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diff --git a/28501-h/28501-h.htm b/28501-h/28501-h.htm new file mode 100644 index 0000000..f41c4f1 --- /dev/null +++ b/28501-h/28501-h.htm @@ -0,0 +1,4082 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "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; + text-align: justify; + margin-bottom: .75em; + } + h1 { text-align: center; line-height: 1.5; clear: both; } + + h2,h3,h4,h5,h6 { text-align: center; clear: both; } + + p.title { text-align: center; text-indent: 0; + font-weight: bold; + line-height: 1.4; margin-bottom: 3em; } + + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .author {text-align: right; margin-right: 5%; font-variant: small-caps;} + +dd, li {margin-top: 0.50em; margin-bottom: 0; + line-height: 1.2em;} + +ol { list-style-type: upper-roman; + position: relative; + margin-right: 1em; + margin-left: 1em; } + +ul { list-style-type: none; + position: relative; + margin-right: 10%; + margin-left: 10%; } + +.lsoff { list-style-type: none; } + + ul.TOC { + list-style-type: none; + position: relative; + margin-right: 10%; + margin-left: 10%; } + +span.tocright { + position: absolute; right: 10%;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + + </style> + </head> +<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—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—that of aiding the rural +teacher by means of a few simple suggestions.</p> + +<p>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.</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—Knotted</span><span class="tocright"> <a href="#Page_16">16</a></span></li> +<li><span style="margin-left: 2em;">9 Miniature Portière—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—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—House—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>—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—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>—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>—To teach how to tie a knot that will not slip.</p> + +<p><i>Material</i>—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>—To teach the name of the knot one usually ties and how to +tie it.</p> + +<p><i>Material</i>—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>—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>—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>—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'S KNOT CHAIN + +Showing how stitch is made." title="SOLOMON'S KNOT CHAIN + +Showing how stitch is made." /> +<span class="caption">SOLOMON'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>—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—KNOTTED" title="MINIATURE HAMMOCK—KNOTTED" /> +<span class="caption">MINIATURE HAMMOCK—KNOTTED</span> +</div> +<hr style="width: 33%;" /> + + +<h4>8 Miniature Hammock—Knotted</h4> + +<div class="blockquot"><p><i>Material</i>—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—Knotted</h4> + +<div class="blockquot"><p><i>Material</i>—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—Woven</h4> + +<div class="blockquot"><p><i>Material</i>—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—(For description see page 17.)" title="MINIATURE PORTIERE—(For description see page 17.)" /> +<span class="caption">MINIATURE PORTIERE—(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'S BED + +Showing how it is started." title="BLANKET FOR DOLL'S BED + +Showing how it is started." /> +<span class="caption">BLANKET FOR DOLL'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—SIX-BY-NINE-INCH CONSTRUCTION PAPER" title="SCREEN—SIX-BY-NINE-INCH CONSTRUCTION PAPER" /> +<span class="caption">SCREEN—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—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>—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.—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.—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.—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.—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.—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.—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.—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>—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>—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>—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—(For description see page 31.)" title="SQUARE TRAY No. I—(For description see page 31.)" /> +<span class="caption">SQUARE TRAY No. I—(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>—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—(For description see page 31.)" title="SQUARE TRAY No. II—(For description see page 31.)" /> +<span class="caption">SQUARE TRAY No. II—(For description see page <a href="#Page_31">31</a>.)</span> +</div> +<hr style="width: 33%;" /> + +<div class="blockquot"><p><i>Material</i>—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—(For description see page 32.)" title="SQUARE BOX WITH COVER—(For description see page 32.)" /> +<span class="caption">SQUARE BOX WITH COVER—(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—(For description see pages 33 and 34.)" title="SQUARE BOX—(For description see pages 33 and 34.)" /> +<span class="caption">SQUARE BOX—(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>—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>—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—Diagonal Folds</h4> + +<div class="blockquot"><p><i>Material</i>—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>—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—(For description see page 37.)" title="SEED BOX WITH SECTIONS—(For description see page 37.)" /> +<span class="caption">SEED BOX WITH SECTIONS—(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—(For description see page 37.)" title="PICTURE FRAME No. I—(For description see page 37.)" /> +<span class="caption">PICTURE FRAME No. I—(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—(For description see pages 37 and 39.)" title="PICTURE FRAME No. II—(For description see pages 37 and 39.)" /> +<span class="caption">PICTURE FRAME No. II—(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>—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—(For description see page 40.)" title="PORTFOLIO—(For description see page 40.)" /> +<span class="caption">PORTFOLIO—(For description see page <a href="#Page_40">40</a>.)</span> +</div> +<hr style="width: 33%;" /> + + +<h4>11 Barn—House—Furniture</h4> + +<div class="blockquot"><p><i>Material</i>—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>—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>—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>—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>—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>—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>—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>—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—(For description see pages 51 and 52.)" title="SCRAP OR CLIPPING BOOK + +Cover of fancy paper—(For description see pages 51 and 52.)" /> +<span class="caption">SCRAP OR CLIPPING BOOK<br /> + +Cover of fancy paper—(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—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—a puzzle.</p> + + +<h4>1 Puzzle</h4> + +<div class="blockquot"><p><i>Problem</i>—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>—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>—To cut across the grain, and, by removing two equal +triangles, to form a well-tapered point.</p> + +<p><i>Material</i>—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>—Curve-cutting.</p> + +<p><i>Material</i>—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>—Curve and cross-grain cutting.</p> + +<p><i>Material</i>—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>—Cross-grain cutting.</p> + +<p><i>Material</i>—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>—Beveling and grooving. (See page <a href="#thermometer">62</a>.)</p> + +<p><i>Material</i>—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>—Circular cutting, grooving, stenciling, and coloring. +(See page <a href="#pincushion">63</a>.)</p> + +<p><i>Material</i>—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—(For description see page 61.)" title="THERMOMETER BACK—(For description see page 61.)" /> +<span class="caption">THERMOMETER BACK—(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>—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>—To construct a box having lid and bottom extend beyond +sides.</p> + +<p><i>Stock</i>—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>—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'S CHAIR" title="GRANDFATHER'S CHAIR" /> +<span class="caption">GRANDFATHER'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>—To construct a napkin ring of reed.</p> + +<p><i>Material</i>—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—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.</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 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>—To construct a napkin ring of No. 5 reed. (See page +<a href="#Page_75">75</a>.)</p> + +<p><i>Material</i>—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>—To construct a simple mat of reed.</p> + +<p><i>Material</i>—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 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>—To construct a simple reed basket.</p> + +<p><i>Material</i>—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>—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>—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>—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>—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>—To teach different ways in which the plaited rope of +raffia may be applied.</p> + +<p><i>Material</i>—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>—To construct a mat of plaited raffia rope.</p> + +<p><i>Material</i>—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>—To construct a purse or bag of plaited raffia rope. +(See page <a href="#Page_87">87</a>.)</p> + +<p><i>Material</i>—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>—To sew braid together to form ONE angle. (See page +<a href="#Page_88">88</a>.)</p> + +<p><i>Material</i>—Raffia.</p> + +<p><i>Dimensions</i>—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—(For description see page 86.)" title="PURSE OR BAG OF PLAITED RAFFIA—(For description see page 86.)" /> +<span class="caption">PURSE OR BAG OF PLAITED RAFFIA—(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—(For description see page 86.)" title="BASKET OF PLAITED RAFFIA—(For description see page 86.)" /> +<span class="caption">BASKET OF PLAITED RAFFIA—(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>—To sew the braid together to form two angles.</p> + +<p><i>Material</i>—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>—To construct a raffia napkin ring.</p> + +<p><i>Material</i>—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>—To teach construction with twisted raffia rope. (See +page <a href="#Page_91">91</a>.)</p> + +<p><i>Material</i>—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—(For description see pages 89 and 90.)" title="INDIAN BASKET—(For description see pages 89 and 90.)" /> +<span class="caption">INDIAN BASKET—(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>—To teach how to construct a basket of grass, pine needles, +or corn husks.</p> + +<p><i>Material</i>—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>—To teach construction, using splints and raffia.</p> + +<p><i>Material</i>—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>—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>—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>—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>—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>—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:—</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—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:—</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—"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.</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:—</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>—</p> + +<p>"Take some of the soil in your hands, powder it as finely as +possible.—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:—</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:—</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:—</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:—</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—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—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—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 *** + +***** This file should be named 28501-h.htm or 28501-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/8/5/0/28501/ + +Produced by Chris Curnow, Joseph Cooper, Diane Monico, and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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