inches, for
+     binding of edge. Raffia of two or three colors.
+
+     _Dimensions_--Base, 4x4 inches. Depth, 2 inches. Sides, 2x4
+     inches.
+
+Lay a set of nine splints flat on a surface. Take one of the remaining
+nine and weave across for the first row. Add a second splint, weaving
+in and out through alternate ones. Continue until all the nine splits
+are woven in and the square base of the basket is formed. Have splints
+sufficiently damp to be flexible; otherwise they may break. Bend up the
+splints at right angles to the base for sides, thus making corners. Now
+with the raffia weave in and out, interlace the thread at the corners,
+and draw it tight enough to hold the splints in place. Introduce color
+to suit taste.
+
+[Illustration: BOTTOM OF SPLINT AND RAFFIA BASKET]
+
+When the sides are finished, take an eighteen-inch splint and lay it
+around on the inside of the basket close to the last row of raffia.
+Hold it in place and turn the ends of the basket splints over it
+inward. These end splints must be trimmed evenly and left just long
+enough to bend over the splint running round on the inner side. Take
+two more eighteen-inch splints; having placed one inside the edge and
+the other outside the edge of the basket, with a needle and a long
+thread of raffia whip over and over. Bring the needle through each
+opening between the splints until you have gone around the four sides.
+This makes a suitable border and completes the basket.
+
+[Illustration: BASKET OF SPLINTS AND RAFFIA]
+
+The model given here has ten rows of natural color, ten rows of green,
+six rows of brown, ten of green and ten of natural color, which
+combination makes it two inches deep.
+
+
+COMBINED REED AND RAFFIA
+
+     _Problem_--To teach how reed and raffia may be combined in
+     construction.
+
+The models suggested here are very simple and can be made by the
+younger children of the lower grades. These have been held to
+purposely, for the child needs first to learn how both to use his
+fingers and to handle a needle; and afterward he must have much
+practice before he can take up the more difficult stitch in the Indian
+basketry.
+
+In beginning the combined reed and raffia work, the first thing I
+should make is a miniature umbrella.
+
+[Illustration: UMBRELLA
+(For description see opposite page.)]
+
+
+16 Umbrella
+
+     _Material_--One 9-inch spoke of No. 4 reed for handle. Nine
+     4-inch spokes of No. 1 reed for ribs. Raffia for weaver.
+
+Have the spokes thoroughly soaked and keep them wet. Also, have the
+raffia damp. Place the four-inch spokes around the nine-inch spoke,
+hold them firmly, and wrap tightly with the damp weaver four or five
+times; then tie, but do not cut the weaver. Now stand this bunch of
+spokes on end on a board or desk top, press the nine spokes out so as
+to form a circle parallel with the surface of the desk, and with the
+weaver work in and out among the spokes. The convex top of the umbrella
+will soon form. To lengthen the weaver, tie on a new piece of raffia.
+Continue weaving until within an inch of the ends of the ribs, or until
+the umbrella is four or four and one-half inches across; then fasten by
+tying the weaver to one of the ribs.
+
+To form a ferrule, slide end No. 1 of the handle reed down until it
+stands three-quarters of an inch above the outside of the umbrella.
+Drop a little glue into the cavity to hold the reed in place. Now take
+end No. 2 of the handle reed and curve it to form a ring or to appear
+like the handle of a real umbrella. Tie it with raffia to keep it in
+place and lay the umbrella aside to dry. When it is thoroughly dry,
+clip the points of the ribs to equal lengths.
+
+This little toy suggests the invention of primitive life or of an
+uncivilized nation of which the pupil has some previous knowledge. It
+is most attractive, and to have made it greatly pleases the child.
+
+
+17 Miniature Chair No. I
+
+     _Material_--No. 4 reed: one piece 15 inches long; one piece
+     6 inches long; four pieces 10 inches long. Several lengths
+     of raffia.
+
+Take three ten-inch lengths of reed and bend them so: [Illustration]
+Fasten them together at the joints and wrap with the raffia for about
+two inches to form the front legs. Next attach the fifteen-inch length
+of reed, placing the ends together to form the back legs and allowing
+the extra amount to extend above in a bow to form the back.
+
+You now have the framework of back, seat, and legs. At the back, where
+the bow extends above the line of the seat, place a five-inch piece of
+very wet reed to the front of the bow and at the edge of the seat;
+carry it around and lap it at the back and fasten to hold the back legs
+together and shape the seat.
+
+[Illustration: CHAIR No. I
+Made of reed and raffia.]
+
+This chair has a woven seat of raffia. Use a very long needle and carry
+the raffia from one side of the seat to the other in close lines until
+the space is covered one way. Then reverse the action and work from
+front to back, weaving in and out among the cross threads exactly as
+you do in darning. Be careful to keep the thread even, to prevent
+sagging. When the seat is woven whip the edge all around with raffia
+for a finish.
+
+Next take the remaining ten-inch piece of reed, bend it to a four-inch
+square and insert it between the legs one inch below the seat. Tie it
+to each leg and wrap the intervening space with the raffia as you go
+from leg to leg. This forms the brace which holds the legs in position.
+
+For the back take a very long thread of raffia in your needle, make
+seven cross threads and weave a spider's web, having the center fill
+about one-fourth the space. When the web is finished, buttonhole around
+the reed to fasten the spirals in position and to give a finish to the
+frame of the back.
+
+Lastly measure and trim off the legs to equal length. The back should
+extend two and one-half inches above the seat, and the legs should be
+two and one-fourth inches long.
+
+
+18 Miniature Chair No. II
+
+     _Material_--No. 1 reed: six spokes, 10 inches long; one
+     spoke, 6 inches long. No. 4 reed: two 15-inch lengths; six
+     10-inch lengths and one 12-inch length. Several lengths of
+     raffia.
+
+Weave two mats two inches in diameter in the following manner: Lay
+three ten-inch spokes across three ten-inch spokes at right angles.
+Place beside the under set the six-inch spoke. Take a piece of raffia,
+not too thick, for a weaver, and beginning as you would begin a basket
+or mat with a reed weaver, weave until the mat is two inches in
+diameter. Do not cut either spokes or weaver. Have the reed well
+soaked, that it may be very pliable and in no danger of breaking.
+
+To construct the back, take a mat and a fifteen-inch length of reed,
+bend the latter to a bow and place it back of the spokes at the edge of
+the last row of weaving. Bend each spoke consecutively over this reed
+and bring the end of the spoke through between the last row of weaving
+and the reed. This forms a loop over the No. 4 reed. Thread the weaver
+into a needle, and take it in and out where the No. 1 reed, or spoke,
+crosses between the mat edge and the No. 4 reed in the form of a back
+stitch. The first one fastened, continue in the same way until ten
+spokes are bent over and tied down. Next take the twelve-inch length of
+No. 4 reed, bend it to this shape: [Illustration] then fasten the three
+remaining spokes to the two-inch space as you have done with the other
+ten. Take the second fifteen-inch length of No. 4 reed, bend around
+again and fasten by running a piece of raffia in and out and over
+through each space between the loops. Lay it aside until the seat is
+prepared.
+
+[Illustration: CHAIR No. II
+Made of reed and raffia.]
+
+_Seat._ The mat is ready. Bend a ten-inch length of No. 4 reed into a
+2-1/4-inch square. Set this around the mat, bend the spokes over it and
+fasten as you did those of the back. Again take three ten-inch lengths
+of No. 4 reed and bend so: [Illustration] Place these around three
+sides of the prepared seat and fasten them by wrapping them over and
+over with raffia, and the front and two sides of the chair are formed.
+Adjust the back to the fourth side of the seat; fasten it by wrapping
+it closely with raffia. Next bend to a form near the size of the seat a
+piece of No. 4 reed. Place this around the legs, to form a brace, about
+one inch below the seat in front and about three-fourths of an inch
+below in the back. Let the joining point of the reed come at the back.
+With a piece of raffia fasten this to one leg, then wrap the raffia
+over and over along the brace until the next leg is reached, secure it
+and pass on to the third, then to the fourth, when the entire brace
+will be wrapped with raffia and the four legs held in place.
+
+[Illustration: BACK OF CHAIR No. II]
+
+Where the back is attached to the seat, you will have four No. 4 reeds
+coming together to form the back legs. This would make them too thick
+and clumsy and they would not be symmetrical with the front ones. To
+prevent this, clip two of the reeds between the seat and the brace on
+the legs. Cut out the ends of the one of the back first worked in, and
+the ends of the one forming the back brace. There is left the outer
+fifteen-inch spoke you put on and the one which came around from the
+side of the seat. These two form the back leg on each side. Wrap
+closely with raffia the intervening spaces between the seat and the
+brace so as to leave no unsightly ends.
+
+In bending the reed to fashion the legs it is impossible to have it all
+the same length; adjust this by letting the unevenness come out at the
+foot of the leg and when the chair is finished measure and cut off the
+legs to the same length.
+
+
+RULES FOR CANING CHAIRS
+
+_First: Verticals._
+
+Setting up: Begin at the center hole of the front, pass the cane up
+through the hole from the underside and down through the corresponding
+hole at the back, leaving about four inches to tie off; then up through
+the next hole to the right, pass to the corresponding hole to the
+front, continue to the right and then to the left, until all the holes
+are filled except the corner ones.
+
+_Second: Horizontals._
+
+Begin at the center hole at the left, pass the cane up through the hole
+and over all the verticals and down through the corresponding hole on
+the right, filling all the holes toward the front and then toward the
+back until all the holes are filled except the corner ones.
+
+_Third: Verticals._
+
+Begin at the center hole at the back, pass the cane up through the hole
+at the front, then fill all the holes to the right and the left, except
+the corner ones.
+
+_Fourth: Weaving Horizontally._
+
+Begin at the right-hand side, pass the cane over the upper vertical and
+under the lower vertical, pulling the upper one to the right and
+keeping the weaver to the back of the first horizontal: continue this
+until you have two horizontals in each hole.
+
+_Fifth: Diagonals Running from Left to Right._
+
+Pass the cane up through the front left-hand corner, under the
+verticals and over the horizontals, working toward the upper right-hand
+corner; first the right, and then the left-hand side of the frame is
+filled in this manner.
+
+_Sixth: Diagonals Running from Right to Left._
+
+Pass the cane up through the front right-hand corner and work toward
+the back left-hand corner, passing the cane over the vertical and under
+the horizontal pairs; continue in this way until the entire frame is
+filled with these diagonals.
+
+Tie all the ends securely on the under side of the frame.
+
+_Bind Off._
+
+Lay a piece of cane over the holes on the upper side of the frame. Take
+a second long piece of cane as a weaver, pass it from the under side of
+the frame up through a hole, over the cane, and down through the same
+hole to the under side again. Carry it along to the next or second next
+hole, pass up, over cane, and down in the same way. Continue this until
+the entire frame is bound around.
+
+
+
+
+PART V
+
+THE SCHOOL GARDEN
+
+
+
+
+[Illustration]
+
+THE SCHOOL GARDEN
+
+
+INTRODUCTORY REMARKS
+
+In the spring of 1906, at the request of President R. W. Silvester of
+the Maryland Agricultural College, I wrote, for publication as a
+_College Bulletin_, my experience of one year's work in a city school
+garden. The introduction of school gardens as a factor in the school
+curriculums was then in its infancy. Three years have shown great
+advancement along this line, though the main issue is the same to-day
+as it was then. This paper is a revised edition of the _M. A. C.
+Bulletin_. That President Silvester was a pioneer in the thought that
+"agriculture should enter into education" is shown by the following
+quotation from his introduction to my article of 1906:--
+
+     "The time must come when the child of rural environment must
+     find in the only school which ninety per cent will ever
+     attend, a training which will give it an intelligent
+     adjustment to its environment. With this adjustment, the
+     future work of the child cannot reasonably expect to escape
+     the state of drudgery. When a life's work degenerates into
+     this condition, then contentment with it, or happiness as a
+     result of it, becomes an idle dream. Can the accuracy of
+     this statement be questioned? If so, it would be a great
+     privilege for the writer to receive from some teacher a
+     letter setting forth the particulars in which he is wrong.
+
+     "Let all who are interested in the child from the country,
+     and every one should be, take this as a motto in this great
+     work before us: 'The country is entitled from its state and
+     from its county, to that consideration which will give him
+     every opportunity to secure an education as well suited to
+     his conditions, as is enjoyed by his city brothers and
+     sisters.'"
+
+
+A CITY SCHOOL GARDEN
+
+If a country boy were to hear his little city brother say, "Our class
+has a garden and I have a share in the working of it," the country chap
+would "non plus" him by quickly exclaiming, "What's that! I work in my
+father's garden every year and know all about raising and gathering
+vegetables."
+
+But to the city child, who sees only cobblestones beneath his feet,
+whose view is contracted by rows of dingy houses, or who plays on a lot
+used both as a dump-pile and as a baseball ground, the privilege of
+working in a garden plat is a great one and the products of its soil a
+revelation.
+
+[Illustration: WEEDING THE BEDS]
+
+The aim here is to give an account of one season's work in such a
+garden--a garden treasured by children whose only knowledge of
+vegetable foods was that mother got them in the market.
+
+Through the courtesy of the City Park Superintendent of Baltimore,
+sections of ground in some of the parks are placed at the disposal of
+the Board of Education for school gardens, and the privilege of
+cultivating these gardens is granted to teachers in an adjacent
+building.
+
+It is of the section in Riverside Park that I am writing, and the
+accompanying illustrations are pictures of this garden, taken at
+various times through the season.
+
+These sections are not in prominent places, but for the most part in
+undesirable corners that the park gardener is willing to relinquish for
+the good of the cause. In Riverside Park the plat is adjacent to the
+summer playground, and the second year that I had the garden, at the
+end of June when school closed, a few of the children volunteered to
+attend to it during vacation.
+
+[Illustration: GIRL INTEREST]
+
+The interest of these children attracted the attention of the director
+of the playground and she offered to oversee the work while the
+playground was in session if some of her children might have the
+privilege of working in the garden.
+
+This proved to be an amicable arrangement, as by it the garden was kept
+in good condition all summer. When school opened in September I took
+charge again, that the children might have the full experience. In my
+memory lingers a most vivid picture of a cold November afternoon when
+we gathered what remained of the crops, cleaned off the beds, heaped
+the refuse in the center of the garden, and had a most glorious
+bonfire, though it was not election day. We watched the last spark die
+out, closed the gate, and with regretful steps wended our way back to
+the schoolroom, to await the coming of another spring.
+
+Our plat measures fifty by twenty-five feet and is enclosed by a fence.
+The park gardener became interested in the children's effort and added
+to the success of the work by giving the necessary top soil, lending
+wheelbarrows, and offering occasional suggestions.
+
+[Illustration: MAY I COME IN?]
+
+As a preparation for the outside work we made a thorough study of soil
+composition and seed germination early in the winter. The children
+brought pieces of rock, pebbles, shells, wood, and leaves as concrete
+illustrations and with these before us the following lessons were
+developed:--
+
+      I That soil is made from the wasting away of all kinds of rock.
+     II That soil is made by decaying wood.
+    III That soil is made by decaying leaves.
+     IV That the above composites combine to form productive soil.
+
+The object of the first lesson was to teach that soil is made from
+rock.
+
+The pupils examined stones, pebbles, and shells. They found some
+rough, some smooth. Through the teacher's questions--"Why are some
+rough?" "Why are some smooth?" "If those having a smooth surface now
+were once rough, what has become of the particles which must have
+broken away?"--the class was led to express opinions until the final
+generalization was made: Soil may be formed from the breaking up of
+rocks and shells.
+
+Each topic was treated in a similar manner, the specific qualities of
+the specimen being brought out, until we were able to make the
+summary:--
+
+"Soil is made from decayed rocks and shells; soil is made from decayed
+leaves; the rocks make a coarse soil called sand; the wood and leaves
+make finer soil called loam; the mixture of these soils makes
+productive soil."
+
+[Illustration: WHOSE BED LOOKS THE BEST?]
+
+This summary led to the next lesson, "The Productive Qualities of
+Soil." The question was asked, "How can we determine the productive
+quality of soil?"
+
+"We can plant some seeds in each kind of soil," said a child. Several
+pupils volunteered to bring pots of earth.
+
+Ready for the experiment, we proceeded to analyze as follows the soil
+brought by the children:--
+
+"Take some of the soil in your hands, powder it as finely as
+possible.--John, what do you find in yours?"
+
+"I can feel grains of sand," said John.
+
+"Do you think there is more sand or more loam?"
+
+"I think there is more loam," said another child.
+
+"Why do you think there is more loam?"
+
+"Because, when I rub it between my fingers there seems to be more soft
+material than grains," came the answer.
+
+"Can any one suggest a means of proving that there is some of each kind
+of soil in what we have here?"
+
+Various suggestions were made, but none directly to the point.
+
+[Illustration: LAST DAY OF SCHOOL]
+
+"Mary, fill that glass jar three parts full of water. We will now drop
+into the water some of this soil and mix it well. What do you think
+will happen when we stop stirring?"
+
+"The sand will settle at the bottom of the jar," was the ready reply
+from a bright child.
+
+"The coarse loam will settle next," was a second answer; and then came
+the statement that the finest loam would remain on top.
+
+We waited a few days and were rewarded by seeing the soil in distinct
+layers in the jar.
+
+"Now we will try to discover which kind will produce the best plant.
+How shall we determine this?"
+
+"Plant some seeds," was the immediate suggestion.
+
+One pot was filled with the original soil, and one each with the kinds
+of soil that we had gotten from our experiment. A seed bean was placed
+in each pot, and all pots subjected to the same conditions and watched
+by anxious eyes.
+
+[Illustration: STUDYING NATURE]
+
+"I see a bean pushing up," came the statement one morning and every
+child wished for a peep at the tiny plant.
+
+"In which soil did the plant appear?"
+
+Another look was taken and answer given that the plant came from the
+mixed soil.
+
+The second plant to appear came from the bed of coarse loam; the one
+in the pot of fine loam came third; and last the one in the sand
+struggled to a small shoot, then died of starvation.
+
+After this the life of one plant was studied. Thus slowly and
+cautiously the study of seed germination was made, the teacher getting
+all from the child possible, and aiming to have him cull his
+information from the plant before his eyes.
+
+Now that we were familiar with the facts concerning soil composition
+and seed germination, we felt prepared to take up the outside work.
+
+Between the first and the fifteenth of April our first visit to the
+garden was made. The ground was so saturated with water that it was
+impossible to think of working it in that condition. After taking a
+view of the surroundings we discovered that the plat was on low ground
+and that the water from the rising slopes at the back ran down and
+settled upon it.
+
+The question which naturally arose was, "How may this water be gotten
+rid of?" A short talk on drainage solved this problem. The children
+decided that ditches, ten feet apart, should be dug crosswise in the
+garden. They were dug, and, as the weather was favorable, in a week's
+time the soil was in condition to be worked.
+
+Meanwhile interest did not flag, though it was impossible to accomplish
+any outside work. Writing letters to an imaginary hardware dealer,
+stating what tools we needed and inquiring the price, became an
+all-absorbing exercise. Next, we turned dealers ourselves and rendered
+itemized bills and receipts to purchasers of garden materials. In this
+way two forms of letter-writing were taught and the children derived
+both pleasure and profit from the work.
+
+In the construction period were made the labels they would need when
+the planting-time came. These were cut from small pieces of wood with
+penknives and marked ready for use.
+
+A plan by which to landscape this same plat had been drawn the year
+before by the supervisor of our city school gardens. This plan
+suggested a talk on landscape gardening and intense interest was at
+once aroused. The talk developed such questions as these:--
+
+"Is the plan before us a good one?"
+
+"Can we improve on it?"
+
+"Is there any waste space which we should utilize?"
+
+"Is the plan artistic in its arrangement?"
+
+"Suppose we work out some plans to see what is possible."
+
+A lesson such as this followed:--
+
+A rectangle was drawn on the board to represent the plat. Beside it was
+a statement of the number of beds to be laid off and the width of the
+paths between. In the arrangement of these beds and paths there must be
+artistic effect.
+
+[Illustration: A FLOWER FROM THE COUNTRY]
+
+Each child then drew a rectangle on paper and made an original plan for
+landscaping. Those showing most thought were placed before the class
+and their good points commended. The children decided that not one met
+every requirement. The supervisor's plan was again shown, discussed,
+and adopted.
+
+This plan called for twenty rectangular beds 3x11 feet in area, four
+shorter rectangular beds with a triangular section marked off from the
+end of each toward the center of the garden; and a circular bed, four
+feet in diameter, in the middle of the plat. It also allowed for one
+three-foot path running through the center the entire length of the
+garden, and a one-foot path separating the beds. There was to be a
+1-1/2-foot path around the middle circle.
+
+In a further study of this plan the following arithmetic problems were
+developed:--
+
+"What is the area of a garden plat fifty feet long and twenty-five feet
+wide?"
+
+"What would be the cost of this plat at one dollar and twenty-five
+cents a square foot?"
+
+"How many feet of fence will be required to enclose this plat?"
+
+"If the posts are set five feet apart, how many posts will be
+required?"
+
+"There are two rows of cross beams, and each beam is ten feet long; how
+many will be needed for the fence?"
+
+"How much will it cost to fence this garden at twelve cents a foot?"
+
+"What is the area of a garden bed three feet by eleven feet? the
+perimeter?"
+
+"What is the circumference of a circular flower bed four feet in
+diameter?"
+
+By this time the ground was in condition to be worked. Which should we
+do first, spade it up, or lay it off? We decided that we would first
+dig up the entire plat and level it. Now, in spacing off, should we
+begin at the center or from opposite ends? The advantages of each
+method were strongly advocated, and finally, the children themselves
+concluded that it would be easier to measure for the center and space
+off from that point.
+
+Stakes and cord had been brought. Children stood at the sides and ends
+of the garden. The middle points of the sides were determined and
+connected with a cord, and likewise the two ends. The intersection of
+the cords was the center of the plat and here a stake was driven.
+Attaching a cord to this stake two feet along the cord was measured and
+a small stick tied there. Using the cord as a radius, a circle was made
+and the middle bed staked off. Next the three-foot path to opposite
+ends was marked off, then the center one-foot path to opposite sides.
+This much accomplished, spacing the rest of the plat was easy. Two
+small boys, with lines and stakes, marked off the remaining portion and
+when the ends were reached the measurements were found to be accurate.
+The paths between the beds were next made and the ground prepared for
+planting.
+
+[Illustration: A SUGGESTION FOR RECESS HOUR]
+
+After spading, leveling, and thoroughly pulverizing the native soil, we
+added a top layer of foreign soil as a fertilizer. The latter came from
+a compost heap of street sweepings which had been standing two years
+and was supposed to be nutritious. As it turned out, however, this soil
+contained little nutriment and was productive of more fine weeds than
+fine vegetables, and it required much labor to fight these enemies.
+
+Now came the seed-planting, which was intensely interesting to the
+children. Rows twelve inches apart were marked off across the beds and
+the seeds planted according to the relative height of the plants which
+they would produce, those that would grow tallest being placed next to
+the fence, and the rest graduating to the center; thus:--
+
+    Fence
+    Corn
+    Pole Beans
+    Peas
+    String Beans
+    Lettuce
+    Radishes
+    Lettuce
+    Parsley
+    Flowers
+
+First came corn, three grains to a hill, the hills twelve inches apart.
+Then pole beans, three beans to a hill and these hills separated twelve
+inches. Next we planted two peas in a hill and made the hills six
+inches apart. The string beans were planted just as the peas had been.
+Then came a row of lettuce, next radishes, a second row of lettuce, and
+last parsley. The end of the bed was left for flowers. On Arbor Day, in
+the classroom, we had sown tomato and lettuce seeds in boxes, that we
+might have the plants ready for transplanting when our outside soil was
+in condition. The lettuce plants turned out satisfactorily, but, for
+some unaccountable reason, the tomatoes were a failure. To replace the
+latter, we took a corner bed in the garden, divided it into three
+sections and planted tomato, onion, and cabbage seeds. In five weeks
+the tomato and cabbage plants were large enough to transplant, and, as
+the radishes and lettuce matured and were used, tomato and cabbage
+plants were put in the vacant places.
+
+Two pumpkin seeds were planted in each bed, but if they both came up,
+after the plants had reached a good size, the weaker one of the two was
+weeded out (as the bed was too small to support both) and the stronger
+one left to bear fruit.
+
+Why had we planted onion seed? One of the boys had brought an onion and
+asked if he might plant it in his bed, and if it would produce other
+onions. I explained to him and then allowed him to plant the seeds in
+the supply bed at the same time that he planted the onion in his own
+bed. The onion planted produced seed, while the seeds sown yielded the
+small sets for the next year's planting. Thus by the act of one child
+the fact was clearly demonstrated to the class that fruit produces
+seed, and seed produces fruit.
+
+The supervisor had given us a wren-box, made by a child in a more
+advanced class as manual work. The children were delighted with the
+gift; they built a framework around a stout pole in the center bed and
+set the wren-box on the pole. They then suggested that a vine should
+cover this framework. Consequently, Japanese morning glories were
+chosen as the vine and the remaining space in the bed was filled with
+marigolds, nasturtiums and coleus.
+
+[Illustration: A GARDEN IN THE YARD OF A CITY SCHOOL]
+
+The seeds being planted, the work in the garden was at a standstill
+until the plants appeared, then systematic visits began. The class was
+divided into three groups and two children were assigned to a plat. We
+worked in the garden on Mondays, Wednesdays, and Fridays for half an
+hour each day. Thus, each group had its day once a week regularly.
+Finding that it was impossible to direct satisfactorily more than
+twelve children at a time, I devised the above plan, which worked
+admirably. To go to and come from the garden took a half-hour, and with
+half an hour's work there the child was away from the classroom one
+hour a week. This allowed ample time to keep the beds in order, for two
+children were apportioned to a bed, and these two went on separate
+days, so that each plat was worked twice a week.
+
+[Illustration: GARDEN BEDS AROUND THREE SIDES OF THE PLAYGROUND]
+
+The first crop of peas and of beans were gathered as vegetables. When
+the plants ceased to bear a second planting was made and the yield from
+this was left to mature as seedlings. When ripe, the seeds were
+gathered and carefully put away in the sectional seed-boxes which the
+children had constructed for the purpose.
+
+[Illustration: ANOTHER SECTION OF THE SAME GARDEN]
+
+The children took care of the garden during vacation, gathered the
+vegetables as they ripened, and with pardonable pride carried them home
+to their parents. The parents, in turn, were gratified and as much
+interested as the children. Several of the boys had individual
+appliances made by their fathers for use in the garden. Often on Monday
+mornings would come the account of the Sunday walk with mother and
+father, the visit to the garden and how much the parents admired it.
+
+One instance occurred which proved the value of this garden work and
+showed how devoid of a knowledge of vegetable growth many city children
+are. I noticed a boy digging around the root of his tomato vine as
+though he were searching for something. I asked what he was doing.
+
+"I want to see if there are any small tomatoes there," he replied. As
+the fruit of the radish had come from under the ground he expected to
+find the tomato there, too.
+
+The value of educating the child through his self-activity was proved
+in several instances, one of which I will mention. A large boy of the
+fourth grade, though a poor student, was placed on the list of garden
+children and proved to be the most industrious and active child of the
+group. Why? His father was a baker; the boy worked in the bakery until
+eleven every night; slept until four, then arose and delivered goods
+until eight, and was in the classroom at nine. Is there any wonder that
+this child lacked energy as a student? When he was removed from the
+confinement of the classroom the pure outside air acted as a tonic, his
+interest was awakened and his work well done.
+
+This same child, whenever relieved of home duties out of school hours,
+spent the time in the garden instead of devoting it to play. He hauled
+a quantity of shells with which to pave the paths, and brought all the
+sod we needed to form a firm edge around the center bed. Can there be
+any doubt that this boy was benefited?
+
+There is a social side to this industrial outside work which is
+superior to that of the classroom.
+
+First: The teacher has but a small number of children under her care at
+one time; consequently, she is enabled to learn more of each individual
+nature.
+
+Secondly: The child is under no apparent restraint, so expresses
+himself freely and shows his natural self.
+
+Thirdly: The boys and girls mingle with one another with the same
+freedom that they have on their own playground.
+
+In the two months spent in the garden not a single child took undue
+advantage of the privileges allowed, and the opportunity afforded the
+teacher for the study of child-nature was of great value.
+
+Some one might ask, "While garden work is being done, does not the work
+of the classroom suffer?" No, it does not. When classes are taught in
+sections, this outside work may be fitted in as a sectional part and
+the routine be kept intact.
+
+In summarizing, the lessons developed from garden work were these:
+Science (soil physics and seed germination); geography; arithmetic;
+spelling; English; drawing, and construction. The greatest benefit to
+the teacher was the chance to study the child under natural conditions.
+The greatest benefit to the child was his awakening to a knowledge of
+things by personal contact. I sincerely believe that the after-life of
+each one of these children will be the richer for this experience of
+outdoor study.
+
+[Illustration: GATHERING THE VEGETABLES]
+
+In some of the school yards the pavement near the fence has been
+removed, and the space divided into small beds for gardening. Many of
+these gardens make a fine showing and you will find here three
+pictures of such a yard, illustrating what may be done within the
+limits of the playground of a city school. When you consider that
+between six and eight hundred children play in this yard at the same
+recess time every day, you can appreciate what it means to yield a
+portion of the limited space to vegetables and flowers; and, since
+these plants are never molested, how much the children are pleased to
+have their playground so decorated.
+
+Nearly all the garden products may be correlated with the classroom
+work. The kindergarten children use peas in construction. The peas
+raised in the garden may be applied here. The first-grade children use
+lentils in construction. Why not as well use pumpkin seed and grains of
+corn--the product of the garden? Every class enjoys having a
+Jack-o'-lantern at Hallowe'en, so here again the pumpkin from the
+garden comes into play. In the construction of miniature wagons and
+wheelbarrows of paper, peas may be soaked and used as axles for the
+wheels. Both peas and beans may be soaked and given to the small
+children to string for chains, thus teaching number and spacing. Every
+layer of husk (beneath the outside one) from the ear of corn may be
+dried and made into a basket by the more advanced pupil.
+
+If a city teacher, with opportunities so limited and numberless
+disadvantages, can accomplish even a little in this line for the
+children in her charge, how much more should the teacher of the rural
+school accomplish when she has space at her command, children in the
+environment of country life, and seemingly all things that tend to work
+together to produce good results!
+
+So much interest is shown in this phase of industrial work all over the
+country that I doubt that there is anywhere a teacher who does not wish
+to add the study of it to the curriculum, unless she is already working
+along these lines. Feeling sure of the sympathy aroused in every
+teacher's heart, I have included among the illustrations of this
+article three scenes from rural school life. (See pages 113, 115, and
+117.)
+
+In connection with these pictures let me say a few more words to the
+rural teacher. You may think yourself much poorer than your city
+co-worker, but the fact is that you are the one of affluence, she is
+the struggler. You have all about you the materials that a city teacher
+can secure only at second hand. All the riches of nature are at your
+command--the birds that nest at your door, the fishes that swim in the
+brook, the grasses that grow by the roadside, the trees of the forest,
+and the flowers that spring up everywhere; the ground space for your
+garden; the intelligent child of country environment who does not need
+to work the garden to learn how vegetables grow, but who does need to
+work it for the education, the aim and object of school gardens. If you
+are not interested in such work, try doing it once because you should.
+Next year there will be no should; love will lead you on.
+
+I have the same feeling in my heart about the school garden that the
+poet who wrote "The Little Fir Trees" must have had about them. Each
+stanza winds up with
+
+      And so,
+    Little evergreens, grow!
+      Grow, grow!
+    Grow, little evergreens, grow!
+
+I would say:
+
+      And so,
+    Grow, school gardens, grow!
+      Grow, grow!
+    Grow, school gardens, grow!
+
+The three pictures, "Studying Nature," "A Flower from the Country" and
+"A Suggestion for Recess Hour," came to me from a country school. They
+speak so vividly for themselves that I feel that each one carries with
+it its own message and appeals so strongly in behalf of the deepest
+love of nature in even the youngest child as to point to the
+possibilities of what might be when this love is fed and made to grow
+with the physical nature of the child.
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Notes
+
+
+Corrected minor punctuation typos. Moved some of the illustrations to
+avoid breaking up paragraphs of text. Page references pertain to the
+original book but link to the correct image/topic in the HTML version.
+
+Page 17: Changed Portiere to Portiere for consistency.
+  (9 Miniature Portiere--Knotted)
+
+Page 55: Changed sand-papered to sandpapered for consistency:
+  (and nothing is properly sand-papered until all roughness)
+
+Page 56: Changed the page reference from 59 to 57:
+  (with the grain of the wood, and how to cut corners. (See page 59.))
+
+Page 65: Changed exend to extend:
+  (To construct a box having lid and bottom exend beyond sides.)
+
+Page 107: Original text might be missing "child" after country:
+  ('The country is entitled from its state and from its county,)
+
+Page 109: Changed attenion to attention:
+  (The interest of these children attracted the attenion of the)
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Construction Work for Rural and
+Elementary Schools, by Virginia McGaw
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