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@@ -1,38 +1,4 @@ -The Project Gutenberg EBook of Indoor and Outdoor Recreations for Girls, by -Lina Beard and Adelia B. Beard - -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: Indoor and Outdoor Recreations for Girls - -Author: Lina Beard - Adelia B. Beard - -Release Date: April 16, 2013 [EBook #42549] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK RECREATIONS FOR GIRLS *** - - - - -Produced by Chris Curnow, Emmy and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 42549 *** [Transcriber's Note: Bold text is surrounded by =equal signs= and italic text is surrounded by _underscores_.] @@ -1662,7 +1628,7 @@ YOU can form it into graceful patterns of curves and coils, loops and rings; you can weave it basket-fashion or net it together with brass curtain-rings, and you can fray it out into soft, pretty tassels. You can make it into a decorative wood-basket, a grille for an open doorway, -fringe for curtains and portieres, or decoration for the top of a wooden +fringe for curtains and portières, or decoration for the top of a wooden chest. One use will suggest another and you will probably find some way of adapting the rope that has never yet been thought of. @@ -8633,361 +8599,4 @@ Page 357, "play-house" changed to "playhouse" to match usage in text End of the Project Gutenberg EBook of Indoor and Outdoor Recreations for Girls, by Lina Beard and Adelia B. 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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: Indoor and Outdoor Recreations for Girls - -Author: Lina Beard - Adelia B. Beard - -Release Date: April 16, 2013 [EBook #42549] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RECREATIONS FOR GIRLS *** - - - - -Produced by Chris Curnow, Emmy and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - -[Transcriber's Note: Bold text is surrounded by =equal signs= and italic -text is surrounded by _underscores_.] - - - -RECREATIONS FOR GIRLS - - - - - -[Illustration] - -Indoor - -and - -Outdoor - -RECREATIONS FOR GIRLS - -BY - -Lina Beard and Adelia B. Beard - - New York - Charles Scribner's - Sons - - 1914 - - - - - COPYRIGHT, 1904, 1906, by - - CHARLES SCRIBNER'S SONS - - -SPECIAL NOTICE - - The publishers hereby give warning that the - unauthorized printing of any portion of the text of - this book, and the reproduction of any of the - illustrations or diagrams, are expressly forbidden. - - - - -EXPLANATORY NOTE TO NEW EDITION - - -SINCE the publication of this volume two years ago as "Handicraft and -Recreation for Girls," it has occurred to us that "Recreations" alone -much more accurately defines the contents, for the handicrafts -represented are only those that in effect are recreations. Therefore we -have thought it best to drop the word Handicraft and issue the new -edition under the more appropriate title, "Recreations for Girls." - - LINA BEARD - ADELIA B. BEARD. - -September, 1906. - - - - -PREFACE - - -THIS book, like a girl's life, is divided into two parts: occupation and -amusement, or handicraft and recreation. - -It is not equally divided, for handicraft is so much more like play than -work, and is so entertaining in itself, we find difficulty in drawing a -distinct line between that and recreation. The one insists upon blending -with the other and the book, after all, is a book of entertainment. - -With the old handicrafts coming back into favor and new ones constantly -being brought forward, a girl's life may be full of delightful -employment. To work with joyous enthusiasm and self-reliant energy, as -well as to play with light-hearted enjoyment, cannot fail to make her -sensible, wholesome, and happy, and it is with this end in view that we -have written and illustrated the book. Our wish is to help our girl -friends to make the most of their girlhood and to enjoy it to its -fullest extent. - -We have had practical experience in the actual working out of all the -various handicrafts and recreations, and therefore give only that which -we know can be well and easily done by the average girl. - -Thanks are due to the _Delineator_, _Harper's Bazar_, _Woman's Home -Companion_, and _Good Housekeeping_, for their courtesy in promptly -returning for this work the original drawings and material used in their -respective magazines. - - THE AUTHOR. - -FLUSHING, August 2, 1904. - - - - -CONTENTS - - -PART I - - -HANDICRAFT - - - CHAPTER I. PAGE - - SPINNING 3 - - The Spinning-Wheel, 4; The Spindle, 5; The Distaff, 7; - Thoroughly Cleaned, 8; The Band, 8; To Adjust the Band, - 9; The Flax, 10; Practice, 11; How to Spin, 12; When - the Thread Breaks, 12. - - - - CHAPTER II. - - WEAVING ON A HOME-MADE LOOM 15 - - The Pin Loom, 16; The Heddles, 17; The Shuttle, 19; To - Adjust the Warp, 19; The Woof, 20; How to Weave a - Miniature Navajo Blanket, 20; Blankets for Dolls' Beds, - 26. - - - CHAPTER III. - - A BALL OF TWINE AND WHAT MAY BE MADE OF IT 27 - - Making a Little Hammock, 27; How to Tie the Twine, 29; - A School-Bag, 31; Twine Curtains, 34. - - - CHAPTER IV. - - AN ARMFUL OF SHAVINGS, AND WHAT TO DO WITH THEM 36 - - Selecting the Shavings, 36; A Soft Little Basket, 36; - How to Prepare the Shavings, 37; How to Weave the - Shavings, 39; Bind the Edges, 40; The Handle, 40; A - Handkerchief Case, 41. - - - CHAPTER V. - - PRIMITIVE REED CURTAINS 43 - - The Reeds, 43; Raw Material, 43; The Twine-Stick Weave, - 44; The Finished Curtain, 46; Curtain-Bee Frolic, 48; - Door-way Screens, 49. - - - CHAPTER VI. - - THINGS TO MAKE OF COMMON GRASSES 53 - - A Grasshopper House, 53; A Doll's Hammock, 56; A - Bouquet-Holder, 58; Weaving a Napkin-Ring, 59. - - - CHAPTER VII. - - POSSIBILITIES OF A CLOTHES LINE 62 - - Adapted to Decoration, 62; Rope Wood-Basket, 62; Rope - Net Fringe, 65; The Tassels, 65. - - - CHAPTER VIII. - - HOW TO WEAVE A SPLINT BASKET 68 - - The Material, 68; The Spokes, 68; The Weavers, 70; - Weaving the Basket, 71; Binding Off, 71; Trimming, 73. - - - CHAPTER IX. - - MODELLING IN TISSUE-PAPER 75 - - Modelling a Chicken, 75; A Turkey, 81; The Sturdy - Little Elephant, 83. - - - CHAPTER X. - - NATURE STUDY WITH TISSUE-PAPER 86 - - All Flowers from Squares and Circles, 86; The Best - Models, 86; Material, 87; The Carnation, 87; How to Cut - a Circle, 88; The Morning-Glory, 94; The Daffodil, 99. - - - CHAPTER XI. - - A NEW RACE OF DOLLS 103 - - Dolls of Substance and Form, 103; The Paper, 104; Making - the Head, 104; The Arms, 105; The Body, 105; The Legs, - 106; The Feet and Shoes, 107; Doll's Hair, 106; The - Dress, 108; The Cap, 110. - - - CHAPTER XII. - - AN INDIAN ENCAMPMENT ON A PASTRY-BOARD 111 - - The Ground, 111; The Wigwam, 112; Decorating the Wigwam, - 114; The Fire, 114; The Doll Indian, 115; The War - Head-Dress, 116; A Travois, 118; Pipe of Peace, 119; A - Perfect Little Tomahawk, 120; The Chieftain's Shield, - 120; Arrow-Heads and Arrows, 122; A Bow That Will - Shoot, 124; The Doll Squaw, 125; Squaw's Chamois Gown, - 125; Primitive Loom and Navajo Blanket, 125; Papoose, - 130; Cradle for Papoose, 130; Indian Money, 131; Wampum - Necklace, 131. - - - CHAPTER XIII. - - A TOY COLONIAL KITCHEN WITH FAC-SIMILE COLONIAL FURNISHINGS 133 - - The Floor, 135; The Fireplace, 138; A Hair-pin Crane, - 138; Little Dutch Oven, 139; Two Andirons, 141; The - Fire, 142; Iron Pot, 143; The Peel, 144; The Toaster, - 144; Pot-Hooks, 145; The Spinning-Wheel, 147; The - Little Spinner, 150; The Costume, 150; Flint-Lock - Rifle, 151; The Bellows, 153; Colonial Pewter Dish, - 154; Grandfather's Clock, 155; Colonial Churn, 160. - - - CHAPTER XIV. - - LITTLE PAPER HOUSES OF JAPAN 162 - - How the People Live, 162; The House, 162; The Floors, - 167; The Fence, 168; The Gateway, 169; Birthday - Festivals, 169; The Koi, 171; A Kago, 172. - - - CHAPTER XV. - - SOME ODD THINGS IN RUSSIA 175 - - The Coronation Cathedral, 175; Door-way, 177; Cupolas, - 178; A Russian Peasant Doll, 180; A Little Samovar, - 182. - - - CHAPTER XVI. - - POTTERY WITHOUT A POTTER'S WHEEL 185 - - Primitive Pottery, 185; The Clay, 187; Moulded on - Baskets, 187; The Table, 188; The Roll, 189; To Coil - the Clay, 189. - - - CHAPTER XVII. - - BABY ALLIGATORS AND OTHER THINGS OF CLAY 193 - - The Head, 195; The Body, 196; The Tail, 196; Coat of - Armor, 197; The Legs and Feet, 198; A Banana, 201; A - Little Bust of Washington, 202. - - - CHAPTER XVIII. - - FUNNY LITTLE APPLE TOYS 206 - - The Porcupine, 206; Sally Walker's Head, 208; Sally's - Curls, 208; The Indian, 209; A Comical Little Jap, 211; - An Apple Tower, 214. - - - CHAPTER XIX. - - MARVEL PICTURES 215 - - Mary, 215; Her Dress, 217; Sun-Bonnet, 218; How to Draw - the Lamb, 219; How to Make the Wool Grow, 219; How to - Draw the Goose, 221; How to Feather the Goose, 223. - - -PART II - - -RECREATION - - - CHAPTER XX. - - EGG GAMES FOR THE EASTER HOLIDAYS - - LIFTING FOR PASCH EGGS 227 - - How to Prepare the Egg-Shells, 227; Hanging the Eggs, 228; - The Players, 228; The Lifting, 229; The Egg Dance, 230; - Placing the Eggs, 230; Dividing the Players, 230; The - Dance, 230; The Reward, 231; Easter Angling, 231; - Materials for the Game, 231; Fish-poles, 231; Eggs, - 232; Rules of the Game, 234; Table Egg-Rolling, 235. - - - CHAPTER XXI. - - MAY DAY AMUSEMENTS 237 - - How the May King and Queen Are Chosen, 237; Archery, 237; - The Bows, 238; Arrows, 238; Floral Target, 240; Keeping - Score, 243; May Baskets and Spring Flowers, 246; How to - Erect the Pole, 249; Dressing the May-Pole, 250; The - Balls, 252; The Game, 252. - - - CHAPTER XXII. - - HALLOWE'EN REVELS 254 - - Gold Nuggets, 254; The Mine, 255; The Miners, 255; The - Apple Witch, 256; Witch's Hair, 257; Hat, 257; Broom, - 258; Ghost Writing, 259; Four-Leaved Clover, 260; - Apple-seed Fortune Telling; 261; Fortune Bags, 262. - - - CHAPTER XXIII. - - THE MAGIC CLOTH AND WHAT IT WILL DO 264 - - Magic in India, 264; A Jumping Frog, 264; The Hungry - Birds, 267; To make the Children Talk, 268; Moving - Faces, 269; The High Note, 270. - - - CHAPTER XXIV. - - FINGER PLAYS FOR LITTLE FOLK 273 - - The Teeter, 273; Church, 275; Steeple, 275; Open Door, - 276; The People, 276; The Preacher, 277; Man Chopping - Wood, 277; My Mother's Knives and Forks, 279; My - Father's Table, 280; My Sister's Looking-Glass, 280; - The Little Black Birds, 280; The Baby's Cradle, 281; - Chin Chopper Chin, 282; Build the Tower, 282; The Five - Little Pigs, 285; Little Heads for Little Fingers, 285. - - - CHAPTER XXV. - - HOW TO ARRANGE FRESH FLOWERS 289 - - Selecting the Flowers, 289; A Number of Nasturtiums, - 290; Do not Crowd the Flowers, 290; Green Leaves with - Flowers, 291; Color Schemes, 291; The Vases, 292; - Colorless Transparent Vases, 292; Arrangement, 293; - Flower Lifter, 294; Symmetry, 295; Wild Flowers, 295. - - - CHAPTER XXVI. - - OPEN AIR PLAYHOUSES 298 - - A Florida Playhouse, 298; Palm Decorations, 298; Other - Decorations, 298; An Umbrella Playhouse, 299; A Real - Teepee, 302; An African Hut, 306; The Floral Tent, 307. - - - CHAPTER XXVII. - - KEEPING STORE 308 - - The Counter, 308; The Scales, 309; Groceries, 312; - Vegetables, 312; Candy, 313; Wrapping Paper, 313; - Money, 314; Paper Pocket-Books, 314; Keeping Accounts, - 316; Bars of Soap, 319; Butter Clay, 319. - - - CHAPTER XXVIII. - - A FROLIC WITH THE ROSES 320 - - Beauty of the Rose, 320; Rose Petal Fleet, 321; Green - Leaf-Boats, 322; The Lake, 323; A Little Rose Girl, - 325; A Garden, 325; A Peachblow Vase, 327; Candied Rose - Petals, 327; Rose Petal Cap, 328; Conventional Designs, - 330; A Wreath of Roses, 332; A Rose Book, 332. - - - CHAPTER XXIX. - - A STRAW RIDE PICNIC 333 - - The Season, 333; Games for the Wagon, 333; Simon Says, - 335; Bird Wish, 337; Lines to Be Recited Rapidly, 337; - At the Grounds, 338; Chasing the Deer, 338; The Swing, - 338; Teeter-Tarter, 338; The Dinner, 339; Dishes, 339; - Camp-Fire, 342; After Luncheon, 342; Telling Stories, - 343; Game of Menagerie, 343. - - - CHAPTER XXX. - - A PAPER CHASE 345 - - The Hares and Hounds, 345; The Start, 347; False - Scents, 347; The Finish, 348; How to Dress, 348. - - - - -PART I - -HANDICRAFT - -[Illustration: The spinning-wheel shall buzz and whirr.] - - - - -CHAPTER I - -SPINNING - - -THERE is so much poetry, romance, and history associated with the -distaff and spindle, and later with the old spinning-wheel, that we have -looked upon them with a feeling almost of awe, certainly with a -reverence for the gentle hands that spun so industriously generations -ago. But it has now occurred to us that we too may set the wheel -a-humming, taking up with enthusiastic eagerness the work laid down by -our great-grandmothers so many years ago. The song of even the athletic -girl will soon be like Martha's when she sings in the market-place: - - "I can spin, sir," - -and the wheel will no longer be set aside as a relic of an industry past -and gone. - -All the old handicrafts are coming back again, and ere long we shall be -as proud as the maids in Revolutionary times of our hand-spun and -hand-woven fabrics. To be able to spin and weave is to be accomplished -in the newest as well as the oldest of household arts. - -[Illustration: Fig. 1.--The slender rod tied at the lower end.] - -[Illustration: Fig. 2.--The looped upper end of the rod.] - -Is the old spinning-wheel in the attic, neglected and covered with dust, -or in the parlor, decked in all its bravery of blue ribbons and snowy -flax? Bring it out, wherever it may be, and for the first time in many -years it shall buzz and whirr, while a girl's slender fingers part the -flax and a girl's light foot rests upon the treadle. Look well to - - -The Wheel - -and see that none of its parts are missing. There must be the bench, of -course, with its treadle and wheel, then the slender rod which is tied -loosely at the lower end to the cross-piece of the treadle (Fig. 1), and -caught at the looped upper end to the little, curved-metal crank that -extends at right angles from one end of the wheel's axle (Fig. 2). - -[Illustration: Fig. 3.--A little peg slipped through two holes.] - -The two slanting uprights which hold the wheel in place are slotted at -the upper ends, and in these slots rests the axle. A little peg, slipped -through two holes in one of the uprights, keeps the axle from slipping -out of place (Fig. 3). - -The frame that holds - - -The Spindle - -belongs in the position shown in the illustration of the spinning-wheel. -By turning the handle that extends out from the upper end of the bench -this frame may be moved slightly forward or backward when it is -necessary to loosen or tighten the band on the wheel. - -[Illustration: Fig. 4.--The leather rings.] - -[Illustration: Fig. 5.--One ring in each upright.] - -[Illustration: Fig. 6.--The spindle.] - -In the two uprights of the spindle-frame there must be leather rings -like Fig. 4, one ring in each upright. The narrow strip extending -outward from the ring is pushed through the hole in the upright, and the -edge of the ring fitted into the little grooves just above and below one -of the holes (Fig. 5). These two leather rings hold the ends of the -spindle, which can be easily taken out and put in by bending one of the -rings backward or slightly turning one of the uprights. Fig. 6 shows the -spindle with the spool, or bobbin, and the small, double-grooved wheel. -The spindle proper is simply the metal rod and horseshoe-shaped piece of -wood with its two rows of little hooks or teeth. Besides the wheel and -spindle there must be - - -The Distaff - -and the arm that holds it. The arm is an upright with a rod extending -out at right angles from the upper end. The lower end of the upright is -slipped into a hole at one corner of the highest part of the bench. - -[Illustration: Fig. 7.--The tip of your Christmas tree for a distaff.] - -[Illustration: Fig. 8.--Bring the four branches up and tie at the top.] - -The distaff, which the mountaineers of Kentucky call the "rock," is a -thing you can make for yourself if your wheel happens to have lost its -own. Many are cut from the top points of pine-trees which grow like Fig. -7, and dogwood also is sometimes used. The tip of your Christmas tree -will be just the thing. Strip off the bark, bring the four branches up, -and tie at the top to the middle stem (Fig. 8). Let the lower end of the -stem extend about four inches below the branches and whittle it down to -fit in the hole in the distaff-arm. - -These are all the parts of the spinning-wheel, but before you can "see -the wheels go round" every piece of metal must be - - -Thoroughly Cleaned - -and freed from rust. Rub first with kerosene oil and then with the -finest emery paper. Be very careful in polishing the teeth that you do -not bend or break them, as it will not be easy to have them replaced. In -fact, it is difficult to replace any part of the wheel, and though it -has lasted several generations, careless handling may put it past -repair. - -[Illustration: Fig. 9.--Proper size of cord for wheel band.] - -When the cleaning is finished, grease with lard the parts where there is -any friction. The slots that hold the axle, the spindle-stem, and the -metal arm, where the treadle-rod rests upon it, all need lubricating. - -The best - - -Band for the Wheel - -is hand spun, but at present it is possible to obtain them only of -old-fashioned spinners who make their own bands. You can, however, make -a band of cotton cord, such as is used for cording dresses. Fig. 9 gives -the exact size. The length of cord for a wheel measuring eighteen and a -half inches in diameter is about ten feet five inches. This allows for a -lap of one inch at the joint. Sew together with silk, wrapping and -sewing until the joint is almost invisible. - -[Illustration: Fig. 10.--Make a double loop.] - -[Illustration: Fig. 11.--The band will cross at the bottom.] - - -To Adjust the Band - -loop it together, making it double (Fig. 10), lift the wheel from the -sockets, and slip the band over it. Fit one part of the band into one of -the grooves of the wheel, the other part into the other groove, allowing -it to cross at the bottom (Letter B, Fig. 11). Take the spindle from its -frame and fit the bands into the groove in the end of the bobbin (Letter -C, Fig. 6) and into the first groove in the small wheel (Letter D, Fig. -6). - - -The Flax - -may be obtained from any linen-thread factory and can be bought by the -pound or half-pound. It is graded by color, the darkest being the -cheapest and the whitest the most expensive. For practice-work the -cheapest is as good as the more expensive. When you have learned to spin -a fine, even thread you may choose the color in reference to the article -you intend to make. - -[Illustration: The spinning-wheel.] - -Open your hank of flax, take part of it, and spread thinly over the -distaff, wrapping it around and around. Put on several layers, each -almost as thin as a spider-web, extending it out widely and smoothly -each time. - -You may think the ribbon tied on the distaff of your parlor wheel is -merely for ornament, but it is not. The bands hold the flax in place -while it is being spun, and a crisp, dainty, pretty-colored ribbon is -just as useful for the purpose as one that is old and faded, and it is -far prettier to look upon. Wrap the ribbon around the flax on the -distaff, beginning at the bottom, cross it, and tie as shown in -illustration of the spinning-wheel. - -Though everything is ready, before attempting to spin, - - -Practice, - -simply working the treadle until you can manage that part of the work -mechanically and give your whole attention to your hands. - -It seems a simple thing to work the treadle, but you will find that -without previous practice you will forget to make your foot go in the -absorbing interest of getting the flax ready to run on the spindle. Curb -your impatience a little while therefore, and resolutely turn the -distaff, with its pretty load, away from you. Place one foot on the -treadle, give the large wheel a turn to the right, or away from the -spindle, and try to keep a steady, even motion with your foot. The jerks -caused by uneven pedalling will always break the thread, so you must -learn to make the wheel turn smoothly and easily, without hurry and -without stopping. Some spinners place only the toe of the foot on the -treadle, others rest on it the heel also; it matters little which -method you adopt so long as the wheel turns evenly. When you are quite -satisfied that you can keep the wheel going without giving it a thought -you may begin - - -To Spin. - -From the lowest ends of the flax draw down several strands and twist -them with your fingers into a thread long enough to reach easily the -bobbin on the spindle. Pass the end of the thread through the hole in -the end of the spindle nearest to you (Letter A, Fig. 6), carry it -across and over the upper row of teeth and tie to the bobbin (Fig. 6). -Start your wheel going, and, forgetting the action of your foot, give -your undivided attention to drawing out the flax. Hold the strands -lightly with your left hand and with your right keep constantly pulling -them down and at the same time twisting them slightly. See illustration -on first page. All this time you must keep the flax from matting and -tangling and the twist from running up into the mass of flax on the -distaff. Only practice will make perfect in this work, though the knack -may come suddenly and you will wonder at your first clumsy attempts. The -little fluster and excitement one feels in beginning and the hurry to -get the flax into shape for the spindle is a drawback that practice will -also overcome. - - -When the Thread Breaks, - -as it will again and again at first, thread your spindle as before, tie -the new thread to the broken end and begin once more. A better way to -mend the thread when you are really doing good work is to unwind a -little from the bobbin, thread it backward through the spindle, bring -the end up to meet the end from the distaff, and let the two lap three -or four inches; then moisten your fingers and twist the threads -together, making one thread again. - - -Moistening the Fingers - -occasionally is a good thing while twisting, as it makes a smoother -thread. In the old days the spinner kept a cocoa-nut-shell, filled with -water, tied to the lower part of the spindle-frame, into which she -daintily dipped the tips of her fingers when necessary. A finger-bowl or -cup of water near by will answer the same purpose. - -[Illustration: The little girl and the little loom.] - - - - -CHAPTER II - -WEAVING ON A HOME-MADE LOOM - -[Illustration] - - -IT is easier than sewing or knitting or crocheting, and comes so natural -to many of us that one would almost think we should know how to weave -without being taught. Why, even some of the birds do a kind of weaving -in their pretty, irregular fashion, and it was probably from the birds -and other small, wild creatures that the earliest human mothers took -their lessons in weaving, and learned to make the mats for their babies -to sleep on and baskets for carrying their food. No one knows how long -ago these first baskets and mats were woven, but in the beginning -weaving was done without looms. Afterward rude frames were tied together -and hung from the limbs of trees, then softer and more flexible material -was used and finer fabrics were woven. To this day almost the same kind -of looms are used by the Indians in our far Western country, many miles -away from the roar and clatter of machinery, and on them are woven the -wonderfully beautiful Navajo blankets for which Eastern people are -willing to pay such large sums. - -If it is natural to weave, it should also be natural to make one's own -loom, and - - -The Pin Loom - -is simple in both the making and the working, with material usually -close at hand. The necessary wood you will find at the nearest -carpenter-shop, if not in your own home, and for the rest, a paper of -strong, large-size pins, a yard of colored cord, and one ordinary -carpet-tack are all that is needed. - -Make the frame for the loom of a smooth piece of soft pine-board, -fifteen inches long by nine inches wide (Fig. 12). Make the heddles of -two flat sticks, nine inches long, half an inch wide, and one-eighth of -an inch thick (Figs. 13 and 14). From another flat stick of the same -thickness, nine inches long by one inch wide, make the shuttle (Fig. -15). - -[Illustration: Fig. 12.--The frame for the loom.] - -[Illustration: Fig. 13.--Heddle.] - -[Illustration: Fig. 14.--Heddle.] - -With a pencil and ruler draw two straight lines across the board, the -first one inch and a half from the top edge, the other two inches and a -half from the bottom edge. This will make the lines just eleven inches -apart. On these lines, beginning one inch from the side edge of the -board, make a row of dots exactly one-quarter of an inch apart, -twenty-nine dots on each line, as in Fig. 12. At each corner of the -board, one inch above the upper line and one inch below the lower line, -draw a short line, and on each short line, three-quarters of an inch -from the side edge, make one dot. - -[Illustration: Fig. 15.--The shuttle.] - -With a small tack-hammer drive a pin in each of the twenty-nine dots on -each long line, and in each single dot on the four short lines (Fig. -12). When driving in the pins let them all slant evenly outward, the -ones on the top lines slanting toward the upper edge of the board, those -on the lower lines slanting toward the bottom edge, as in Fig. 16. Now -lay your board aside where nothing will be placed on top of it, and make -your heddles. - -[Illustration: Fig. 16.--Let the pins slant outward.] - - -The Heddles - -are for lifting the threads of the warp so that the shuttle may be -passed through. One heddle is left perfectly plain, like Fig. 13. The -other is cut in notches on one edge like Fig. 14. - -[Illustration: Fig. 17.--The marked-off notches in heddle.] - -Along the entire length of one of the sticks rule a line dividing it -exactly in the middle (Fig. 17). On this line, beginning three-quarters -of an inch from the end of the stick, mark off spaces one-quarter of an -inch apart, making thirty-one dots. At the upper edge of the stick mark -off the same number of spaces exactly opposite those on the line. Then -draw straight lines connecting the upper and lower dots, extending the -first and last lines entirely across the stick (Fig. 17.) At a point on -the upper edge, exactly in the middle between the first two lines, -start a slanting line and bring it down to meet the second line where it -touches the long line. Between the second and third lines draw another -slanting line to meet the first at the bottom, forming a V. Leave the -third line, and make another V at the fourth, and so go the length of -the heddle, drawing a V at every other short line. At the top between -the V's make smaller V's, as in Fig. 17. With a sharp knife cut out -these notches, bringing the large ones quite down to the middle line -(Fig. 17). On the end lines just below the middle line bore a hole with -a small gimlet or a hat-pin heated red-hot at Letter A in Fig. 17. -Indeed the notches, too, may be made with a hat-pin by laying the -red-hot end across the edge of the stick at the top of the line, and -pressing it down while rubbing it back and forth. If you are unused to -handling a knife, burning the notches will be the easier way. You can -shape and trim them off afterward with the knife. - -[Illustration: The complete pin loom.] - -Of the third flat stick make - - -The Shuttle. - -Curve the corners at each end as in Fig. 15. Sharpen one end down to a -thin edge and in the other end cut an eye two inches long and -one-quarter of an inch wide (Fig. 15). Cut your yard of colored cord in -half, pass the end of one piece through one of the holes in the notched -heddle, the end of the other piece through the hole in the opposite end -of the heddle, and tie each end of the cords to one of the pins at the -four corners of the board, drawing the cords taut. This will fasten the -heddle in its place across the loom (Fig. 12). - -Near the bottom of the board, directly below the last pin at the right -on the long line, drive the carpet-tack to serve as a cleat for -fastening the end of the warp. All that now remains to be done is - - -To Adjust the Warp, - -and your loom will be ready for weaving. The threads which extend up and -down, or from the top to the bottom of the loom, are called the warp. -Soft, rather coarse knitting-cotton makes a good warp for almost -anything woven on a small loom. - -[Illustration: Fig. 18.--Adjusting the warp.] - -Tie the end of the warp securely to the first pin on the long line at -the upper left-hand corner of the loom (Fig. 18). Bring the string down -and around the first two pins on the lower line, up again and around the -second and third pins on the upper line, and then down and around the -third and fourth pins on the lower line. Up again, down again, crossing -two pins each time, back and forth until the last pin on the lower line -has been reached. Wrap the warp around this pin several times, and then -around the tack, tying it here so that it cannot slip. The warp must lie -flat on the board where it passes around the pins, and in stringing up -it must be drawn rather tight, though not with sufficient force to pull -the pins out of place. - -[Illustration: Fig. 19.--Putting in the second heddle.] - -Turn the heddle on edge, the notches up, and slip the threads of the -warp into the notches, one thread in each notch. This, you will see, -divides the warp into upper and lower threads, and forms what is called -the shed. While the threads are separated take the other heddle and darn -it in and out above the first heddle, taking up the lower threads and -bringing the heddle over the upper ones as in Fig. 19. - - -The Woof - -is the thread which crosses the warp and usually covers it entirely. The -material to use for woof will depend upon what you are going to make. -Germantown wool is used for the woof of the miniature Navajo blanket -shown in the illustration. The warp is knitting-cotton. - -[Illustration: A Miniature Navajo Blanket.] - -This is - - -The Way to Weave a Navajo - -blanket; simpler things you can easily make after this first lesson: Of -Germantown wool you will need three colors, which are the colors most -frequently used by the Indians--red (scarlet), white, and black, about -half a hank of each. Take five yards of white wool, fold one end over a -two-yard length, fold again, and push the double end through the eye of -the shuttle (Fig. 20). - -[Illustration: Fig. 20.--The threaded shuttle.] - -Tie the long end of the wool to the first pin at the lower left-hand -corner of the loom, on the long line, making a tight knot and pushing it -down close to the board (Fig. 21). - -[Illustration: Fig. 21.--Starting the woof.] - -With the notched heddle on edge push the shuttle through the shed--that -is, between the upper and lower threads of the warp. Draw it out on the -other side, then turn the heddle down, notched edge toward you, and -stand the plain heddle on edge. This will lift the lower threads of the -warp above the others and make them the upper ones. Push the shuttle -back through the shed, lay the plain heddle flat, and stand up the -notched heddle. Weaving from the left, the notched heddle always stands, -while the plain one lies flat. Weaving from the right, the plain heddle -stands, and the notched one is turned down. - -Do not draw the woof tight across the warp. When you have passed the -shuttle through, leave the thread like Fig. 21, and then push it down -firmly with your finger-tips until it lies close to the pins. - - -A Coarse Comb - -with no fine teeth is very good to use for packing the woof, and takes -the place of what is called the lay. While the woof is looped out like -Fig. 21, comb it down toward you with the comb, and it will fit in -evenly between the threads of the warp. As the woof of the Navajo -blanket must be very tightly packed, use first the comb and then your -fingers to push it down and make it compact. - -Weave back and forth until all the wool in the shuttle is used. If the -end of the woof extends beyond the last thread of the warp on either -side, turn it back and weave it under and over several threads, and -start a new piece with the end just lapping the old. The ends of the -woof must never be allowed to extend beyond the warp at the sides. It is -not necessary to tie the new piece of woof; the tight packing will hold -it in place. - -In this case the new woof must be of the red wool. Weave it across -twice, or once over and back, making a very narrow red stripe, then cut -it off and thread the shuttle with white. Weave the white twice across, -then change to black and weave a stripe one-quarter of an inch wide. -Above the black weave another narrow white stripe and another narrow red -one. Put a long thread of white wool in the shuttle, and weave a white -stripe one inch wide. You will have to thread the shuttle twice for -this, as too long a thread will make so large a bunch that it will be -difficult to pass it through the shed. After the white stripe weave -another black, white, and red stripe like the first, then another -inch-wide white stripe. Once more weave a black, a white, and a red -stripe. Begin with the narrow black, follow with the narrow white, and -then weave a wider red stripe, taking the thread four times across. -After the red the narrow white, and then the narrow black stripe. - -This last stripe is the lower border of - - -The Central Pattern - -of the blanket, where your weaving will become more difficult, and at -the same time more interesting. - -[Illustration: Figs. 22 and 23.--Weaving the centre stripe.] - -Thread the shuttle with a long piece of red wool and weave it once -across from the left, turn back and weave through five threads of the -warp, draw the shuttle out and weave back again to the edge; again weave -through the five threads, then back as shown at B in Fig. 22. Turn here -and do not take up the last thread of the warp; pass the shuttle under -three threads, turn on the next thread, and bring it back under four -threads (C, Fig. 22), once more under the three threads, turning on the -next as before, but passing back under two threads only. Turn on the -next thread (D), and pass under three. Back under two threads (E), turn -as before on the next thread under two, turn, back under two (F), turn, -under one, turn on the next, under two (G), turn, under one, turn on the -next, back under two, and unthread the shuttle, leaving the woof -hanging. - -Begin with a new piece of red wool, follow the same direction, and weave -another red point on the next five threads, then a third one which will -take in the last warp-thread on the left. You will notice in the diagram -that the woof always turns twice on the same thread of warp. - -When the three red points are finished fill in the spaces between with -black (Fig. 23), then continue to weave the black up into points as you -did the red, making two whole and two half black diamonds. Leave the -woof quite loose when you make a turn in weaving, and the space left -between the red and black will fill up in packing. - -Take up the end of the red wool left at the top of the first red point, -and weave in the space between the half and first black diamond, then -break off. Take the next red end and fill in between the two whole -diamonds, then the next, and fill in between the whole and the last half -diamond. This will give you a pattern of black diamonds on a red ground. -Weave the last of the red woof once across, then break off and weave a -black, white, and red stripe like the one forming the lower border of -the pattern. Finish the blanket with the wide white stripes and narrow -colored ones like those first woven. - -To take the work from the loom, cut the threads between the pins at the -top of the loom, and with quick but gentle jerks pull it off the lower -row of pins. Tie together the first and third loose ends of the warp -close to the edge of the blanket, then the second and fourth threads, -and so on across, then cut the ends off rather close to the knots. - -The little Navajo blanket woven in this way will closely resemble the -real Indian blanket in texture, pattern, and colors. - - -Blankets for Dolls' Beds - -may also be woven of fine white wool and finished with a pretty pink or -blue border at each end. A wash-cloth, soft and pleasant to the touch, -you can weave in half an hour with candle-wick for woof. This should not -be packed tightly, but woven with rather a loose mesh. Then there are -cunning little rag rugs to be made for the dolls' house, with colored -rags for the woof. But so many materials may be woven on your home-made -loom, that it will be a pleasure for you to discover them for yourself. - - - - -CHAPTER III - -A BALL OF TWINE AND WHAT MAY BE MADE OF IT - - -RUN to the kitchen and ask the cook to lend you her pastry-board for a -day or two, to use as a support for holding string from which to make a -toy hammock (Fig. 24). - -[Illustration: Fig. 24.--The hammock you can make.] - -Drive twelve large tacks in a straight line across the top edge of the -board; place the tacks one inch and a half apart (Fig. 25), and with a -pencil draw lightly a line across the board from side to side, one inch -and a half below the tacks. This will guide you in keeping the knots -even. Be sure that the line is perfectly straight; then draw another -line one inch and a half below the first and continue making lines until -the board is covered with them, at equal distances apart and running -across from side to side. Over each tack on the top of the board hang a -piece of string about two yards long (Fig. 26). Being doubled, each -string makes two lengths of one yard each. - -[Illustration: Fig. 25.--Tacks in top of board.] - -[Illustration: Fig. 26.--Over each tack hang a piece of string.] - -Bring the two ends of each strand down evenly together that all the -strings may hang exactly the same in length. Fig. 26 is intended only to -show how to hang the strings and gives but a section of the work. - -[Illustration: Fig. 27.--With strong pins fasten the first and fourth -strings to the board.] - -With strong pins fasten the first and fourth strings down tight to the -board (see B and E, Fig. 27); then tie the second and third strings -together (C, D, Fig. 27), making the knot H (Fig. 27). - - -To Tie the Knot, - -bring the two strings C and D (Fig. 27) together; hold the upper -portions with the thumb and first finger of the left hand and the lower -parts in the right hand, bring the lower parts up above the left -hand--across and over the portion of string held in the left hand--and -turn them down a trifle, running them under the strings in the left hand -just above the thumb and first finger; pull the lower portion of the -strings through the loop out over the first finger of the left hand as -shown in Fig. 29, O. Tighten the knot with the right hand while holding -it in place on the line with the left. The secret of tying the knot -properly is to hold the two strings together and tie them exactly as one -would tie a knot in a single string. - -[Illustration: Fig. 28.--When knot _H_ is secure stick pin in string -_G_.] - -[Illustration: Fig. 29.--Tying the knot.] - -When the first knot (H, Fig. 27) is tied, take the pin out of the string -E and stick it in the string G, according to Fig. 28. Fasten down the -knot H with another pin, and you will have the knot H and the string G -firm and tight to the board while you tie the two loose strings F and E -together, forming the knot K. Pin this down to the board and remove the -pin from the string G and place it in the string N, leaving M and G free -to be knotted together. - -Continue tying the strings in this way until you have made the first row -of knots across the board, always using pins to hold the -boundary-strings securely to the board on each side of the two you are -tying. As each knot is formed, pin it to the board and allow the pins to -remain in the first row until the second row of knots has been made. - -Fig. 29 shows the beginning of the third row of knots in the knot P, the -pin being taken from the first knot, H, ready to be placed in the knot -P. Form row after row of meshes by knotting the strings until the -netting comes too near the bottom of the board to work comfortably, then -slip the top loops off from the tacks and hang a portion of the net over -the top of the board, allowing a lower row of meshes to hang on the -tacks. - -Fasten the last row of the knots carefully, binding with strong strings -the short loose ends of the strands securely to the string forming the -mesh each side of the knot. Remove the net from the board and make - - -A Fringe - -of string on each side of the hammock. In Fig. 30, T shows how to place -a strand for the fringe under one side of the mesh on the edge of the -net: and S gives the manner of bringing the ends of the strand down over -the string forming the mesh and under the loop made by the centre of the -fringe-strand. Pull the two ends of the strand down evenly, and bring -the knot up close and tight to the hammock-mesh as shown in the finished -fringe in Fig. 30. - -[Illustration: Fig. 30.--Making the fringe.] - -When you have made the fringe, thread a separate heavy cord through the -loops on each side of the hammock (Fig. 31). Tie the loops together -(Fig. 32) and fasten together the two ends of each cord, making these -two extra last loops long enough to allow of a free swing for the little -hammock, or you can thread a cord of the same as that used in the -hammock through every loop, tying the ends of each piece together -through a brass ring, and instead of one long loop a number will support -the hammock. - -[Illustration: Fig. 31.--Heavy cord through loops on end of hammock.] - -[Illustration: Fig. 32.--Tie loops together.] - -[Illustration: Making a sash-curtain for her room.] - -[Illustration: Fig. 33--Your school-bag made of string.] - -Fig. 33 shows a strong, serviceable little - - -School-Bag - -which is easier to make than the hammock. Take a piece of heavy cord -twenty inches long, lap one end to the distance of an inch over the -other and sew the two lapped ends firmly together; then bind them neatly -around and around with string. Bring the two edges or sides of the -circle together, forming two ends (V V, Fig. 34). Tie a strong string -on each end (Fig. 34) and fasten each of the strings to the back of a -chair; you will then have a circle of heavy cord securely suspended in -mid-air. Cut twenty-four lengths of twine, each twenty-five inches long; -double each piece and fasten all the strands on the circle of heavy cord -in the same way you made the fringe on the hammock (X X, Fig. 34), -except that this time the strands must be quite a distance apart. Let -all the spaces between the strands be equal. Having fastened the lengths -of twine on the circle, net them together exactly as you netted the -hammock, but you must depend upon your eye to keep the meshes even and -of the same size, as there will be no board with lines to guide you -(Fig. 34). Tie the knots in circular rows, going around on both sides of -the circle for each row. Continue the meshes until within three and a -half inches of the bottom, then tie the two sides together, closing the -bottom of the bag and forming the fringe shown in Fig. 33. - -Having finished the bag, untie the strings attached to the two ends and -make two handles of heavy cord or slender rope. Fasten the handles on -their respective sides of the bag. Loop the ends of the handles under -the cord forming the top of the bag, and bring each end up against its -own side of the handle. Sew each of the two ends of the two handles -securely to the handle proper; then bind the sewed portions neatly -together with fine cord as in Fig. 33. - -[Illustration: Fig. 34--Making the school-bag.] - -With some firm straws and more string we will make - - -A Sash-Curtain - -for the window of your own room, as the little girl is doing in the -illustration. Loop about thirty strands on the same number of tacks, in -the manner in which you hung those for the hammock (Fig. 26). Make one -row of knots, and before forming the next row slide a piece of straw one -inch long over the two strings which are to be knotted together; the -ends of the string must be moistened and brought together in a point in -order that they may more easily be threaded through the straw. The -letter R in Fig. 35 shows the straw with the ends of the string run -through it, and U gives a straw higher up on the strings. After each -straw is put into place, knot the strings immediately underneath to -prevent the straw from sliding out of position. - -Fig. 35 shows how to manage the work. It is almost exactly like that of -the hammock, the only difference being the threading on of the straws -which hold the strings in place without a knot at the top (see W in Fig. -35). Let the bottom of the net end in a fringe. Take the loops off from -the tacks when the curtain is finished, and slide them on a straight, -slender stick, which you can fasten to the window by resting the ends of -the stick through loops of tape tacked on the sides of the window-frame -at the right distance up from the ledge of the window. - -[Illustration: Fig. 35.--Sliding straws on strings for curtain.] - -If possible, let all the net-work be made of pliable, soft material; it -is easier to handle, and the results are much prettier. - -Make the curtains of any color you may fancy. - - - - -CHAPTER IV - -AN ARMFUL OF SHAVINGS AND WHAT TO DO WITH THEM - - -DO you love to go into a carpenter-shop, with its sweet-smelling woods -and fascinating tangle of white and rose-tinted shavings, and to watch -the carpenter guide his plane along the edge of a board, shaving off so -evenly and smoothly the long curls which look almost as natural as the -ringlets of a little girl? I am sure that many times you have tucked the -ends of the shavings under your hat and scampered off with the curls -streaming out behind or bobbing up and down delightfully at the sides. - -It is great fun, yet there is still more entertainment to be found in -these pretty shavings. - -Gather an armful, then, choosing the most perfect ones, not too thin, -with firm, smooth edges, and you shall weave them into - - -A Pretty, Soft Little Basket - -like the illustration. - -[Illustration: The soft little basket made of shavings.] - -[Illustration: Fig. 36--Directly across the centre draw a straight -line.] - -[Illustration: Fig. 37--So that the upper edge of B will touch the -dividing line of A.] - -Pine-shavings are the best to use, as they are less brittle than those -of harder woods. Select a number and put them to soak in cold water to -make them soft and pliable. Then, lifting out those of an even width, -place them before you on a lap-board or table, and after passing them -between your fingers several times to take the curl out, cut eight -pieces eleven inches long. Directly across the centre of two of the -strips draw a straight line, as in Fig. 36. Place one of these strips, -A, flat on the table and lay the other, B, across it so that the upper -edge of B will touch the dividing line of A and the mark on B will be on -a line with right-hand edge of A, Fig. 37. Under A slide another strip, -C, Fig. 38. Over B and under C slide the strip D, Fig. 39. Over D and -under A pass the strip E, Fig. 40. Under E, over B and under C weave the -strip F, Fig. 41. Under E, over B, and under C weave the strip G, Fig. -42. Over F, under D, over A, and under G weave the strip H, Fig. 43. -This forms a square for the bottom of the basket. - -[Illustration: Fig. 38.--Under A slide the strip C.] - -[Illustration: Fig. 39.--Over B and under C slip the strip D.] - -[Illustration: Fig. 40.--Over D and under A pass E.] - -[Illustration: Fig. 41.--Under E, over B and under C weave F.] - -Bend up the ends and - - -Weave the Sides - -with longer, narrower shavings which you can make by cutting lengthwise -through the middle of several wide shavings. - -[Illustration: Fig. 42.--Under E, over B and under C weave G.] - -[Illustration: Fig. 43.--This forms the bottom of the basket.] - -If you find any difficulty in keeping in place the part you have woven, -pin it to the board or table with several pins, as in Fig. 44. Bring the -sides up close to the edges of the bottom, then start your weaver at D, -on the inside of the basket (Fig. 44). - -[Illustration: Fig. 44.--Bend up the ends now and weave the sides.] - -Weave all the way around, turning the corners sharply, until the weaver -meets the first end; lap it over this, cut it off and tuck the last end -under H. Start the next weaver at C, weave it around and tuck under E. -Weave five weavers around the sides of the basket, beginning each time -in a new place that the joints may not all come together, then bend the -upright shavings over the edge of the top weaver, tucking the ends of -each under the third weaver, one inside, the next outside, as they may -come inside or outside the basket (Fig. 45). - -[Illustration: Fig. 45--Bend the upright shavings over the top edge.] - - -Bind the Edge - -with two binders the width of the side weavers. Hold one inside, one -outside, and whip them on over and over, taking the stitches with a -narrow strip of shaving as shown in Fig. 46. - -[Illustration: Fig. 46.--Bind the edge with two binders.] - -Cut two strips the width of your side weavers for - - -The Handle, - -making one twelve inches and the other eleven inches long. One inch from -each end cut notches, as in Fig. 47. Slide the end of the short strip -under the second weaver on one side of the basket and pull it up until -the points catch on the weaver, then tuck the end under the lower weaver -(see illustrations). - -[Illustration: Fig. 47.--Notch the ends like this.] - -Loop the handle diagonally over the basket and fasten the other end on -the second weaver on the side. Secure the ends of the long strip on the -third weaver, allowing it to cross the other side of the handle at the -top, then bind the two pieces together at the middle by wrapping with a -shaving of the same width over and over. Split this wrapper at the last -end and tuck the two ends in at the sides. Fig. 48 shows the under part -of the handle with one end of the wrapper tucked in. - -[Illustration: Fig. 48.--Tuck the two ends in at the sides.] - -You can make table-mats, charming little handkerchief-cases, and a -number of other things of the dainty shavings, all on the same principle -as that of the basket. - -[Illustration: The handkerchief case.] - -To make - - -The Handkerchief-Case, - -weave a square, measuring eight inches, of the narrow shavings, just as -you did for the bottom of the basket. These shavings must be twelve -inches long and you will probably need about thirty-two pieces. When the -square is finished tuck in the ends, as around the edge of the basket, -then bend in three of the corners to meet at the middle and catch with -needle and thread. Sew a quarter of a yard of bright ribbon where the -corners join and another quarter of a yard on the loose corner. (See -illustration.) Put your handkerchiefs in the little pocket, bring up the -loose point, and tie the ribbon in a pretty bow. - - - - -CHAPTER V - -PRIMITIVE REED CURTAINS - - -THESE pretty rustic hangings can be made very easily and quickly. They -are light in weight and the general tone of coloring, when the reeds -have been carefully dried at home, is a pleasing soft gray green, with -suggestions here and there of gray browns, reds, and yellows. The -curtains may be either of these reeds or fresh green cat-tails, and even -of the silvered gray stalks left standing from last season. The cost in -actual outlay of money for several curtains need be only a few cents for -cord, staple-tacks or nails, and screw-eyes, but, like the early savage -whose method of work you are imitating, you must collect the - - -Raw Material - -out in the open. So away to the spot where the finest cat-tails grow, -gather a lot of them, cutting the stalks off clean and smooth at the -base, that the cat-tails may not be bent or split, for as reeds in your -curtain they must be as near perfect as possible. Cut the velvety brown -head off from each one, making all of the stalks the same in length; -then, with several long leaves twisted together for string, tie the -stalks into a bundle and march home with the treasure. - -[Illustration: Fig. 49.--Beginning a primitive curtain.] - -[Illustration: Fig. 50.--Centre of twine tied on long stick.] - -An old bamboo fishing-rod, a length of handle from a long-handled -dusting or window brush, or any kind of a long, slender, smooth, round -stick will do for the top curtain-pole from which to hang the reeds. Lay -the pole across a table in front of and parallel to you; then tie the -centres of four pieces of cord of even lengths on it at equal distances -from each other (Fig. 49). Detail of the work is given in Fig. 50. Place -a cat-tail reed up against the four ties, allowing one string from each -tie to come over and the other under the cat-tail (Fig. 51). Cross the -two lengths of each cord over the last cat-tail, bringing the lower -string up and the upper string down (Fig. 52); then lay another reed up -against the crossed strings, carrying the strings in turn over this reed -(Fig. 53). Again bring the lower strings up and the upper down before -placing in another cat-tail, and always alternate the large and small -ends of the reeds as in Fig. 54, in order to have them equally balanced -and to avoid bringing all the small ends on one side and the large ones -on the other side of the curtain. - -[Illustration: Fig. 51.--Allow one string to come over and the other -under the cat-tail.] - -[Illustration: Fig. 52.--Cross the two lengths of twine.] - -[Illustration: Fig. 53.--Lay another cat-tail up against the crossed -strings.] - -[Illustration: Fig. 54.--Alternate large and small ends of reeds.] - -[Illustration: Fig. 55--Primitive curtain of reeds and twine stitch.] - -[Illustration: Fig. 56.--Staple nail in top pole of curtain.] - -[Illustration: Fig. 57.--Cord fastened on top pole for rolling up -curtain.] - - -Continue Crossing the Cord - -and adding cat-tails until the curtain is of the desired length. Tie the -ends of the string on each line securely together and tuck them under -the weave, hiding the ends on the wrong side of the curtain (Fig. 55). -At equal short distances from the tips of the head-pole fasten in a -screw-eye large enough to pass readily over the two hooks immediately -above the window where the curtain is to hang (Fig. 55, A, A). On the -centre of the space along the upper side of the top pole, between the -first and second cord and the third and fourth cord, drive in a -staple-nail (Fig. 49, B, B), shown more plainly in Fig. 56. These -staple-nails are for holding in place the long cord used in rolling up -the curtain (Fig. 57, B, B, and Fig. 58, B, B). Thread one end of a -long piece of cord from the back of the curtain through one staple-nail -and the other end through the other staple-nail. Bring both ends of the -cord down over the front of the curtain around the bottom and up over -the back; then tie the ends on the pole (Fig. 57, C, C). Dotted lines -show how the cord runs along the back of the curtain. Have the cord -sufficiently long to allow of the stretch between the two staple-nails B -and B (Figs. 57 and 58), to hang down over the back and extend in a -loop below the bottom edge of the curtain (Fig. 57, D). When you wish to -raise the curtain, pull the bottom loop and up will go the curtain (Fig. -58). These primitive hangings are just the thing for outing cottages on -the sea-shore or log-houses in the mountains. You can have fun weaving -them while at your summer home and in place of the old-fashioned -quilting-bee you might give a - - -Curtain-Bee Frolic. - -The girls and boys could readily make a number of hangings in one -afternoon, and while weaving the reeds together they would weave into -the work all sorts of bright speeches and gay laughter, so that ever -after the curtains would be filled with delightful associations of the -charming summer afternoon. Reed curtains can be fashioned in any width. -If very narrow hangings are in demand, cut your reeds to measure the -length needed for the curtain-width and weave them together with the -same twine cross-weave used in Fig. 55. - -[Illustration: Fig. 58.--Cat-tail curtain raised by loop from bottom.] - -[Illustration: Fig. 59.--Small end of one cat-tail.] - -[Illustration: Fig. 60.--Large end of another.] - -[Illustration: Fig. 61.--Wide curtain, each reed of two cat-tails -joined.] - - -Doorway-Screens - -hung on a swinging, armlike rod extending, when open, at right angles -with the doorway, and easily moved forward or backward, are attractive -when of woven reeds, especially if dull, green-colored cord is used in -the manufacture in place of ordinary twine. For very wide out-of-door -veranda-shades, select the strongest cat-tails and dig out about two -inches of pith from the large end of one cat-tail very cautiously to -avoid breaking the sides; then push the small end of another cat-tail -into the opening (Figs. 59, 60, 61); weave these long pieces together as -you wove the single reeds in the first curtain, using extra lines of -weave. If you cannot obtain cat-tails, take other reeds; or cut some -straight, slender poles from shrubs or trees, and weave them into -curtains with colored cord of reds or browns. Such pole-hangings would -be excellent for the open front of your mountain shack or lean-to, and -they could do service in screening the sunlight, when too strong, from -the central open way of your saddle-bag log-house. - -[Illustration: Sitting in the orchard] - - - - -CHAPTER VI - -THINGS TO MAKE OF COMMON GRASSES - - -A Grasshopper-House - -"MAMMY, make me a grasshopper-house." - -"Go 'long, chile, I done got 'nough to do 'thout makin' no -hoppergrass-houses." - -"Please, mammy, only one, and then I can make them for myself. I'll -watch you just as close. Won't you, mammy?" - -"Pick me some grasses, then; I 'low I has to, but don't yo' come -pesterin' me no more after this time. - -"Seed-top grasses, honey, seed-top grasses; don't git me none of them -blade kind. Ketch hol' near the top and pull 'em up slow like, then -they'll come out nice and smooth, an' leave they ole rough skins behind, -just like a eel does when you skins him. That's it, you got 'nough now; -bring 'em 'long here an' we'll make the hoppergrass-house. - -"Hol' your own hand, honey, you'll learn best that-a-way. Can't forgit -the feelin' of it once you build it on yo' fingers. - -[Illustration: Fig. 62.--Put the grass around your middle finger with -the end inside.] - -[Illustration: Fig. 63.--Lay the next grass across the first.] - -[Illustration: Fig. 64.--Bend back the ends of the first grass.] - -[Illustration: Fig. 65.--Put the next grass across your hand.] - -"Take one piece o' grass an' put it round yo' middle finger with the -ends inside like this (Fig. 62). Now lay the next piece right across the -first (Fig. 63), an' bend back the ends of the first grass over the -tother an' tuck 'em 'tween yo' fingers just like that (Fig. 64). Put the -next grass across yo' hand (Fig. 65), an' take up the second grass-ends, -bendin' 'em back to keep company with first grass-ends. That makes -another bar (Fig. 66). Now yo' do it an' let mammy see how yo' git -along. That's right, lay the grass across an' put the under ends back -ev'ry time. How many bars has yo' got now? Six? That's 'nough fo' any -hoppergrass, an' is as many as yo' little hand can hol' anyway. - -"Now slip it offen yo' fingers, bring the ends together an' tie with a -blade o' grass just above these here blossom ends (see illustration). -There now, yo' done made a hoppergrass-house, an' don' yo' come askin' -yo' ole mammy to stop her work no more." - -[Illustration: Fig. 66.--Bend back the second grass ends like the -first.] - -[Illustration: Fig. 67.--Tie them together at the root ends.] - -[Illustration: Fig. 68.--Lift two of the grasses and tie them -together.] - -That is the way the little girls and boys in the South are taught to -make the grasshopper-houses, by the old colored "mammies." They are -funny little cages, and, of course, will not hold a grasshopper or any -other insect, but we like to imagine they will. - -There are other things to make of grasses, any one of them requiring -only a few moments' work, and it is a pretty, quiet occupation for -restless little fingers. Sitting in the orchard, nestling like little -partridges amid the tall grasses, all your materials are close at hand. -Reach out and gather some of the long-bladed grass, and we will make - - -A Doll's Hammock - -Some of this grass measures twenty-five inches in length. It does not -grow on stalks, but the blade appears to spring directly from the root, -and it is smooth and pliable. You may find orchard-grass almost any -where, generally in neglected corners and close to fences where the -scythe does not reach. - -[Illustration: Fig. 69.--Tie them all in pairs.] - -[Illustration: The grasshopper-house.] - -Take eight or ten of the blades of this grass and tie them together at -the root-ends as in Fig. 67, drawing the knot tight as in Fig. 68. Stick -a pin through just below the knot and fasten to your knee; then lift two -of the grasses at the right-hand side, and tie them together about one -inch below the pin (Fig. 68). Tie the next two grasses together in the -same manner, the next, and the next, until you have tied them all in -pairs (Fig. 69). Make the second row by separating the pairs of the -first and tying one grass of one pair to the neighboring grass of the -next pair, making the knots one inch below the first row. This leaves -the first and last grasses hanging loose (Fig. 70). On the third row the -first and last grasses are tied in once more (Fig. 70). On the fourth -they are left again, and so they alternate until the hammock is -finished. Keep the rows of knots at even distances apart, and make the -hammock as long as the length of the grass will allow. Leave about three -inches of the grass below the last row of knots, and then tie the ends -together as in the illustration. Swing the little hammock between the -low-hanging branches of a tree; put your dolly in it and let the summer -breezes rock her to sleep while you sing: - - Rock-a-by baby in the tree-top. - -[Illustration: Fig. 70.--Make the knots of the second row one inch below -the first row.] - -[Illustration: The grass hammock.] - -A very pretty - - -Bouquet-Holder - -can be made of seed-grasses and one long blade of grass. In this you may -carry the most delicate wild flowers and ferns without wilting them by -the warmth of your hand. - -[Illustration: Bouquet-holder made of seed-grass.] - -[Illustration: Fig. 71.--Bunch together the seed-grass stalks.] - -Bunch together seven fine, strong seed-grass stalks and tie just below -the blossoms, with the root-end of your long-blade grass (Fig. 71). The -stems of the seed-grasses are the spokes, the long grass the weaver. -Turn the blossom-ends down, the stem-ends up, and close to where it is -tied, begin to weave the long grass in and out, under one spoke, over -the next, under the third, over the fourth, going around and around -spirally until the end of the weaver is reached, then tie it to one of -the spokes. Keep forcing the spokes farther and farther apart as you -weave until the holder is shaped like a cone. As you see in the -illustration, the weaver never passes over one of the spokes twice in -succession. In one row it goes over a spoke, in the next row under it, -in the third over again, and so on. In order that it may always come -this way you must have an uneven number of spokes. Four will not do, nor -six, nor eight, but five, seven, or nine spokes will bring the weave out -all right. - - -A Grass Napkin-Ring - -is another thing that can be made by weaving or braiding the grasses. - -[Illustration: Grass napkin-ring.] - -[Illustration: Fig. 72.--Take one blade from each bunch and cross them.] - -[Illustration: Fig. 73.--Bring C over A and D under B and over C.] - -Select ten fine long blades of grass, divide them into two bunches of -five each, put the root-ends together, and tie them as when making the -hammock. Pin these two bunches to your knee about two inches apart, and -taking one blade from each bunch, cross them as in Fig. 72, the -right-hand grass A on top of the left-hand grass B. Now bring the -left-hand grass C over A, and the right-hand grass D under B and over C -(Fig. 73). Next weave the left-hand grass E under A and over D, then the -right-hand grass F over B, under C, and over E. Weave the remaining four -grasses in the same way, taking first from one side, then from the -other. When your work has reached the stage shown in Fig. 74, take the -grass A, turn it _under_ and weave it in and out as in Fig. 76, then the -grass B, turn it _over_ and weave until it crosses A (Fig. 76). D comes -next, to be woven until it crosses B, then C, which will cross D. On the -left hand always turn the grasses under before beginning to weave, on -the right hand turn them over before beginning to weave. - -[Illustration: Fig. 74--Weave the remaining grasses in the same way.] - -[Illustration: Fig. 76.--Turn the grass A under, and weave it in and -out.] - - -When You Have Woven - -or braided a strip about five inches long, untie the two knots at the -top, form the braid into a ring and tie the opposite ends together in -two knots. The groups G and G in Fig. 77 form one knot, the groups H and -H the other knot. Trim the ends off neatly and the napkin-ring will look -like the one in the illustration. - -Do not use rough or saw-edged grasses for any of this work, for they -sometimes cut the hands, and the seed-top grasses must not be old enough -to shed their seeds into your eyes. When dry most grass is quite brittle -and will break if you attempt to bend it. The fresh, green, soft and -pliable grasses are the kind you need and these you may always find in -season. - -[Illustration: Fig. 77.--Tie the opposite ends together.] - - - - -CHAPTER VII - -THE POSSIBILITIES OF A CLOTHES-LINE - - -YOU can form it into graceful patterns of curves and coils, loops and -rings; you can weave it basket-fashion or net it together with brass -curtain-rings, and you can fray it out into soft, pretty tassels. You -can make it into a decorative wood-basket, a grille for an open doorway, -fringe for curtains and portières, or decoration for the top of a wooden -chest. One use will suggest another and you will probably find some way -of adapting the rope that has never yet been thought of. - -Hemp rope and cotton, large rope and small, down to the ordinary heavy -twine, all lend themselves to this work. - -It requires a rather heavy clothes-line, one considerably lighter, -called by some rope-cord, and a piece of strong twine for the - - -Wood-Basket - -shown in the illustration. - -Make the bottom of a board two feet long and sixteen inches wide, and on -each end of the board nail securely one-half of a barrel-hoop (Fig. 78). -From an old broom-stick cut four rounds one inch thick for the feet -(Fig. 79), and fasten one round to each corner underneath the board with -strong screws or wire nails (Fig. 78, Z Z). This is all the wood you -will need for the basket, the rest is to be made entirely of rope. - -[Illustration: The wood-basket.] - -[Illustration: Fig. 78--On each end nail one-half of a barrel-hoop.] - -[Illustration: Fig. 79--For the feet.] - -Take your small rope and nail one end of it to the edge of the bottom, -close to one end of one of the barrel-hoops (Fig. 80), then wrap the -hoop with the rope, one row close to another until it is completely -covered. Cut off the rope when it reaches the end of the hoop and nail -it down as you did the first end of the rope in beginning. Fasten a -piece of the heavy rope entirely around the edge of the board, nailing -it at intervals along each side, but leaving loose that at the end edges -until later. Make the - - -End Pieces - -of the basket by looping and twisting the heavy rope into the pattern -shown in Fig. 81, forming as many loops as are required to reach across -the end of the bottom. Wrap and tie one row of the loops to the rope on -the end edge of the board and the side loops to the hoops, using the -twine for this purpose. - -[Illustration: Fig. 80.--Nail one end of the small rope to the edge of -the bottom.] - -Eight inches from the end of the bottom, underneath but near the side -edge, nail one end of your heavy rope; bring it up slantingly and wrap -and tie it to the hoop just above and touching the top edge of the -loops, stretch the rope tightly across the hoop and tie at the other -side, then carry the end down and fasten underneath the bottom eight -inches from the end of the board (see illustration). Wrap and tie the -top loops of the end piece to the top rope as shown in illustration. -Finish the other end of the basket in the same manner, not forgetting to -nail in place the rope left loose at the end edges. Give the completed -wood-basket several coats of dark varnish. The varnish not only produces -a nice finish, smoothing down both wood and rope, but also stiffens and -helps to hold the rope in place. - -[Illustration: Fig. 81.--Make the end pieces like this.] - - -A Rope Netting - -at once simple and effective is made like Fig. 82. - -This netting may be made of heavy rope for a grille in an open doorway, -or of lighter rope for fringe. In either case the method is the same. - -[Illustration: Fig. 82.--A Rope netting.] - -In a board, at regular distances apart, along a straight line, drive a -row of wire nails. It depends upon the size of the rope how far apart -the nails should be placed. For a heavy rope there must be at least four -inches between, and this distance should lessen as the rope decreases in -size. - -Cut your rope into pieces four feet in length if it is heavy, not so -long if it is light rope. Loop one piece of rope over each nail and let -it hang down evenly, then bring the first and fourth strands together -and slip on them a small brass curtain or embroidery ring (Letter A, -Fig. 83). Push the ring up to within four inches of the line of nails if -the nails are four inches apart. If the distance between the nails is -three inches the ring must be three inches below the line. Catch the -ring to each strand of rope with needle and thread to hold it in place. -Bring the third and sixth strands together and slip on a ring (Letter B, -Fig. 83). Then the fifth and seventh, and so across the board. - -[Illustration: Fig. 83.--Slip on a small brass curtain ring.] - -Begin the next row by slipping a ring on the first and second strands, -placing it the same distance below the first row of rings that the first -row of rings is below the line of nails (Letter C, Fig. 83). Bring the -third and fourth strands together with a ring, the fifth and sixth, -continuing the original pairing of the strands until the row is -complete. The third row of rings brings together again the second and -fourth strands, the third and sixth, as in the first row, and the fourth -row of rings goes back to pairing the first and second, third and fourth -strands. - - -The Tassels - -Below the last row of rings wrap and tie the strands together, then -untwist the ends of the rope up to where it is tied and fray it out -until it becomes fluffy. Make the head of the tassel by wrapping closely -with twine a short distance below the ring, or you may slip on several -of the brass rings as a finish. - -The board on which you make your netting need not be any longer than is -convenient to handle, for when one part of the netting is finished it -can be taken off the nails and new strands added to carry on the work. - -Fig. 84 is an ornamental design suitable for decorating a wooden chest -or, if sewed on cloth, for a hanging. By studying the design you can -easily reproduce it without the aid of description or other diagram. - -[Illustration: Fig. 84.--Ornamental design.] - - - - -CHAPTER VIII - -HOW TO WEAVE A SPLINT BASKET - - -YOUR enthusiasm will begin when you find how easily the splint can be -cut and shaped after it has soaked for a while in water. It is -delightful to work with, almost as soft and pliable as ribbon, while -having more substance. Although there is apparently such diversity in -the material shown in the illustration, it all comes from one roll of -splint, which is uniform in width and thickness. - -[Illustration: Weaving the sides of basket with long weaver.] - -A basket measuring about six inches in diameter and three inches in -height is a convenient size on which to learn. - - -Open Your Roll of Splint, - -put two pieces to soak in a bowlful of cold water, and let them remain -twenty minutes. Have ready a clean lap-board, a pair of large scissors, -and an old towel. The lap-board not only serves for a work-table, but -also keeps the water out of your lap. - -Wipe the dripping water from the splint, and cut off six pieces nineteen -inches long; then cut these into sixteen strips one-half inch wide, for -the spokes of the basket. Do not attempt to tear the splint, for it will -not tear evenly. From the other piece of splint cut four strips for -weavers, making the first one-half of an inch wide, the next one-fourth -of an inch wide, another one-eighth of an inch wide, and the last -one-sixteenth of an inch wide. Place all the weavers in the water and -leave them until you are ready to begin weaving. - - -Take Up the Spokes, - -one at a time, and pass them between your fingers until they are -perfectly straight and flat; then number them all by writing the number -with a pencil on each end of every spoke; see diagram (Fig. 85). Lay the -spokes in front of you on the lap-board crossing the first four at the -centre (Fig. 85). Place the next four spokes in the spaces between the -ones you have just arranged in the order shown in Fig. 86, then the -remaining eight in the spaces left between these. - -[Illustration: Fig. 85.--The first four spokes.] - -For instance, the ninth spoke should come between No. 1 and No. 5, the -tenth spoke between No. 5 and No. 3, the eleventh spoke between No. 3 -and No. 6, and so on around the circle (Fig. 87). Be sure the lower end -of a spoke fits between the same numbers as the upper end. When all the -spokes are placed hammer a strong pin directly through the centre where -they are crossed, to hold them together while you begin. - -[Illustration: Bottom of basket completed.] - -[Illustration: Material for weaving basket.] - -[Illustration: Small basket with two rows of trimming on different -colored weaver between.] - -[Illustration: Lining the basket.] - - -The Weaving - -With the spokes lying in the position shown in diagram (Fig. 87), take -the eighth-inch weaver, and begin to weave it in and out of the spokes. -Start it under spoke No. 1 about two and one-half inches from the -centre, bring it over No. 9, under No. 5, over No. 10, under No. 3, -over, under, over, under, until it has crossed spoke No. 16; then skip -No. 1, bring the weaver under No. 9, and weave another row. You will -find it necessary to skip one spoke at the beginning of each row, in -order to make a continuous under-and-over weave. Weave five rows with -the eighth-inch weaver, then slide the end under the last row, lapping -it an inch or so and running it under several spokes, to hide the joint. -Slip the first end under a spoke also. During this part of the work your -main endeavor must be to weave in a perfect circle. The illustration -shows the bottom of the basket completed. - -[Illustration: Fig. 86.--Eight spokes in place.] - -Before bending the spokes for the sides of the basket, let them soak -in the water a few minutes, then place the work on the lap-board, the -same side up as when started, and carefully bend the spokes up at -right-angles with the bottom (Fig. 88). Start a half-inch weaver inside -the basket, close to the bottom, and weave under and over until the row -is complete; then, allowing for a lap of about three inches, cut the -weaver off and slide the end under the first end of the weaver, making -the invisible joint by tucking each end under a spoke. Start the next -row a little beyond the joint of the first row, that the joining may not -all come in one place. Weave five rows of the half-inch weaver, then two -rows of the fourth-inch weaver and then bind off (Fig. 89). - -[Illustration: Fig. 87.--All of the spokes in place.] - -[Illustration: Fig. 88.--Bend the spokes up.] - - -Binding Off - -Cut the spokes off evenly, leaving about two inches extending above the -top of the basket, then put the basket in the water, spokes down, and -soak until pliable. Bend each spoke down snugly over the top weaver, and -slip the end through the next weaver, pushing it down until its end is -hidden under one of the weavers. Bend one spoke inside, the next outside -the basket, according as they come inside or outside of the top weaver -(Fig. 89). - -[Illustration: Fig. 89.--Binding off.] - -This binding off holds the top weaver in place and makes the basket very -firm; but the spokes must be protected from wear where they are bent, -and it is necessary to put a double band around the edge. For this band -cut two pieces of the fourth-inch weaver which will go around the basket -and lap about an inch. Place one piece along the inside edge, the other -along the outside edge of the basket, and with the sixteenth-inch weaver -bind them to the top weaver, as shown in Diagram 90. Fasten the end by -taking several cross-stitches with the narrow weaver, passing it under -the inside band only, and tucking the end under the same band. - -[Illustration: Fig. 90.--Putting on the band.] - - -The Trimming - -Many splint baskets are trimmed with twisted loops of the same material. -For this trimming take one of the half-inch weavers and cut a thread's -width off its edge, making it just a trifle narrower than the other -weaver. Insert the end of this weaver under a spoke at the top of the -basket (letter A, Diagram 91), give a twist to the left, and pass it -beneath the next spoke, as shown in Diagram 91, letter B. Pull the loop -down and flatten it a little with your thumb, then twist the weaver -again, this time to the right, and slip the end under the next spoke, -letter C. Continue this around the basket, and make the joint of the -trimming as you did the other joints, by lapping the ends and slipping -them under the spokes, which makes the last loop of double thickness. - -[Illustration: Fig. 91.--Making the trimming.] - -The small basket shown in the illustration has two rows of trimming, and -between them is run a weaver of another color pulled out into loops at -the sides. - -The illustration on the first page of this chapter shows a large basket -with four rows of trimming and handles. The handles are made of the -fourth-inch weaver, which is brought around twice, making a ring of -double thickness. The ring is then wrapped with the eighth-inch weaver, -and fastened to the basket with loops of the same. The weaving of this -large basket differs from the smaller one, in that the weaver is not cut -at the end of each row, but is continued around row after row. For a -large basket the half-inch weaver can be used in this way, but in a -small basket the slant of the weaver as it runs around is too apparent. -If a long weaver is used in a small basket it must not be more than -one-eighth of an inch in width. - -While baskets of the natural white splint are extremely dainty, color -certainly gives variety and adds interest to the work, and the splints -will take dye readily. You might also line your basket with silk of a -color to harmonize with the splint. - -The white-ash splint one and one-half inches wide comes in rolls of -twenty-five yards, and a roll will make several medium-sized baskets. -The material may be obtained of almost any kindergarten supply firm. - - - - -CHAPTER IX - -MODELLING IN TISSUE-PAPER - - -A FEW cents will be sufficient to buy enough tissue-paper to model -good-sized elephants, too large to stuff into the Christmas stocking, -for they measure six or seven inches in length and stand four or five -inches high; and you can make chickens nearly life-size, and the queer -little turkeys, too. - -You must select paper of the necessary color, and fold, roll, fold, -squeeze, fold, tie, with here a little pull and there a little pat, a -spreading out, a pinching in; that is all. There is no sewing, no -pasting, no pinning, merely modelling and tying, using only tissue-paper -and string. - -These animals are very substantial and unique. They are not at all thin -or flat, but well rounded out and lifelike, with character and -independence enough to stand alone--just the kind your little brother -and sister will be delighted with, for they may play with the toys free -from all danger of hurts or bruises. To - - -Make the Chicken - -select a sheet of tissue-paper of a soft yellow color, cut it through -the centre, fold into two pieces. Take one of the halves and gather up -the long edge where it has been cut (Fig. 92), then gather the opposite -edge (Fig. 93). Crease the paper as it is folded by holding one end with -the right hand (Fig. 92), and drawing the paper several times through -the partially closed left hand. This will cause it to retain the -creases, as seen in Fig. 93. - -[Illustration: Fig. 92.--The beginning of the paper chicken.] - -[Illustration: Fig. 93--Second step in modelling chicken.] - -[Illustration: Fig. 94.--Third step in modelling chicken.] - -[Illustration: Fig. 95.--Fourth step in modelling chicken.] - -[Illustration: Fig. 96.--Fifth step in modelling chicken.] - -[Illustration: Fig. 97.--Head and body of chicken.] - -[Illustration: Fig. 98.--Modelling the chicken's legs.] - -Roll a separate piece of paper into a little wad and lay it on the -creased strip (Fig. 93) about one-fourth of the distance from one end. -Bend the short end of the strip over the wad of paper, as in Fig. 94; -then fold up the strip where the end of the short fold lies, bend this -over the first fold (Fig. 95) and bring the loose end on the bottom of -the three layers. Fig. 96 shows a wad of paper inserted at one end of a -strip of creased paper folded over and over three times, making four -layers, two on top and two on the bottom of the paper wad. Wind a string -around the paper tight up to the wad and tie it securely to form the -head (Fig. 97). You now have the body and head of the chicken. Make the -legs and feet of a strip of paper about sixteen inches long and seven -and one-half wide. Gather up the two long sides with your fingers as you -did the paper in Fig. 93; crease the paper, then wind each leg with -string, leaving one inch free at each end to form the feet (Fig. 98). -Lift up the free end of the folded paper (Fig. 97) and place the centre -of the legs (Fig. 98) midway under the last fold as in Fig. 99. Tie the -end of the loose layer of the body securely on the body, and you will -have the foundation ready for the beak, wings, and tail (Fig. 100). - -[Illustration: Fig. 99.--Modelling body and legs of chicken.] - -[Illustration: Fig. 100.--Partially modelled ready for beak, wings and -tail.] - -[Illustration: Fig. 101.--The beak of chicken.] - -[Illustration: Fig. 102.--Modelling beak on chicken.] - -[Illustration: Fig. 103.--Paper chicken nearly finished.] - -[Illustration: Fig. 104.--Hungry little paper chicken.] - -Cut a square of the same kind of tissue paper, measuring nine and -one-half inches on all four sides; fold diagonally twice across the -square as when making a paper pin-wheel. The centre of the square is -exactly where the diagonal lines meet and cross; pinch the centre -portion up into a beak and tie it with a string (Fig. 101); then fit the -beak over the centre of the chicken's head, bringing the paper entirely -over the head on all sides; tie the square around the chicken's neck -close up to the head (Fig. 102). The two points A and B of the square -must form the wings, while C is carried backward over the under portion -of the body and D back over the upper part, the two ends C and D being -brought together and tied tight up to the body to form the tail. In Fig. -103 you will see exactly how to pinch up the wing if you notice -particularly the upper part of the wing B, next to the body. The wing A -on Fig. 103 shows how the two wings must be tied close to, but not on, -the body. When each wing is tied, make the tail of C and D by tying the -extensions together as explained above; that done, bend down the legs, -spread out the wings and tail, open out and flatten the feet, then -stand the little chicken on a level surface (Fig. 104). Remember always -to crease the tissue-paper with the grain of the paper; if you attempt -to cross the grain the paper will be very apt to tear. - - -The Turkey - -[Illustration: Fig. 105.--The astonished paper turkey.] - -[Illustration: Fig. 106.--Modelling turkey's body.] - -[Illustration: Fig. 107.--Legs and feet of turkey.] - -[Illustration: Fig. 108.--Head modelled on turkey.] - -(Fig. 105) is also modelled from half a sheet of tissue-paper as near -the general color of a turkey as can be found. Make Fig. 92 and Fig. 93 -of the paper; then fold Fig. 93 five and three-quarter inches from one -end (Fig. 106, F). Three inches from this end tie the two layers -together (Fig. 106, G). Fold the strips back and tie a string through -the lower loop up over the loose top layer (Fig. 106, H). Wind the -extreme end of the paper (Fig. 106, O), with string to form the beak -(Fig. 107), bend the beak down and tie it to the neck to form the top of -the head (Fig. 108, P). Make the legs and feet as you did those for the -chicken (Fig. 98) and slide them through the body so that one fold of -the body will be above and two beneath the legs (Fig. 107). Cut the -wings from a separate piece of tissue-paper (Fig. 109). Let the paper -measure seven inches on the widest side, five on the opposite side, and -four and one-half on each of the other sides. Pinch the paper together -through the centre and tie (Fig. 110). Gather up one wing, so that it -will not tear, and slip it through the body, immediately over the legs, -with the widest side toward the front (Fig. 105), leaving the other wing -out free on the other side of the turkey. Bend down the legs, spread the -tail out fan shape and bend it up; open out the wings and drop them -downward and forward (Fig. 105). Flatten out the feet and stand up the -turkey (Fig. 105). - -[Illustration: Fig. 109.--Paper for turkey wings.] - -[Illustration: Fig. 110.--Turkey wings.] - -[Illustration: Fig. 111.--Elephant modelled of tissue-paper.] - - -The Elephant - -(Fig. 111) will require two sheets of brown tissue-paper for its body, -head, and trunk, which are all made of a single strip of paper. Unfold, -spread out and fit the two sheets of tissue-paper together; then gather -up one side, as in Fig. 92, crease and gather up the other side (Fig. -93). Bind one end with black thread to the distance of four and one-half -inches to form the trunk; then fold the remainder of the strip into four -layers, beginning with the free end of the paper; fold over and over -three times. This gives the body and head. Bind black thread around the -folds next to the trunk to form the head. Make four legs of two pieces -of paper in the same way you formed those of the chicken (Fig. 98), only -the elephant's legs must be very much thicker. Slide the legs through -the body between the two layers of paper, shove the front legs forward -and the hind legs backward. For the tail use a small strip of the brown -tissue-paper. Wrap it around and around with black thread to within an -inch of the bottom and cut this end up into fringe. Fasten the tail on -the elephant with black thread, pass the thread between the first and -second layers of paper forming the back of the body of the animal and -tie the tail on the outside threads which cross from side to side of the -elephant; bend the top of the tail over the thread, as you would hang a -garment on a clothes-line, and tie the bent-over end down on to the tail -proper. Shape the ears like Fig. 112, pinch together the end S and tuck -it under the thread which separates the head from the body. Allow the -long side, M, to form the front of the ears. You can add white ivory -tusks if desired. Roll up two white writing-paper lighters and push an -end of each up in the head under the trunk, forming one tusk on each -side. - -[Illustration: Fig. 112.--Elephant's ear.] - -In making these little creatures do not forget that you must do some -modelling, bending and shaping them with your fingers, squeezing up the -paper where it stands out too far, and gently pulling it out in places -where it flattens too much. The heads can be turned to suit the fancy, -the bodies inclined this or that way, or they may stand stiff and erect. -You might model a number of chickens, of different-colored paper, some -yellow, some white, and others black, like real chickens; or make -several turkeys and two or three elephants, some of the latter with -tusks and others without. The toys when finished will cause exclamations -of delight and approval. They are simple and easy to put together, -something which will not cost much and yet be worth many times the -amount expended for the necessary material to manufacture. The little -animals are attractive, substantial toys, entirely different from the -common ones which any girl or boy with sufficient pocket money may -purchase. - - - - -CHAPTER X - -NATURE STUDY WITH TISSUE-PAPER - - -A natural flower, some tissue-paper, a pair of scissors, a spool of -thread, and nimble fingers are all you need. - -There are no patterns, only circles and squares and strips of paper -which you gather here, spread out there, wrap and tie some place else -and, with deft fingers, model into almost exact reproductions of the -natural flower before you. - -With its unfamiliar terms to be committed to memory and the many parts -of the flower to be distinguished, botany is apt to prove dry and -tiresome to the little child, but to study nature by copying the flowers -in this marvellously adaptable material is only a beautiful game which -every child, and indeed many grown people, will delight in. The form of -the flower, its name and color, may, by this means, be indelibly stamped -upon the memory, and a good foundation laid for further study. - - -The Best Models - -Ordinary garden flowers and those most easily procured make the best -models. The carnation-pink, the morning-glory, and the rarer blossoms of -the hibiscus, are well adapted to the work, also the daffodil and some -of the wonderful orchids. - -Even holly with its sharp-spiked leaves and scarlet berries and the -white-berried, pale-green mistletoe may be closely copied. All these and -many more are made on the same principle and in so simple a manner even -quite a little child may succeed in producing very good copies from -Nature. - - -Material - -Buy a sheet of light pink tissue-paper, another of darker pink, and one -of the darkest red you can find. Then a sheet of light yellow-green and -one of dark green. Have a table "cleared for action" and place your -paper on the right-hand side, adding a pair of scissors and a spool of -coarse thread, or, better still, of soft darning-cotton. - -[Illustration: Carnations modelled from tissue-paper.] - -With all this you are to copy the - - -Carnation-pink - -which someone has given you or you have growing in your own garden. Make -one of your light pink paper, one of the darker pink, and another of the -rich, deep red to have a variety. - -Lay your natural flower down on the left-hand side of the table, away -from your material but quite within easy reach, for it must be consulted -frequently. Seat yourself comfortably and don't work hurriedly. - -[Illustration: Fig. 113.--Fold the square diagonally through the -centre.] - -The first thing necessary in this system of squares and circles is to -know - - -How to Cut a Circle Quickly, - -easily and accurately, and always without a pattern. Here is a method -which never fails: - -[Illustration: Fig. 114.--The first triangle.] - -Cut a square the size you wish to make your circle. That is, if you want -a circle with a diameter of four inches cut a four-inch square (Fig. -113). Fold the square diagonally through the centre according to the -dotted line on Fig. 113, and you have the triangle (Fig. 114). Fold this -at the dotted line and it will make another triangle (Fig. 115). Again -fold through the middle and you have the third triangle (Fig. 116). Fold -once more and Fig. 117 is the result. Measure the distance from the -edge, B, to the centre A in Fig. 117 and mark the same distance on the -other side of the angle shown by the dot, C (Fig. 117). With your -scissors cut across from C to B, curving the edge slightly, as shown by -the dotted line from C to B (Fig. 118). Fig. 119 is the circle still in -its folds. Fig. 120 is the circle opened, the dotted lines indicating -where it has been folded. - -[Illustration: Fig. 115.--Second triangle.] - -[Illustration: Fig. 116.--Third triangle.] - -Your eye will soon become sufficiently accurate to enable you to gauge -the distance from A to B, and you can then cut from C to B without -measuring. - -[Illustration: Fig. 117.--Fold once more.] - -[Illustration: Fig. 118.--Cut from C to B, curving the edge.] - -[Illustration: Fig. 119.--The circle still in its folds.] - - -Before Beginning Your Flower - -take up the natural one and examine it carefully. You will notice that -it has a great many petals crowded closely together and that their -edges are pointed like a saw. You will also see that the green calyx is -wrapped snugly around the lower part of the flower and that it, too, has -a pointed edge. - -[Illustration: Fig. 120.--The circle opened.] - -Now hold the pink off at arm's length. The separateness of the petals -disappears and you see them only as a mass; the points on the edges are -not noticeable except as they give the flower a crimped appearance, and -the edge of the calyx looks almost straight. It is this last appearance -or the impression of the flower that you are to produce rather than its -many and separate little parts. So now to work. - -[Illustration: Fig. 121.--The petals.] - -[Illustration: Fig. 122.--Crimp the edge with your fingers.] - -[Illustration: Fig. 123.--Draw these through your hand to bring them -closely together.] - -[Illustration: Fig. 124.--Make a slender lighter.] - - -Cut Two Squares for Each Pink, - -one measuring five and one-quarter inches, the other four and -three-quarter inches, and turn them into circles (Fig. 121) by the -method just explained. Take one of the circles at the centre, where the -folding lines cross, with the tips of the fingers of your left hand and -pinch it together; then, while still holding it, crimp the edge with the -fingers of your right hand (Fig. 122). Do this always with every kind of -flower, whether it is made of circles or squares. Without loosening your -hold of the centre, draw the paper lightly through your right hand -several times, then crimp the edge again, this time with the blade of -your scissors. Treat all the circles alike, then place a small circle -inside a larger one and draw them through your hand to bring them -together, pinching them closely until within a little over an inch of -the edge (Fig. 123). Make a slender lighter of ordinary writing-paper -(Fig. 124), snip off the point of the flower (D, Fig. 123), open the -other end a little and push the lighter through until its head is -hidden. This forms the stem. Wrap and tie with thread at the bottom of -the flower (Fig. 125), and again where the petals spread. This last is -to be but temporary, as you will remove the thread when the flower is -sufficiently pressed together to hold its shape. - -[Illustration: Fig. 126.--The calyx.] - -[Illustration: Fig. 125.--Wrap and tie at the bottom and where the -petals spread.] - -[Illustration: Fig. 127.--Wrap the paper spirally around the stem.] - -From your light-green paper cut a circle measuring three and one-quarter -inches through its diameter and cut it in two to make the half circle -for the calyx (Fig. 126). Remove the thread that holds the flower just -below its petals and wrap the calyx closely around the lower part, tying -it at the bottom; then cut a narrow strip of dark-green paper and wrap -it spirally around the stem, beginning at the top (Fig. 127). Let the -wrapper extend a little below the lighter and twist the end to hold it -in place. Spread the petals of your flower as much like the natural -blossom as possible. - - -Leaves - -[Illustration: Fig. 128.--The leaves.] - -For the leaves cut a strip of dark-green paper six inches long and -three-quarters of an inch wide (Fig. 128). Find the centre by folding -the paper end to end and making the crease shown by dotted line in Fig. -128. Gather it along this line, not with needle and thread--we use no -needle in this work--but with your fingers, and pinch it together; then -twist each end into a point (Fig. 129). With the sharp point of your -scissors punch a hole directly through the centre (E, Fig. 129), and -push the point of the stem through the hole, bringing the leaves as far -up on the stem as you find them on the natural flower; then wrap and tie -them in place. - -[Illustration: Fig. 129.--Twist each end into a point.] - - -The Bud - -is made of a circle of dark-green paper the diameter of which is three -and one-quarter inches (Fig. 130). Gather this circle between your -fingers as you did the others and crimp the edge with the scissors. It -will then form a little bag or cup like Fig. 131. Slip the bag over the -head of a lighter and tie at the bottom as in Fig. 132. If the bud does -not take the proper shape at first, model it with your fingers until it -is correct. Start the wrapping of the stem just above where the bud is -tied and finish as you did the stem of the pink. Use small leaves on the -bud stem, having the strip of paper just as wide, but considerably -shorter than for the leaves on the stem of the open flower. - -[Illustration: Fig. 130.--The bud. - -Fig. 131.] - -It is wonderful how very natural these blossoms appear. At a short -distance no one would think they are not the real, old and familiar -pinks. Only the fragrance is missing, and that may also be supplied and -a spicy odor given by enclosing a whole clove in the heart of each -flower. - - -The Morning-Glory - -From your pale-pink paper you can make the delicately beautiful -morning-glory. Have the natural flower with its stem and leaves to copy -from, even if the blossom is not the color you want. As with the pink, -it is the general form and appearance we strive for in the -morning-glory, not the detail. - -[Illustration: Fig. 132.--Slip the bag over the head of a lighter.] - -Make your pink circles with a diameter of about seven inches. It is -always better to have your flowers a trifle larger than the natural -ones, rather than smaller. - -But one circle is required for each morning-glory. Crimp this in your -fingers and draw through your hand as you did the circles for the pinks; -then, pinching it together to within one and one-half inches of the -edge, hold it in your left hand and flatten out the top as in Fig. 133. -See that the fulness is evenly distributed, and pull and straighten out -the edges until you are satisfied with its appearance. - -[Illustration: Morning-glory modelled from tissue-paper.] - -[Illustration: Fig. 133.--Flatten out the top of the flower.] - -A piece of bonnet-wire makes the best stem if you wish to give the true -viney effect of the growth. If it is only the blossom you are making, a -paper lighter will answer. When you use the wire bend one end over to -form a small loop; this is to keep the stem from slipping through the -flower. Pass the straight end of the wire through the centre of the -flower and draw it down until the loop is hidden. - -[Illustration: Fig. 134.--Green square for calyx.] - -[Illustration: Fig. 135.--Draw the edges down.] - -[Illustration: Fig. 136.--Form a leaf-shaped point.] - -Make - - -The Calyx - -of a square of light-green paper measuring about four and one-half -inches. Fold the square four times through the centre to form the -creases shown by the dotted lines in Fig. 134. Hold the square at the -centre and draw the edges down as in Fig. 135; then bring the two edges -together in gathers, just below one of the corners, to form a -leaf-shaped point as in Fig. 136. Gather below each corner, tie as in -Fig. 137, and twist each corner into a sharp point like F, Fig. 137. -Draw the calyx through your hand, bringing the points together (Fig. -138). Push the calyx up on the stem and tie just at the base of the -flower, then tie again about three-quarters of an inch below and wrap -the remainder of the calyx close to the stem. Wind the stem with -light-green tissue-paper and bend it as the natural one is bent and -curved. - -[Illustration: Fig. 137.--Twist each corner into a point.] - -Make several buds of the pink paper, following the directions given for -the green bud of the pink; then twist each bud at the point and add a -calyx. - -The wilted flower shown in the illustration is made by taking one of the -morning-glories you have just finished and actually wilting it by -drawing the flower together and creasing and pressing it to resemble the -partially closed and drooping natural blossom. - -Only a piece of dark-green paper six inches square is required to model -two almost perfectly shaped morning-glory leaves. - -[Illustration: Fig. 138.--Bring the points together.] - -[Illustration: Fig. 139.--Gather along one of the creases.] - -[Illustration: Fig. 140.--The morning-glory leaves.] - -Fold the square twice diagonally across from corner to corner to find -its centre; then begin at one corner and gather along one of the -creases until you reach the centre (Fig. 139). Start again at the -opposite corner, gather along the crease to the centre, then wrap and -tie (Fig. 140). Pinch each leaf from underneath along the crease in the -middle, to give the depression at the midrib. Straighten the leaf out a -little at its widest part and you will find you have made a pair of -leaves which are surprisingly natural. Wrap and tie these to the stem -and make as many more as you think are needed. - - -The Daffodil - -is of such a different nature it hardly seems possible that it can be -made on the same principle as the other flowers, yet the work is -practically the same. - -[Illustration: Daffodils modelled from tissue-paper.] - -[Illustration: Fig. 141.--For the two extra petals.] - -[Illustration: Fig. 142.--Pinch and tie in place.] - -[Illustration: Fig. 144.--Cut off the ragged end.] - -[Illustration: Fig. 145.--Fit each loose petal between two of the -others.] - -[Illustration: Fig. 143.--Bring together the fan of paper below the -petal.] - -Match the tint of your natural daffodil in yellow tissue-paper as nearly -as possible, and then cut two squares for each flower measuring about -five and one-half inches. Fold the squares crosswise and diagonally -through the centre as you did for the calyx of the morning-glory (Fig. -134), and cut one square in half along one of its diagonal folds (Fig. -141). Gather the square two and a quarter inches below each corner and -tie as in Fig. 137, but do not twist the points. This gives you four -petals, but as the daffodil has six, you must make two more from the -triangular halves of the square you have just cut. Gather each triangle -across from side to side, according to the dotted line in Fig. 141, and -pinch and tie in place as in Fig. 142, making sure the petal is of -exactly the same size as those on the square. Bring together the fan of -paper left below the petal and wrap and tie as in Fig. 143, then cut off -the ragged end (Fig. 144). Draw the petals of the square together as -you did the calyx, and insert the stem made of a paper lighter. Put in -place the two extra petals, pushing the wrapped ends down into the heart -of the flower; fit each loose petal between two of the others and tie -(Fig. 145). - -[Illustration: Fig. 146.--Pinch the cup together.] - -[Illustration: Fig. 147.--Slip the cup on your finger like a thimble.] - -[Illustration: Fig. 148.--Insert the stem of the cup into the centre of -the flower.] - -Turn back to the bud of the pink (Fig. 130), and from a circle of the -yellow paper, with a diameter of four inches, make the cup (Fig. 131), -using the scissors to give a fine crimp to the edges. Pinch the cup -together at the bottom almost half-way up and tie (Fig. 146); slip it on -your finger like a thimble and press it into shape like Fig. 147. Insert -the point or stem of the cup into the centre of the flower and tie in -place just below the petals (Fig. 148). - -Cut a two and three-quarter-inch square from light-brown paper and -divide it diagonally in half for the calyx. Examine your natural -daffodil and notice how loosely the calyx seems to be wrapped around the -flower. Imitate this by leaving the point loose at the top, while you -wrap the bottom of the calyx closely around the stem. Allow the wrapping -for the stem to cover the lower part of the brown calyx. Make several -long, narrow leaves from strips of dark-green paper, two inches wide and -of varying lengths. Twist one end of each leaf into a point and, -gathering the other end, draw it through your hands until it stands up -stiffly. Wrap each leaf partly around the stem and tie in place, -following as closely as possible the natural growth of the leaf on the -stem. Bend the stem just below each flower, being careful not to break -the paper lighter which forms it. - -If you use thread the color of the flowers for tying and green for the -stems the effect will be almost perfect. - - - - -CHAPTER XI - -A NEW RACE OF DOLLS - - -LIKE the little animals, these dolls are modelled of tissue-paper and -they are equally substantial and durable. The dolls, as well as their -dresses, shoes, and bonnets, are made without taking a stitch or using -glue or paste. Nothing could be prettier or more suitable to hang on the -Christmas-tree than these little ladies decked out in their fluffy -tissue-paper skirts, and nothing will give greater delight to the -children. - -[Illustration: Here she comes. Little Miss Muffett.] - -To make - - -Little Miss Muffett - -you will need eight sheets of white tissue-paper, two sheets of flesh -pink, not too deep in color, a quarter of a sheet of light-brown or -yellow, and a small piece of black. Her underclothes will require one -sheet of white and her dress and bonnet one sheet of any color you -consider most becoming. - -[Illustration: Fig. 149.--Creased tissue-paper for making doll.] - -[Illustration: Fig. 150.--Six sheets of tissue-paper folded together for -making doll.] - -[Illustration: Fig. 151.--Head of doll.] - -[Illustration: Fig. 152.--Head tied on body.] - -Take one sheet of the white paper at a time and draw it lengthwise -through your hands, creasing or crimping it as in Fig. 149. Do this to -all the eight sheets. Then, pulling six of them partly open, place them -evenly one on top of another and fold through the middle (Fig. 150). -Take another sheet of the crimped paper and roll it into a ball like -Fig. 151. Open the folded paper, place the ball in the middle, bring the -paper down over the ball and wrap and tie just below with coarse linen -thread or white darning-cotton (Fig. 152). This is the head, which you -must model into shape with your fingers, squeezing it out to make it -fuller and rounder at the back and pinching it to give a chin to the -face. Fold another crimped sheet like Fig. 153 for the arms. You will -notice the ends do not quite reach the folds. The space left should -measure a little over one inch. Crimp half a sheet of the pink paper -and with it cover the arms; allow the pink to extend equally at each end -beyond the white and fold over the ends, tying them as in Fig. 154. Then -tie the loose ends down as in Fig. 155. Open the paper just below the -head, slip the arms in place and tie below (Fig. 156). - -[Illustration: Fig. 153.--Beginning the arms.] - -[Illustration: Fig. 154.--Pink paper over arms.] - -[Illustration: Fig. 155.--Outside of arms tied over inside.] - -Spread out your smooth sheet of pink paper, place the doll's head -directly in the centre and draw the paper down over head and body; keep -it as smooth as possible over the face and wrap and tie at the neck -(Fig. 157). Push the pink paper up on the shoulders and cut a slit about -six inches long lengthwise through the middle of the entire mass of -paper, as shown in Fig. 157. Wrap and tie each of the legs (Fig. 158) -and tie once more under the arms (Fig. 161). Fold the bottom edges under -and model the feet in shape (Fig. 158). The wrappings at the thighs and -knees take slanting lines, which give a more natural shape to the legs -than if the thread were simply wrapped round and round as at the ankles. - -[Illustration: Fig. 156.--Arms in place.] - - -Paint the Face - -of Little Miss Muffett with water-colors, placing the features low on -the head to give a babyish look, and make the eyes large and mouth -small. Color the cheeks and chin a deeper pink, and put little touches -of red just above the eyes near the inner corners and little streaks of -blue just below the eyes. - -[Illustration: Fig. 157.--The pink skin of tissue-paper over doll.] - -[Illustration: Fig. 158.--Modelling legs of doll.] - -Miss Muffett's curls are furnished by - - -The Wig, - -which you are to make of brown or yellow paper, or black if you want a -little brunette. - -Cut a circle seven and one-half inches in diameter, and on the edge cut -a fringe one inch in depth (Fig. 159). This is the hair, which you must -curl by drawing it lightly over the blade of a penknife or scissors -(Fig. 159). - -Fit the wig on Miss Muffett's head, holding it in place with pins until -you can tie it on just back of the curls (Fig. 161). - -[Illustration: Fig. 159.--The wig.] - -Now for the little lady's clothes. To make - - -The Shoes, - -which will be her first article of dress, cut out of the black -tissue-paper two circles measuring four and one-half inches in diameter -(Fig. 160); place one foot in the middle of a circle, draw the paper up -around the ankle and wrap a number of times before tying. Put the other -shoe on the other foot in the same manner, and your doll will look like -Fig. 161. - -[Illustration: The shoe.] - -[Illustration: Fig. 160.--Pattern of shoe.] - - -Miss Muffett's Lingerie - -consists of a union garment (Fig. 162) and a white skirt (Fig. 163). -From one end of your remaining sheet of white paper cut a strip about -seven inches wide, and at the middle cut a slit half-way up (Fig. 162). -Draw this through your hands to crimp it, the creases to run lengthwise, -that is, from top to bottom. Fit the little garment to the body, tying -it just below the arms and again above the knees, where it will form -ruffles. - -Cut the white skirt in a circle seventeen inches in diameter with a -circular opening in the centre (Fig. 163). Crimp the skirt and put it on -over the feet, not the head, of the doll, wrapping and tying it in place -around the waist. - -Not only may tissue-paper be purchased in all colors, with their various -shades and tints, but in pretty little checks, plaids, and figures as -well, so Miss Muffett may have a dress equal in appearance to the cotton -or silk gown of her china sisters. - -[Illustration: Fig. 161.--Ready to be dressed.] - -Cut the skirt of - - -The Dress - -after the white skirt pattern (Fig. 163), and the waist like the smaller -circle (Fig. 164), which has one slit, from outer to inner edge, added -to the opening at the centre. - -[Illustration: Fig. 162.--Union garment.] - -[Illustration: Fig. 163.--White skirt.] - -[Illustration: Fig. 164.--Waist pattern.] - -[Illustration: Fig. 165.--Pattern for sun-bonnet.] - -[Illustration: Fig. 166.--Bonnet folded.] - -This waist circle should measure ten inches in diameter. Do not crimp -the dress skirt, but put it on in all its crisp freshness, and tie in -place at the waist-line. Adjust the waist on Miss Muffett, bringing the -slit opening at the back. It looks very much like a cape now, doesn't -it? But draw the fulness in at the bottom and around the arms at the -shoulders, and you have a little waist with full short sleeves. Tie the -waist rather high, and bring it down to bag slightly over the skirt as -shown in the illustration of Miss Muffett. Cut - - -The Sun-Bonnet - -of the same paper as the dress. Fig. 165 shows the pattern, which is ten -inches long and nine inches wide. Fold the straight edge over three -times, according to the dotted lines in Fig. 165, making the folds one -and one-quarter inches wide. Fig. 166 shows the bonnet folded, and the -dotted line around the curve indicates where it is to be gathered in at -the neck. - -[Illustration: The sun-bonnet.] - -Fit Fig. 166 on Miss Muffett's head, allowing the folded edge to extend -slightly beyond her face, then draw the bonnet down at the back and -gather it in with your fingers until it sits snugly to the neck. Through -the middle of the fold, one inch from each end, puncture a hole, and -through these two holes pass the thread that goes around the back of the -bonnet and ties under Miss Muffett's chin. See illustration of -sun-bonnet. - - - - -CHAPTER XII - -AN INDIAN ENCAMPMENT - - -AN Indian encampment for your very own! A wigwam, camp-fire, Indian -travois, blanket-weaving loom, gorgeous feathered head-dress, bow, -arrows and shield, tomahawk, wampum, and a little copper-colored papoose -in its funny stiff cradle, hanging on a tree entirely alone! Does not -all that sound delightful? The complete scene can actually be made to -appear in your room at home. - -Take for - - -The Ground - -a common pastry-board or any kind of board of the desired size--about -nineteen by twenty-six inches--and for grass cover one side and the four -edges of the board with a piece of light-green cotton flannel stretched -tight, fleece side up, and tacked to the under side of the board. -Sprinkle sand and small stones on the grass at one side of the wigwam, -to show where the grass has been worn off by the tramping of the -Indians, the bronco pony, and the dog, for all Indians possess dogs of -some description. If you have a toy dog of suitable size, stand him by -the fire where he will be comfortable. Before the red men owned horses, -a dog was always used to drag the travois, and to this day the braves -care as much for a dog as does any pale-faced boy--which is saying -much, for a white boy and any kind of a dog make devoted friends and -comrades. - -[Illustration: Fig. 167.--Home-made compass.] - -Now that we have our camping-ground, the first thing we must do is to - - -Put Up the Wigwam - -for shelter. Draw an eight-inch diameter circle on the grass near one -end of the ground. Fold a strip of paper lengthwise, stick a pin through -one end of the paper and drive it down into the board where you wish the -centre of the circle, push the point of a lead pencil through the other -end of the paper four inches from the pin; keep the pin steady while you -move the pencil around many times until a circle appears plainly on the -grass (Fig. 167). - -[Illustration: Fig. 168.--Pole sharpened to flat point.] - -Cut twelve slender sticks eleven inches long and sharpen the heavy end -of each into a flat point (Fig. 168). The sticks must be straight, for -they are wigwam-poles. Tie three poles together two inches from their -tops and spread out the sharpened ends at nearly equal distances apart -on the circle line; mark the spots where they rest and bore gimlet-holes -in each place through the cloth into the wood. Enlarge each hole with a -penknife and insert the poles, pushing the sharpened points down firmly -into the holes (Fig. 169). Add seven more poles around the circle, -keeping the spaces between all about even. Sink these last poles in the -ground as you did the first three; then tie the tops together around -the first three poles, and you will have the wigwam framework of ten -poles standing strong and firm. - -[Illustration: Fig. 169.--First three poles planted firmly in edge of -circle for wigwam.] - -[Illustration: Fig. 170.--Cover for wigwam.] - -Make the cover of unbleached or brown-tinted cotton cloth cut like Fig. -170. Mark the curved lower edge with the home-made compass used for the -grass circle. Fasten the pin and pencil in the paper strip nine and -one-half inches apart; draw almost a half circle, then an inch and a -half from the spot A (Fig. 170), where the pin is stationed, begin to -cut the opening for the top of the wigwam poles, B (Fig. 170). Slash the -point C in as far as D, sew pieces of cloth over the points E and E, -leaving the opening at dotted lines to form pockets for the smoke-poles. -Cut two rows of little holes on each side of the upper part of the -wigwam to run the pinsticks through when fastening the wigwam together -(Fig. 171). - -Now comes the fun of decorating the cover. Pin the cloth out flat and -smooth, and paint in brilliant red, yellow, black, green, white, and -blue the designs given in Fig. 170. When finished, fit the cover over -the wigwam-poles and with short, slender sticks pin the fronts together. -Peg the lower edge down to the ground with short black pins and slide a -pole in each pocket of the smoke-flaps E and E (Fig. 170). Bring the -poles around and cross them at the back of the wigwam. As you do this -you will exclaim with delight at the result, for the little wigwam will -be very realistic. - -In front of your wigwam or tepee - - -Build a Make-Believe Fire - -of bits of orange and scarlet tissue-paper mixed in with short twigs, -and then you must manufacture something to cook in. Bore a hole in the -ground near the fire and fit in the fire-pole, making it slant over to -one side and hang directly above the fire. Place a stone over the -embedded end of the pole to keep it firm. Suspend an acorn kettle or any -little kettle of the right size for the Indians to use on the pole and -the camp will begin to look cosey for the red men to enjoy. Hunt up a -jointed doll about five inches high, paint it copper color, ink its -hair, and the doll will be a fairly - - -Good Indian. - -If you can find a Zulu doll of the required size, with long, straight -black hair, and give him a wash of dull red paint, you can turn him into -a fine Indian. Failing these dolls, make an Indian doll of dull red -raffia or cloth. This you can do if you try, and remember to have your -red man a little more slender than store dolls; most of these are rather -too stout to make good Indians. - -[Illustration: Fig. 171.--Wigwam with make-believe camp-fire.] - -Real chiefs like Turning Eagle, Swift Dog, Crazy Bull, and others, wore -gorgeous feather headdresses, and gloried in the strange war bonnets, -not because they were gay and startling, but for the reason that each -separate feather in the head-band meant that the owner had performed a -brave deed of which the tribe was proud, and the greater the number of -brave deeds the greater the number of feathers; consequently the longer -the bonnet-trail. This explains the real meaning of the common -expression, "A feather in your cap." - -[Illustration: Fig. 172.--Pattern for war bonnet.] - -Your Indian must be a mighty chief and will need a very long-trailing - - -War Bonnet. - -Cut the head-dress like Fig. 172 of white paper. Paint all the paper -horse-hair tips on the paper eagle feathers red, the tops of the -feathers black, and the band in which they are fastened yellow, red, and -green, leaving white spaces between the colors (Fig. 173). Cut out, then -turn the end of the band F (Fig. 172) until the loop fits the Indian's -head, and glue the end of the loop on the strip (Fig. 173). Paste -fringed yellow paper around each of the chieftain's feet, fringed edge -uppermost, to serve as moccasins. Part the Indian's hair at the back, -bring the two divisions in front, one on each side of the head, and wind -each with scarlet worsted as the real Indian wears his hair, then wrap -around your red man a soft, dull-colored cloth extending from the waist -to the knees. Pin the drapery in place and the chief will be ready to -take charge of his bronco pony, which may be any toy horse you happen to -possess. The horse in the illustration is an ordinary cloth toy. - -[Illustration: Fig. 173.--Indian war bonnet.] - -[Illustration: Fig. 174.--Tie the four poles together and tie thongs -across centre for your travois.] - -Red men are not fond of remaining long in one place, and naturally your -Indian will soon want to break camp and carry his belongings elsewhere. -Help him prepare by making - - -A Travois. - -You will need four slender poles, two fifteen and one-half inches long, -one five and one-half and another six and one-half inches long. Bind the -six-and-a-half-inch pole across the two long poles four inches from -their heavy ends; fasten the five-and-a-half-inch pole across the long -poles two and one-half inches above the first cross-piece. Instead of -thongs of buffalo hide, such as the real red man would use, take narrow -strips of light-brown cloth to form the rude net-work over the space -bounded by the four poles. Tie the top ends of the long poles together -(Fig. 174), then tie the travois to the horse, as in Fig. 175. In most -of these conveyances the thongs are tied across one way only, from short -pole to short pole, forming a ladder-like arrangement. - -[Illustration: Fig. 175.--Travois ready for camping outfit.] - -[Illustration: Fig. 176.--Different parts of straw calumet.] - -[Illustration: Fig. 177.--Calumet finished.] - -A chief must always have his - - -Calumet, - -or "pipe of peace," to smoke and pass around the council circle, when -all the leaders of the different tribes meet to talk over important -matters concerning the welfare of their people. Real calumets are -generally large and of goodly length, some of them being four feet long. -They are made of dull-red stone, which, when first cut from the large -mass, is soft enough to be carved out with a knife; later the pipe -becomes hard and capable of receiving a polish. But as the red stone is -not within our reach, we must use dull red-colored straw for the -calumet. Soak the straw in hot water to render it less brittle. Then cut -a three-inch length piece; make a hole in it a short distance from one -end (Fig. 176, G) and insert a three-quarter inch length of straw for -the pipe bowl (Fig. 176, H). For the mouthpiece take a half-inch length -of white straw (Fig. 176, I), and slide it in the other end of the pipe. -Glue both bowl and mouthpiece in place and decorate the calumet with -red, green, and white silk floss tied on the pipe stem (Fig. 177). - - -The Tomahawk - -must not be forgotten. Soak a stick two and one-half inches long in hot -water; when it is pliable, split an end down one inch, no more (Fig. -178, J), and in true Indian fashion bind a stone hatchet (Fig. 178, K) -between the split sides of the stick handle with thongs of hide. Whittle -the little hatchet from a piece of wood, cover it with glue, then with -sand. When dry it will be difficult for others to believe that the -implement is not of real stone. Instead of thongs use thread (Fig. 179). - -[Illustration: Fig. 178.--Handle and hatchet for tomahawk.] - -[Illustration: Fig. 179.--Tomahawk ready for use.] - - -The Chieftain's Shield - -is of hide taken from the neck of the bull bison; the piece must be -twice the required size for a finished shield to allow for the necessary -shrinkage. Over a fire built in a hole in the ground the skin is -stretched and pegged down. When heated, it is covered with a strong glue -made from the hoofs and joints of the bison, which causes the hide to -contract and thicken. As this process goes on the pegs are loosened and -again adjusted until the skin ceases to contract and absorb the glue. -Then the hide is much smaller and thicker than at first. When it has -slowly cooled, the skin is cut into a circle and decorated. Though -pliable, the shield is strong enough to ward off blows from arrows or -spears. - -[Illustration: Fig. 180.--Diagram for shield.] - -[Illustration: Fig. 181. Eagle feather of paper.] - -[Illustration: Fig. 182.--Decorated Indian shield.] - -Bison hide is something you cannot obtain, so take writing paper for the -shield. Cut it into a circle an inch and a half in diameter, with an -extension for the handle (Fig. 180). Glue the free end of the handle on -the opposite side of the back of the shield. Make ten paper eagle -feathers (Fig. 181), hang seven on the bottom of the shield with red -thread, after first decorating the centre of the shield with given -designs and the edge with colored bands, using any or all of the -following colors, but no others: positive red, blue for the sky, green -for the grass, yellow for the sun, white for the clouds and snow, and -black. To the Indian color is a part of religion. Purple, pinks, and -some other colors, the red man, loyal to his beliefs, can never bring -himself to use. Attach two of the remaining feathers at the top and -another on the centre of the shield, as shown in Fig. 182. - -The Indian makes his - - -Arrow-heads - -of triangular flakes of flint chipped from a stone held between his -knees and struck with a rude stone hammer. The pieces knocked off are -carefully examined, and only those without flaws are kept. Stones for -arrow-heads must be very hard. When found, the red men bury them in wet -ground and build fires over them, causing the stones to show all cracks -and checks. This enables the arrow-maker to discard those unfitted for -his work. - -[Illustration: Fig. 183.--Paper flint arrow-head.] - -Though you cannot make a real flint arrow-head, you can manufacture a -toy one. Take a piece of stiff pasteboard and cut it like Fig. 183. Let -the length be a trifle over half an inch. Cover the arrow-head all over -with a light coat of glue, then dip it in sand, and the arrow-head will -come out as if made of stone. Were it actually hard stone and large size -you would be obliged, as the Indians do, to trim and shape more -perfectly the point and edges of the arrow-head. You would hold a pad of -buckskin in your left hand to protect it from the sharp flint, and on -your right hand would be a piece of dressed hide to guard it from the -straight piece of bone, pointed on the end, which you would use to -strike off little bits of stone along both edges, working cautiously as -you neared the point in order not to break it. But such work will not be -needed on your arrow-head. - -[Illustration: Fig. 184.--Insert arrow-head in shaft.] - -[Illustration: Fig. 185.--Arrow-head and shaft bound together.] - -For - - -The Shaft - -hunt up a piece of wood strong and straight. Cut it three inches in -length, remove the bark and scrape the wood until it is about the -thickness of an ordinary match. Notch one end and split the other end -down one-quarter of an inch, insert the arrow-head (Fig. 184), then bind -the shaft and head together with thread (Fig. 185), in place of the wet -sinew an Indian would use for a real arrow, after he had first fastened -the head in the shaft with glue from buffalo hoofs. - -[Illustration: Fig. 186.--Paper feather for arrow.] - -[Illustration: Fig. 187.] - -Cut three paper feather strips (Fig. 186), each an inch in length, paint -black bands on them, bend at dotted line and glue the feathers on the -shaft one-quarter of an inch from the notch, allowing them to stand out -at angles equally distant from each other (Fig. 187). Bind the -extensions L and M (Fig. 186) to the shaft, and tie tufts of white and -red worsted on immediately above the feathers to help in finding the -arrow (Fig. 188). Paint the shaft in brilliant colors. - -Almost any kind of wood that has a spring will make - - -A Good Bow - -for your little Indian. Cut the piece of wood four inches long and an -eighth of an inch wide. Scrape it flat on one side and slightly rounded -on the other, notch the stick at each end, wind the centre with red -worsted and paint the bow in bright hues (Fig. 189). Tie a strong thread -in one notch and bring it across to the other notch; tighten until it -bends the bow centre half an inch from the straight thread; tie the -thread around the notch (Fig. 190). Now try the wee weapon; hold it -vertically and shoot the little arrow into the air. It will fly very -swiftly away, landing many yards from where you stand. - -[Illustration: Fig. 188.--Finished arrow.] - -[Illustration: Fig. 189.--Bow ready for string.] - -[Illustration: Fig. 190. Bow string.] - -Make the bow case (Fig. 192) of ordinary wrapping paper cut like Fig. -191, three and a half inches long and two and a half inches wide. Fold -the paper lengthwise through the centre and glue the sides together -along the dotted lines; then fringe the edge up to the dotted line and -decorate with gay paint. - -[Illustration: Fig. 191.--Cut bow case like this] - -[Illustration: Fig. 192.--Bow case finished.] - -Dress the jointed doll squaw in a fringed - - -Chamois-Skin Gown; - -fold the skin and let one half form the front, the other half the back. -Cut the garment like the half N, in Fig. 193, stitch the sides together, -stitch the under part of the sleeves together and fringe both sleeves -and bottom of the dress (O, Fig. 193). Belt the gown in with scarlet -worsted and load the squaw down with strands of colored beads; then seat -her on the grass (Fig. 194) while you make the primitive loom for her to -use in weaving one of the famous - - -Navajo Blankets. - -[Illustration: Fig. 193.--Squaw's chamois dress.] - -Paint a two by four inch piece of white cotton cloth with a blanket -design in red and black, with white between the markings, and pin it -securely on a board (Fig. 195). Tie stones to a pole six inches in -length (Fig. 196); with long stitches fasten the stone-weighted pole to -the bottom edge of the painted cloth blanket (Fig. 197). - -[Illustration: Fig. 194.--Squaw doll make-believe weaving Navajo blanket -on primitive loom.] - -Two inches above the blanket attach a six-inch pole to the board with -pins and use a coarse needle and heavy thread to make the warp. Run the -thread through the wrong side of the blanket and up around the pole. -Cross it on the under side of the long thread (P, Fig. 197) which -extends from blanket to pole. - -[Illustration: Fig. 195.--Indian blanket pinned on board.] - -[Illustration: Fig. 196.--Stones tied to pole for bottom of loom.] - -[Illustration: Fig. 197.--Building primitive loom.] - -Carry the thread along the pole a short distance, loop it over (Q, Fig. -197) and bring the thread down through the right side of the blanket. -Take a long stitch and again carry the thread up over the pole. Continue -until the warp is entirely across the blanket. Pin another pole six and -a half inches long, three-quarters of an inch above the top pole, and -fasten the two poles together by tying loops of string across from one -to the other (Fig. 198). - -[Illustration: Fig. 198.--Primitive loom ready for frame.] - -Make the loom frame of two seven-inch poles four and a half inches apart -and crossed at the top by another seven-inch pole, the three firmly tied -together and made to stand erect on the grass by planting the two -upright poles in holes bored through the cloth grass into the board -ground. Hang the loom on this frame by winding a narrow strip of cloth -loosely around the top of the frame and top of loom (Fig. 194). - -[Illustration: Fig. 199.--Natural twig and tissue-paper tree.] - -Find a stout, short-branched twig for - - -The Tree - -(Fig. 199). Sharpen the bottom and drive it into a hole in the ground. -For the foliage cut a fringe of soft green and olive-brown tissue-paper -folded lengthwise in strips. Crimp the strips with a blade of the -scissors, then open out the fringe; gather each one through the centre, -give the paper a twist, and the two ends will form bunches of foliage. -Work the twisted centre of one piece down into a crack at the top of the -tree. Over across this at right angles in another opening, fit in the -second twist of paper foliage and crown all with a bunch standing -upright as shown at Fig. 199. - -[Illustration: Fig. 200.--The little papoose you can make.] - -[Illustration: Cradle for papoose.] - -A solemn - - -Little Papoose - -bound in its stiff cradle is one of the drollest things imaginable. -Paint a small doll copper color, make its hair black, and bind the baby -in a cradle cut from brown pasteboard (Fig. 200). Cut along heavy line -and bend forward the tongue R along the dotted line, bring the strap S -across and glue the end on the under side of the cradle; then line the -cradle with white tissue-paper and place the Indian child on it; spread -a piece of vivid red tissue-paper over the infant, bringing the sides of -the cover on the under side of the cradle, where you must glue them. -Fold over the lower end of the paper and glue that also on the back of -the cradle. Paint the cradle and portions of the cover white, green, -black, and yellow (Fig. 200); then hang the cradle and baby on the limb -of the tree (Fig. 199), where the little papoose will be safe while his -squaw-mother works at her weaving. - -The red men use queer money which they call - - -Wampum. - -It is made of shells found usually along the borders of rivers and -lakes. The Indians cut the thick part of the shell into cylinders about -an inch long, bore holes lengthwise through the centres and string them -like beads on fine, strong sinews (Fig. 201), but this money is not as -pretty as glass beads, for it resembles pieces of common clay pipe -stems. A certain number of hand-breadths of wampum will buy a gun, a -skin, a robe, or a horse, and when presented by one chief to another the -wampum means good-will and peace. Of course, you will want to supply -your Indians with their own kind of money. You can string the wampum -into a necklace and decorate the strand with eagle claws, bright beads, -and tufts of gay worsted. - -[Illustration: Fig. 201. Wampum, Indian money.] - -[Illustration: Fig. 202. Buffalo claw cut from wood.] - -Find some beads much smaller, but as near as possible in color and form -to real wampum, and string them with tiny eagle claws made of wood cut -like Fig. 202, only smaller. Paint the claws very dark gray, almost -black, and bore a hole through the heavy end with a hat-pin heated red -hot. The claws will then string easily and give quite a savage -appearance to the necklace (Fig. 203). - -Let the colored worsted tufts, which must take the place of hair, be -bright-red, and the strands of round beads on each side of the necklace -of various colors (Fig. 203). - -[Illustration: Fig. 203.--Indian necklace of wampum, eagle claws, tufts -of hair, and bone beads.] - -Indians when they cannot obtain beads use gayly colored porcupine quills -for their embroidery. You need not try the embroidery, but be sure to -make the entire Indian encampment with everything pertaining to it. - - - - -CHAPTER XIII - -A TOY COLONIAL KITCHEN WITH FAC-SIMILE COLONIAL FURNISHINGS. - - -WOULD it not be fun to see a yoke of real live oxen come slowly walking -into the kitchen dragging a load of logs? That is what many of the -colonial boys and girls saw every day, and frequently the boys helped -their fathers cut the logs which were for the big kitchen fireplace. And -such a fireplace! Large enough for the huge, roaring fire and the -chimney-seats also. These were placed close against the sides of the -opening, making fine places for the boys and girls to sit and listen to -thrilling tales of adventure or delightful fairy stories. - -[Illustration: A LITTLE COLONIAL KITCHEN, DRAWN FROM ONE MADE BY THE -AUTHOR. - -Fig. 204.] - -The kitchen in those days was the chief apartment and the most -interesting room in the house. Who would want to go into the stiff, prim -"best room" when they could be so much more comfortable in the spacious -kitchen where everyone was busy and happy, and where apples could be -hung by a string in front of the fire to roast and made to spin cheerily -when the string was twisted, that all sides might be equally heated? Any -girl or boy to-day would be only too glad of a chance to sit on a log -in front of such a fire and watch red apples turn and sputter as the -heat broke the apple skin, setting free the luscious juice to trickle -down the sides. - -As the Indian's first thought was for shelter, and he put up his wigwam, -so the early settler's first thought was for shelter, and he built, not -a wigwam, but a log-house with a kitchen large enough to serve as a -general utility room. It was filled with various things, and all -articles in it were used constantly. Everything not brought from the -mother country the settlers made by hand. The colonial kitchen you can -build may be of gray or white cardboard. Old boxes, if large enough, -will answer the purpose. - -[Illustration: Fig. 205.--Kitchen floor.] - -I will tell you exactly how I built the colonial kitchen seen in Fig. -204. I made the floor (Fig. 205), the two side walls both alike (Fig. -206), the back wall (Fig. 207), and the interior of the fireplace (Fig. -208) of light-gray cardboard. I cut all the heavy lines, scored and -then bent all the dotted lines. - -[Illustration: Fig. 206.--Side wall.] - -[Illustration: Fig. 207.--Back wall.] - -Now you do the same thing. Get your measurements correct and be careful -to make the lines perfectly straight. Before putting the kitchen -together, fasten the rustic brackets, cut from a branching twig (Fig. -209), on the wall above the mantel-piece to support the flintlock gun. -Take two stitches through the wall around each twig, as shown in Fig. -210, at the dots A and A and B and B (Fig. 207). - -[Illustration: Fig. 208.--Interior of fireplace.] - -Every colonial fireplace boasted of - - -A Strong Crane - -upon which to hang the pots and kettles over the fire. One end of the -crane was bent down and attached to the side chimney wall by iron rings. -These rings allowed the crane to turn so that the extending iron rod -could be swung forward to receive the hanging cooking utensils and then -pushed back, carrying the pot and kettles over the fire for the contents -to cook. The crane was black and of iron. A hair-pin (Fig. 211) makes a -fine crane. Bend yours, as shown in Fig. 212, then with two socket-rings -made with stitches of black darning-cotton fasten the crane to the side -of the chimney at the dots C and C (Fig. 207), and tie a piece of the -darning-cotton on the little crane immediately below the lower -socket-ring; bring the thread diagonally across to the top arm of the -crane an inch and a quarter from the free end and again tie it securely -(Fig. 213). - -[Illustration: Fig. 209.--A forked twig for the bracket.] - -[Illustration: Fig. 210.--Put the brackets up in this way.] - -[Illustration: Fig. 211.--The crane is made of a hair-pin.] - -[Illustration: Fig. 212.--The crane.] - -Bend the two sides of - - -The Fireplace - -F and F (Fig. 207) as in Fig. 213. Bend forward the interior of the -fireplace (Fig. 208) at dotted lines, and fit Fig. 208 on the back of -Fig. 207 to form the inside of the fireplace and the mantel-piece. Slide -the slashed top strips of the sides of the fireplace D,D,D,D (Fig. 207), -back of the slashed strips D,D,D,D (Fig. 208), which will bring the two -centres E and E of the sides in Fig. 208 behind F and F in Fig. 207, -and will thus form two layers on the sides of the chimney. Push the edge -G and G of Fig. 208 through the slit G and G in Fig. 207 to form the -mantel-piece, then bend down the edge of mantel-piece along dotted line. - -[Illustration: Fig. 213.--Back wall, showing crane hung and oven door -open.] - -You must have - - -An Oven - -at one side of the great fireplace for baking the wholesome "rye and -Indian" bread, and the delicious home-made apple, pumpkin, rice and -cranberry pies. In colonial days thirty large loaves of bread or forty -pies would often be baked at one time, so spacious were the ovens. These -side-ovens used to be heated by roaring wood fires built inside of them -and kept burning for hours. When the oven was thoroughly hot the cinders -and ashes were brushed out and in went the pies with a lot of little -ones called "patties," for the children. When these were cooked to a -golden brown each child was given his own piping hot "patty." - -Make your box-like oven according to Fig. 214, cut the heavy lines, -score and bend the dotted lines. Bring the side H to the side I; lap I -over H so that the two slits, J and J, will exactly fit one over the -other; then bend the back down and run the flap J on the back through -the two slits J on the side, and the flap K through the slit K. - -[Illustration: Fig. 214.--The oven.] - -Adjust the oven back of the oven door L (Fig. 207), and fasten it tight -on the wall by sliding the flap M of the oven (Fig. 214) through the -slit M (Fig. 207) above the oven door; bend it down flat against the -wall. Bring the bottom oven-flap N in through and over the lower edge of -the oven door-way N (Fig. 207) and bend that also flat against the wall -(Fig. 213). The two side oven flaps will rest against the back of the -wall on each side of the oven door-way. - -Now that is finished firm and strong, and you can - - -Put the Kitchen Together - -in a few moments. Lay the floor (Fig. 205) down flat on a table; bend up -the two diagonal sides O and O, and slide the slit P in the side wall -(Fig. 206) down into the slit P of the floor (Fig. 205), bringing the -wall (Fig. 206) in front of the upturned floor-piece O (Fig. 205). In -the same way fasten the other side wall on the floor. Slip the two slits -Q and Q of the back wall (Fig. 207) down across the top slits (Q, Fig. -206) of the side walls. While bringing the back wall (Fig. 207) down to -the floor, slide its outside strips S and S over and outside of the -upturned pieces of the floor, S and S (Fig. 205), to hold them in place. - -[Illustration: Fig. 215.--Pattern for andiron.] - -As soon as the Indian's wigwam was up, he had a brisk fire to cook by, -for after shelter came food. The white man did likewise after his house -was built. Though he had andirons to help with his fire, even then to - - -Lay the Fire - -in the immense fireplace required some skill. Cut two andirons of -cardboard (Fig. 215), bend at dotted lines, paint black, and the -andirons will stand alone and look like real ones (Fig. 216). - -[Illustration: Fig. 216.--The andiron.] - -[Illustration: Fig. 217.--The flames.] - -Cut from red, orange, yellow, and black tissue-paper flames like Fig. -217; bend at dotted line and paste the mingled flames one at a time and -turned in varying directions on a piece of cardboard made to fit the -bottom of the fireplace. Adjust the little black andirons to the fire -and glue them in place; select a large log for the "back-log," and a -more slender one to lay across the front of the andirons. Place smaller -wood in between with the flames, and scatter a few bits of black paper -on the hearth underneath to appear like fallen charred wood. When -finished the fire should look as if it were actually sparkling, roaring, -and blazing (Fig. 218). - -[Illustration: Fig. 218.--The flames leap up the chimney.] - -[Illustration: Fig. 219.--Cut the shell in half.] - -Your fire is ready, so you must hurry and get the - - -Great Iron Pot - -to hang over the flames. Break an egg in halves as indicated by dotted -lines in Fig. 219; even off the edge of the larger half shell with a -pair of scissors, paste a strip of tissue-paper over the edge and glue -on a stiff paper handle (Fig. 220). Cut three pieces of heavy, stiff -paper like Fig. 221, bend at dotted line and pinch the two lower corners -on part T together to form the pot legs (Fig. 222). Turn the egg-shell -upside down and fasten the legs on by gluing the flap U (Fig. 221) on -the bottom of the shell; the legs should enable the pot to stand -upright. Turn the egg-shell into iron by painting the handle and outside -of the pot jet black (Fig. 223). Swing the crane forward, hang on the -pot, pretend you have something to cook in it, then move the crane back -over the fire. - -[Illustration: Fig. 220.--A strip of paper for the handle.] - -[Illustration: Fig. 221.--Cut the pot leg like this.] - -[Illustration: Fig. 222.--Bend the pot leg like this.] - -[Illustration: Fig. 223.--Paint the pot black.] - -Remember all the time you are playing, that this is the way your -colonial ancestors cooked. - -In days of long ago, they had many other - - -Odd Utensils - -One of the easiest for you to make is the long-handled iron shovel -called a "peel" (Fig. 224), used to place bread and pie in the great -oven. Cut the peel from stiff cardboard, paint it black and stand it up -by the side of the chimney (Fig. 204). Trace the toaster (Fig. 225) on -cardboard, paint it black, bend up the four semicircular rings and bend -down the two feet, one on each side (Fig. 226). - -[Illustration: Fig. 224.--A queer shovel called the "peel."] - -[Illustration: Fig. 225.--Make the toaster by this pattern.] - -Chicken and other eatables were placed between the front and back rings -on the toaster and broiled before the fire, which was so hot that it -was necessary to have long handles on all cooking utensils. - -[Illustration: Fig. 226.--The toaster.] - -[Illustration: Fig. 227.--Make a pot-hook like this.] - -Several pieces of iron of varying lengths, generally made into the shape -of the letter S, were called "pot-hooks"; they hung on the crane. Make -two or three pot-hooks of cardboard and paint them black (Fig. 227). -When you are not using the little toaster, bend up the handle and hang -it on a pin stuck in the wall (Fig. 204). - -[Illustration: Fig. 228.--The spinning-wheel and jointed doll -spinning.] - -[Illustration: Fig. 229.--Spokes.] - -Just look at your little colonial friend, Thankful Parker! (Fig. 228). -The tiny maid seems almost to be stepping lightly forward and backward -as she spins out long threads of the soft, warm yarn, singing softly all -the while a little old-fashioned song. How busily she works, and listen! -you can all but hear the wheel's cheery hum, hum, hum! That's the way -the real colonial dames used to spin. Such a - - -Spinning-Wheel - -belonged to every family, for all had to do their own spinning or go -without the yarn, as they could obtain no assistance from others. - -[Illustration: Fig. 231.--Small wheel.] - -[Illustration: Fig. 232.--Stand.] - -[Illustration: Fig. 233.--Wheel brace.] - -Cut from cardboard the spokes (Fig. 229) for your miniature colonial -spinning-wheel, the tire (Fig. 230), and the two small wheels (Fig. -231). Bend forward the fan-shaped ends of each spoke (Fig. 229) and glue -the tire (Fig. 230) around on them; let one edge of tire lie flush on -the edges of the bent ends of the spokes. - -[Illustration: Fig. 230.--Tire of wheel.] - -With the exception of the square spaces AA and BB on the stand (Fig. -232) cut the heavy lines and the little holes; score, then bend the -dotted lines. Bend down the long sides and the ends fitting the corners -against and on the inside of the same letters on the sides, glue these -in place and you have a long, narrow box with two extensions on one side -(HH and GG). Bend these extensions, also their ends II and JJ, and glue -the ends on the inside of the opposite side of the box against the -places marked II and JJ. - -Turn the box over, bringing the level smooth side uppermost. Cut out the -wheel brace (Fig. 233), turn it over on the other side, then bend AA -backward and BB forward, and glue the brace on the box-like stand (Fig. -232) on the squares AA and BB. See Fig. 228. - -[Illustration: Fig. 234.--Upright.] - -Make the upright (Fig. 234) of wood; shave both sides of the end, KK, -until it is flat and thin, then glue a small wheel (Fig. 231) on each -side, raising the wheels above the wood that the flat end of the -upright may reach only to their centres. Glue the wheels together to -within a short distance of their edges. - -With the red-hot end of a hat-pin bore the hole LL through the front of -the upright, and below bore another hole, MM, through the side. Make the -screw (Fig. 238) and the block (Fig. 239) of wood. Run the screw through -the side hole MM in the upright (Fig. 234), and push the screw on -through the hole in the top of the block (Fig. 239). Break off more than -half of a wooden toothpick for the spindle (Fig. 236) and pass it -through the hole LL (Fig. 234). - -[Illustration: Fig. 235.--Hub.] - -Make the hub (Fig. 235) of wood and thread it in through the wheel and -brace (Fig. 233), to hold the wheel in place. Use two wooden toothpicks, -with the ends broken off (Fig. 237), for legs; insert these slantingly -into the holes, GG (Fig. 232), on the under part of the stand, allowing -the top ends to reach up and rest against the under side of the top of -the stand. Spread out the bottom ends of the legs. - -[Illustration: Fig. 236.--Spindle.] - -[Illustration: Fig. 237.--Leg.] - -[Illustration: Fig. 238.--Screw.] - -[Illustration: Fig. 239.--Block.] - -Run the upright (Fig. 234) through the single hole near one end of the -stand (Fig. 232) and pass it down through the under hole on HH. The -lower part of the upright forms the third leg. See that all three legs -set evenly when the wheel stands, and that the box part is raised -slightly higher at the upright end, slanting downward toward the other -end (Fig. 228). Glue the three legs firmly in place. - -Connect the two small wheels (Fig. 231) and the large wheel together by -passing a string between the small wheels and over around the outside of -the tire of the large wheel, fastening it on here and there with a -little glue (Fig. 228). Twist a piece of raw cotton on the spindle and -tie a length of white darning-cotton to the end of the cotton (Fig. -228). - -[Illustration: Fig. 241.--Hair-pin.] - -[Illustration: Fig. 240.--Do her hair up in this fashion.] - -Stretch the thread across to the hand of your colonial-dressed doll, -glue it in place, and the next time your mother attends a meeting of the -Society of Colonial Dames tell her to show your little maid Thankful -Parker and her spinning-wheel. When you - - -Dress the Doll - -coil her hair up on top of her head (Fig. 240) and fasten it in place -with common pins (Fig. 241). Make the straight bang look as nearly as -possible as though the hair were drawn up into a Pompadour such as was -worn in Colonial times. - -[Illustration: Fig. 242.--Pattern of cap.] - -[Illustration: Fig. 243.--The cap.] - -[Illustration: Fig. 244.--Cap band.] - -[Illustration: Fig. 245.--Pattern of kerchief.] - -Make the cap (Fig. 243) of thin white material cut like Fig. 242, and -the band (Fig. 244) of the same color as the dress. Cut the thin white -kerchief like Fig. 245, and fold it as in Fig. 246. Fig. 247 gives the -design for the dress waist, and Fig. 248 the sleeve. The skirt is a -straight piece gathered into a waistband. The apron (Fig. 249) is white. -When the doll is dressed it should resemble little Thankful Parker (Fig. -228). An - - -Old-Fashioned Flintlock Rifle - -with its long, slender barrel was used almost daily by our forefathers -for securing game as food. - -[Illustration: Fig. 246.--Fold the kerchief like this.] - -[Illustration: Fig. 247.--Pattern of waist.] - -[Illustration: Fig. 248.--Pattern of sleeve.] - -[Illustration: Fig. 249.--The apron.] - -The gun was kept hanging in plain sight over the kitchen mantel-piece, -ready for defence at a moment's notice, for in those early days wolves -and other wild animals were numerous and dangerous, and enemies were -also likely to appear at any time. - -[Illustration: Fig. 250.--Lock and band of tinfoil.] - -[Illustration: Fig. 251.--Make this part of pasteboard.] - -You should have one of those queer old guns to adorn your kitchen wall. -Get some heavy tinfoil off the top of a bottle, or take a collapsible -tube and from it cut a wide strip like Fig. 250, one narrow, straight -strip and two medium-wide straight strips, four in all. Cut the butt end -of the gun (Fig. 251) of stiff cardboard. Break a piece measuring four -and one-half inches from a common coarse steel knitting-needle for your -gun-barrel and use a slender, round stick, or the small holder of a -draughtsman's pen, cutting it a trifle more than three and one-half -inches in length for the ramrod groove. - -[Illustration: Fig. 252.--A pin for a ramrod.] - -[Illustration: Fig. 253.--Slide the paper end in the wood like this.] - -In the centre of one end of the stick bore a deep hole with the red-hot -point of a hat-pin and insert the pointed end of an ordinary pin for a -ramrod (Fig. 252). Split the other end of the stick up through the -centre not quite half an inch and work the butt end of the gun in the -opening (Fig. 253). - -[Illustration: Fig. 254.--Ready for the tinfoil bands.] - -Lay the gun-barrel above the wooden part (Fig. 254) and fasten the two -together with the four bands of tinfoil (Fig. 255), allowing the top -part of Fig. 250 to stand up free to represent the flintlock. We must be -content without a trigger unless you can manage to make one by bending -down and cutting a part of Fig. 250. Paint the butt and wooden portion -of the gun brown before binding on the barrel, and you will find that -you have made a very real-looking little rifle to hang upon the rustic -brackets over the mantel-piece. - -[Illustration: Fig. 255.--Colonial flintlock made of knitting-needle and -small pen-holder.] - -When the fire in your big kitchen fireplace needs brightening, use the - - -Little Bellows - -to send fresh air circulating through the smouldering embers. The -bellows are easy to make. Cut two pieces of pasteboard like Fig. 256, -and cut two short strips of thin paper. Paste one edge of each strip to -each side of one piece of cardboard bellows, fold the strips across the -centre (Fig. 256), and attach the free ends of the folded strips to the -other piece of pasteboard bellows, forming a hinge-like connection on -each side between the two pasteboard sides. Paste the points of the two -sides together up as far as the dotted line (Fig. 256). When thoroughly -dry you can work the bellows by bringing the handles together and -opening them as you would real bellows (Fig. 257). - -[Illustration: Fig. 257.--The finished bellows.] - -[Illustration: Fig. 256.--Cut the bellows by this pattern.] - -Heavy tinfoil must furnish material for your - - -Pewter Ware; - -much of it has the same dull, leaden color and the peculiar look of old -pewter. Should the pieces of tinfoil you find be twisted and uneven, lay -them on a table and smooth out the creases with scissors or the dull -edge of a knife-blade; then cut out round, flat pieces and holding one -at a time in the palm of your left hand, round up the edges by rolling -the ball of a hat-pin around and around the plate; press rather hard and -soon the edges will begin to crinkle and turn upward (Fig. 258). You may -mould some deeper than others and have a row of different-sized pewter -plates on the kitchen mantel-piece, and you can make a wee pie in the -deepest plate, open the oven-door and shove the pastry into the oven -with the little iron peel. Try it. - -[Illustration: Fig. 258.--Colonial pewter dish made of tinfoil.] - -[Illustration: Fig. 259.--The warp.] - -The colonial kitchen would be incomplete without a bright, - - -Home-like Rag Rug - -to place over the bare board floor, and it will be fun for you to weave -it. Take a piece of smooth brown wrapping-paper the size you want your -mat, fold it crosswise through the centre and cut across the fold (Fig. -259), making a fringe of double pieces which we will call the warp. -Unfold the paper and weave various colored tissue-strips in and out -through the brown foundations (Fig. 260), until the paper warp is all -filled in with pretty, bright colors. You can weave the rug "hit or -miss" or in stripes wide or narrow as you choose, only make the rugs as -pretty as possible. - -[Illustration: Fig. 260.--Weave the rug in this way.] - -Now we must manufacture a fine - - -Old Colonial Clock - -[Illustration: Fig. 261.--Colonial clock with movable weights.] - -[Illustration: Fig. 262.--The clock is cut in one piece.] - -(Fig. 261). It would never do to forget the clock, for poor little -Thankful would not know how long her many loaves of bread were baking in -the big oven, and the bread might burn. Cut Fig. 262 of cardboard and -score all dotted lines, except NN-OO, which forms the hinge of the door. -Mark this with a pinhole at top and bottom, turn the cardboard over and -draw a line from pinhole to pinhole; then score it on this line that the -door may open properly outward. Try to draw the face of the clock -correctly. Make it in pencil first so that any mistake may be erased and -corrected. When you have the face drawn as it should be, go over the -pencil lines with pen and ink. Begin the face with a circle (Fig. 263). -Make it as you made the circle for the wigwam, only, of course, very -much smaller. Above the circle, at the distance of half the diameter of -the circle, draw a curve with your home-made compass (Fig. 264). -Lengthen the compass a little and make another curve a trifle above the -first (Fig. 265). Connect the lower curve with the circle by two -straight lines (Fig. 266), draw a small circle above the large one (Fig. -267), connect the two circles by two scallops (Fig. 268), and bring the -upper curve down into a square (Fig. 269). The small top circle stands -for the moon; draw a simple face on it like Fig. 270, then make the -numbers on the large circle (Fig. 271) and also the hands (Fig. 272). -Both numbers and hands must be on the same circle on the clock. They are -on two different circles in the diagrams that you may see exactly how to -draw them. - -[Illustration: Fig. 263.--Draw the circle.] - -[Illustration: Fig. 264.--Then a curve above the circle.] - -[Illustration: Fig. 265.--Another curve above the first one.] - -[Illustration: Fig. 266.--Connect the lower curve with the circle by two -lines.] - -Leave Fig. 269 white, but paint the other portions of the clock a light -reddish brown with black lines above and below the door, and a black -band almost entirely across the bottom edge of the front of the clock -that the clock may appear to be standing on feet. Gild the three points -on the top to make them look as if made of brass. - -Be sure that the four holes in the top (Fig. 262) are fully large enough -to allow a coarse darning-needle to be passed readily through them; then -bend the clock into shape, fitting the extension PP over the extension -QQ; the two holes in PP must lie exactly over those in QQ. Glue the -clock together, using the blunt end of a lead-pencil, or any kind of a -stick, to assist in holding the sides and tops together until the glue -is perfectly dry. - -[Illustration: Fig. 267.--Draw a small circle above the large one.] - -[Illustration: Fig. 268.--Connect the two circles by two scallops.] - -[Illustration: Fig. 269.--Extend line of upper circle down to form a -square.] - -[Illustration: Fig. 270.--Make this face in the small circle.] - -[Illustration: Fig. 271.--Put the numbers on the clock face in this -way.] - -[Illustration: Fig. 272.--Make the hands of the clock like these.] - -Thread a piece of heavy black darning-cotton in the largest-sized long -darning-needle you can find; on one end of the thread mould a -cylinder-shaped piece of beeswax, cover it with thin tinfoil, then open -the clock-door and hold the clock with its head bent outward and -downward from you. Look through the open door and see the holes on the -inside of the top; run your needle through one of these holes and -across the top on the outside, bringing it down through the other hole -into the clock. Slip the needle off the thread and mould another piece -of beeswax on the free end of the thread, make it the same size and -shape as the first weight, cover this also with tinfoil and you will -have clock-weights (Fig. 273) for winding up the old-fashioned -timepiece. Gently pull down one weight and the other will go up, just as -your colonial forefathers wound their clocks. When the weight is pulled -down in the real clock it winds up the machinery, and the clock -continues its tick, tack, tick, like the ancient timepiece Longfellow -tells us of, stationed in the hall of the old-fashioned country-seat. - -[Illustration: Fig. 273.--Weights for winding the clock.] - -[Illustration: Fig. 274.--Pattern of the churn.] - -[Illustration: Fig. 275.--The churn.] - -Do you like real country buttermilk, and have you ever helped churn? If -you live in the city or for some other reason are not able to make the -butter, you can still enjoy manufacturing a little - - -Colonial Churn - -that will look capable of producing the best sweet country butter (Fig. -275). - -[Illustration: Fig. 276--Cork lid to the churn.] - -[Illustration: Fig. 278.--Dasher.] - -[Illustration: Fig. 279.--Push the end of the handle through the -dasher.] - -[Illustration: Fig. 280.--Cut end of handle pasted on the dasher.] - -[Illustration: Fig. 277.--Handle of the dasher.] - -[Illustration: Fig. 281.--Put the handle of the dasher through the lid.] - -Cut Fig. 274 of heavy paper or light-weight cardboard; mark three bands -on it (Fig. 275). Make your churn much larger than pattern, have it deep -enough to stand as high as Fig. 275. Glue the sides together along the -dotted lines, turn up the circular bottom and glue the extensions up -around the bottom of the churn. Fit a cork in the top for the churn-lid -and make a hole through the centre of the cork for the handle of the -dasher (Fig. 276). Make the handle by rolling up a strip of paper as you -would roll a paper lighter. Glue the loose top end of the handle on its -roll; then cut the large end of the handle up a short distance through -its centre (Fig. 277). Cut the dasher (Fig. 278) from cardboard, slide -it over the divided end of handle (Fig. 279), bend the two halves of the -handle-end in opposite directions, and glue them on the dasher as shown -in Fig. 280. Slip the handle of dasher through the cork lid (Fig. 281), -and fit the lid in the churn (Fig. 275). Paint the churn and handle of -dasher a light-yellow-brown wood color, the bands black, and when dry -you can work the dasher up and down the same as if the churn were a real -one. Stand the churn in your kitchen not far from the fire so that -little Thankful may attend to the cooking while she is churning. - - - - -CHAPTER XIV - -LITTLE PAPER HOUSES OF JAPAN - - -FRAGILE, quaint and full of sunshine and color are the typical houses of -Japan. They are so simple in construction a child might almost build -them, generally only one story in height and always without a cellar, -chimneys, fireplaces, windows, and even without a door. Yet the dainty -abodes are flooded with light and fresh air. How is it managed? Simply -by sliding the entire front of the house to one side, leaving the -building wide open. Often the back walls, too, are opened, and in some -houses the sides also. These cottages are usually part wood and part -paper. It seems strange to think of people actually living in paper -dwellings, but the Japanese understand how to manufacture strong, -durable paper. They delight in making all sorts of paper, from the -tough, well-nigh indestructible kind to the delicate, filmy variety, and -it is adapted to innumerable uses. In Japan people not only build paper -walls, but the very poor wear paper clothing. - -We will make our - - -Japanese House - -entirely of paper (Fig. 282). Take medium-weight water-color paper, or -any kind that is stiff enough and not too brittle, cut a piece sixteen -inches long and seventeen inches wide and on it mark the plan of the -large room (Fig. 283). This should measure sixteen inches across the -back from A to A, seventeen inches along the side from A to B, and -thirteen inches across the front from B to C. The back division forms -the foliage and the back of the room, the centre division the roof, and -the front division the front and sides of the room. - -[Illustration: Fig. 282.--The little paper house.] - -[Illustration: Fig. 283.--Plan of large room.] - -No paste is used in making the building; the design is merely cut out, -bent into shape, and fastened together with projecting tongues run -through slits. Cut all the heavy lines, lightly score, then bend all the -dotted lines, except the two immediately across the front of the room at -top and bottom. This front is five inches wide and four and a half -inches high, with two openings in it and a portion extending down in -front to form the little porch. Make a pinhole at each end of the two -lines forming top and bottom of the front of the room A and B, then turn -the paper over and draw a top line and a bottom line across on the wrong -side of the paper from pin-point to pin-point. Score these on the wrong -side of the paper, for they must bend from that side in order to extend -inward from the right side to form the projection of the roof and the -top landing of the veranda. Fasten the room together, then cut out the -floor (Fig. 284), slide it in place and also the steps (Fig. 285), -marking straight lines across the diagram to indicate steps. - -[Illustration: Fig. 284.--Floor of large room.] - -Build the small room (Fig. 286) in the same way that you made the large -one. Cut it from a piece of paper nine and one-half inches wide and -thirteen and one-half inches long. This room has no floor. When finished -run the tongues extending out on the back of the room through the -remaining four slits at the side of the foliage on the back of the large -room (Fig. 283). Work carefully and you will be fully repaid. - -[Illustration: Fig. 285.--The steps.] - -Paint the roof of each room in little black squares with white markings -between to represent black tiling. Paint the outside of the house -yellow, the back wall of the large room pale blue, the floor light -brown. Paint the back of the small room mottled green and pink. Make a -band of light blue edged with black across the outside top of the front -opening and a red band across the bottom. Let the projecting veranda be -yellow, with vines across the lower part. Edge the openings of the large -room with two narrow bands, one purple the other black, and mark black -lines from side to side crossed with lines running from top to bottom -to form a lattice-like work on the side of the smaller opening (Fig. -282). - -[Illustration: Fig. 286.--Plan of small room.] - -The sides of the house are supposed to be formed of paper-covered -screens which slide in grooves and may be removed entirely when -desired. The interior of a real Japanese house is divided into rooms -merely by the use of sliding paper screens, and the entire floor may -readily be thrown into one large apartment, there being no solid -partitions as in our houses. Cut out flat round paper lanterns, paint -them with the gayest of colors and make the small top and bottom bands -black; then with needle and thread fasten the lanterns along the top -front of the large opening of the small room (Fig. 282). - -You need not be concerned in the least about furnishing the little -house: it does not need any furniture, for the Japanese have no stoves, -chairs, tables, knives or forks, carpets, bedsteads, washstands, -bookcases, desks, framed pictures, nor any comforts like ours. - - -The Floors - -are covered with clean, thick, soft matting rugs and are just the place -for girls and boys to play, and have a good time running about in their -stocking feet, for in Japan people always take off their shoes before -entering a house and everyone goes either stocking-footed or barefooted -when indoors, so the floor-mats are kept free from dust. - -Of course, men, women, and children all sit on the floor; and when - - -Breakfast is Ready - -the floor is set instead of a table, and each person receives his own -little lacquer tray placed on the floor, or on a low wooden stool, with -the individual portion of rice in a delicate china bowl, pale tea in -dainty teacups and shredded or diced raw fish in china a queen might -envy. On the tray are also a pair of ivory chopsticks, which even a -little child can manage skilfully, in place of the spoon, knife, or -fork that our girls or boys would use. The Japanese do not have bread, -butter, milk, or coffee, and never any meat, but they cultivate a -mammoth radish which is cut up, pickled and eaten with relish. For -dinner they take pale tea, rice, and fish, and for supper fish, pale -tea, and rice. Often the fish is cooked, sweetmeats are served and -pickled radish also, but frequently the breakfast consists of merely a -bowl of cold rice. These unique people do not seem to think or care much -about their food; many times they deny themselves a meal that they may -spend the money on a feast of flowers in some garden where they can -enjoy gazing upon masses of exquisite cherry blossoms, chrysanthemums, -or other flowers. No nation in the world loves flowers more than the -Japanese, and none can rival them in the beautiful arrangement of their -blossoms. - -When night comes the natives - - -Never Go to Bed, - -for there are no beds. Soft silk or cotton comforts are brought to each -person, and the people roll themselves up in the comforts and sleep any -place they wish on the floor, using little wooden or lacquer benches for -pillows; usually these have a roll of soft paper on the top, making them -a little more comfortable. Take a comfort and try sleeping on the floor -with some books under your head and you will know how it feels to sleep -in Japanese style. - -Every Japanese house should have its - - -Fenced-in Garden. - -Make your fence of paper cut according to Fig. 287, and mark the pattern -(Fig. 288) on it with two tones of yellow paint. Paint the convex top of -the gate-way a bright red with narrow black border, and mark the white -gate-posts with black Japanese lettering like Fig. 289. Paint the -remaining portions of the gate-way yellow, the edges black. Fig. 282 -will help you to grasp the idea of the fence and gate-way. The names of -the streets are not on the corners as in our cities, so a panel of white -wood is nailed to the gate-posts with both the name of the street and -householder on it, and often a charm sign is added. - -[Illustration: Fig. 287.--Fence and gate-way.] - -[Illustration: Fig. 288.--Draw this pattern on the fence.] - -Put up the fence by slipping the upper tongues on each end through the -slit on the outside front edge of each room, then sliding the lower -tongues of the fence through the lower outside edges of rooms and -porches (Fig. 282). - -[Illustration: Fig. 289.--Signs for gate-posts.] - -Both boys and girls have fine times in Japan, and they are as happy as -the day is long. On the fifth day of the fifth month the boys reign -supreme, and their relatives and friends vie with each other in their -endeavors to render the day a happy one for the little fellows. All -Japan is alive and anxious to celebrate the occasion. Quaint flags in -the shape of enormous fish swim in the air and float over the towns, -forming bright masses of color. Every home that is blessed with one or -more boys displays a fish banner for each son, the younger the child the -larger the fish, and the proudest house is the one that can boast of the -greatest number of fish flying from its bamboo pole. Every Japanese -boy's birthday is celebrated on this day with great rejoicing, no matter -at what time of the year he was born. - -[Illustration: Fig. 290.--Upper half of koi.] - -[Illustration: Fig. 291.--Under half of koi.] - -[Illustration: Fig. 292.--The koi--emblem of undaunted determination.] - -[Illustration: Fig. 293.--Boy's birthday pole.] - -Make - - -Several Fish - -for the pole to be placed in front of the little paper house; they look -very comical, bobbing and swinging high in air with their wide-open -mouths. Cut Fig. 290 of white tissue-paper, also Fig. 291, which is a -trifle larger than the first and is slashed along three edges. Lay Fig. -290 on top of Fig. 291; bend the flaps over and paste them on Fig. 290. -Form a little hoop of a strip of stiff paper with the ends pasted -together; blow the fish open, then paste the hoop on the inside of the -open edge of the head to form its immense mouth. When dry mark the fish -with red paint like Fig. 292. Tie a thread on the two opposite sides of -the mouth and with another thread attach the loop to a slender stick on -the end of which you have fastened a gold disk made of two pieces of -gilt paper. This is intended to represent the rice ball with which the -real fish are fed. The fish banners are hollow so that the wind may fill -them, causing the fish to rise and fall as the breeze comes and goes. -Push the end of your fish-pole through the centre of a small box-lid or -button mould (Fig. 293) and stand the decoration outside the gate-way of -the little house. The fish used on this eventful day are the famous -carp, which the natives call _koi_, the unconquerable. The Japanese carp -stands for good cheer, indomitable will, perseverance and fortitude, and -it is used to impress these virtues upon the boys, but all the good -qualities named are fully as necessary for girls even though the -Japanese do not mention the fact, but girls are not forgotten. The -nation gives them the third day of the third month for their festival. -It is called the - - -"Feast of Dolls," - -and is a gala day for little girls. Dolls and gorgeously dressed images, -representing the Mikado, nobles, and ladies, are brought out and placed -on exhibition, along with beautiful jars containing queer little trees -and rare vases filled with flowers. The day is made a joyous one and a -day long to be remembered by the little girls. - -[Illustration: Fig. 294. Pattern of kago.] - -There are no sidewalks in Japan, the pavements being laid lengthwise -through the centre of the streets, and on this path people stroll or -hurry along. Mingled with the others are the Japanese laboring men, -called coolies, carrying between them - - -The Kago, - -which swings from a pole the ends of which rest on the men's shoulders. -The _kago_ is a sort of canopied hammock chair. You can easily fashion a -tiny one from paper and straw. Cut Fig. 294 of stiff paper, make it -three inches long and at the broadest part an inch and a quarter wide. -Paint the _kago_ yellow, and to form the framework sew on each end a -piece of heavy broom straw, jointed grass, or straw which has been -limbered by soaking, and cut a piece six and three-quarter inches long -for each side. Bring the side straws together beyond each end and bind -them (Fig. 295). Then hunt up a slender round stick six inches long and -sew the _kago_ on it by means of thread loops at each end (Fig. 296). -Make the canopy of a piece of stiff paper three and one-half inches long -and two and one-quarter inches wide, paint it yellow, and with stitches -only at each end sew it firmly on the pole over the seat of the _kago_ -(Fig. 297). - -[Illustration: Fig. 295.--Bind the edges of the kago with grass or straw -like this to make the frame.] - -[Illustration: Fig. 296.--Tie the kago to the pole.] - -[Illustration: Fig. 297.--Sew the top on over the pole.] - -[Illustration: Fig. 298.--The little lady rides in her kago.] - -Either buy a little - - -Japanese Umbrella - -or make one of a disk of green tissue-paper folded and crimped from -centre to edge. Use a heavy broom straw for the handle and lighter ones -for the ribs; stick them in, gluing them only to the centre, which is -now the top of the umbrella; wind the top of the umbrella, the ribs, and -the handle firmly together with black thread. The umbrella will not open -but looks well closed. Place a tied bundle of red tissue-paper and the -green umbrella on top of the yellow _kago_ and fasten them securely in -place with black thread (Fig. 298). Fold a piece of soft, -lavender-colored material on the seat of the _kago_ as a comfort for the -doll to sit on; then fit in a little Japanese doll or any kind of doll -dressed and painted to resemble a little Jap. The doll's head should -reach up, or almost up, to the canopy. Pull part of the comfort over the -doll and fasten her snugly up in a sitting position. Make a gay paper -fan and attach it to one of the doll's hands, and the little lady will -be ready to go on her journey. - - - - - -CHAPTER XV - -SOME ODD THINGS IN RUSSIA - - -IN his own country the Czar is almost worshipped by the people, and when -his coronation takes place, crowds of loyal Russians flock to Moscow, -the former in hopes of obtaining a glimpse of their beloved ruler, or at -least of seeing portions of the grand procession, the beautiful -decorations and the gay festivities which always form part of the -jubilant occasion. - -For centuries the great white Czars have been crowned in the - - -Cathedral of the Assumption, - -which, though not large, is magnificent, and is the most important -building in all Russia. The structure stands, surrounded by many other -sacred edifices, in an enclosure known as the Kremlin, situated in the -centre of the city of Moscow. Its white walls support a vaulted roof of -soft, dull green crowned with golden cupolas, each cupola surmounted by -a shining golden cross. The interior is resplendent almost beyond -description with its rich coloring, its jewel-framed paintings, its -sculptures, its gold, silver, and precious stones, its priceless robes -and holy relics. - -[Illustration: Fig. 299.--Miniature Cathedral of the Assumption.] - -To give a true conception of the wonderful interior of the sacred -cathedral to one who has never seen it, is impossible, but we can gain -an idea of the general appearance of the exterior by making a miniature -Cathedral of the Assumption (Fig. 299). Find, or make, a firm white -pasteboard box seven inches long, five and one-quarter inches wide, and -four and one-half inches high; this is for the body of the building. -Fold a strip of paper seven inches in length, crosswise, through the -centre, and bring the ends together, making another fold crosswise -through the centre of the doubled strip, which will give four layers of -paper of equal length. Cut this into a scallop three-quarters of an inch -deep, open out the strip and you will have four scallops, each one and -three-quarters inch wide, at its base. Lay the strip in turn along each -of the top edges of the sides of the box, and mark the box around the -edges of the scallops, drawing four scallops on the two long sides of -the box, and three on each of the short sides. Cut out the scallops on -top of the box; then take the cover of the box, which must form the roof -of the structure, and remove the bent-down sides; trim off with scissors -the extreme edge of one long side and one short side, until the cover -forms a tight fit in the top of the box, but may, with gentle pressure, -be made to slide down one inch. Fasten the roof in place at each corner -by running a strong pin from the outside wall through into the roof, -until the pin is embedded its full length in the roof. - -[Illustration: Fig. 300.--The Door-way.] - -[Illustration: Fig. 301. The door.] - -[Illustration: Fig. 302.--Door window.] - -[Illustration: Fig. 303.--Upper window.] - -[Illustration: Fig. 304.--Lower front windows.] - -[Illustration: Fig. 305.--Lower side windows] - -Now cut the - - -Door-way - -(Fig. 300) of light reddish-brown paper; make it three inches high and -one and one-half inch wide. Let the door proper (Fig. 301) be of inked -paper an inch and a half high by an inch and a quarter wide, the -door-window (Fig. 302) one inch and a quarter high by three-quarters of -an inch wide. Cut the upper row of windows like Fig. 303 and the lower -front windows according to Fig. 304. Make the lower side windows double -(Fig. 305). The door-arch (Fig. 306) must be a trifle over two and -one-quarter inches long. Curve the arch by drawing it across a blade of -the scissors, paint it green on both sides, bend down the slashed -portion, and paste the arch over the door-way, as in Fig. 299. - -[Illustration: Fig. 306.--The door-arch.] - -[Illustration: Fig. 307.--The paper cross.] - -[Illustration: Fig. 308.--A cross on the top of each cupola.] - -Make five - - -Cupolas - -of white writing-paper. For each cupola, cut a piece of paper five -inches long. Let the first be three inches wide and the remaining four -two and one-quarter inches wide; slash up the bottom edge of each cupola -one-quarter of an inch; then half an inch below the top edge of each -cupola paste a row of narrow, three-quarter-inch high windows cut from -inked paper (Fig. 303). When the windows are on, paste the two ends of -each cupola together, lapping them one-quarter of an inch. Bend out the -lower slashed edge and glue the highest cupola on top of the centre of -the roof; fasten the other four on the roof near the corners and at -equal distances from the centre (Fig. 299). Have ready five half -egg-shells and glue one on the top of each cupola. Then cut five paper -crosses (Fig. 307), each measuring about two inches in height, -including the lower slashed portion. Fasten a cross on top of each -egg-shell (Fig. 308). Gild all the crosses and shells, bringing the gilt -down into a narrow band on the paper below the shells. On the edge of -each shell paste a narrow black-painted paper strip (Fig. 309), -adjusting it so that the gilt on the white paper will show below the -points. - -[Illustration: Fig. 309.--A narrow black strip.] - - -To Make the Roof - -fasten a five-eighths-inch wide strip of paper along and over the -scalloped top edge of the four sides of the building, using strong paste -or glue for the purpose (Fig. 310); be sure that the strip is on even -and firm; then let it dry. Paint the entire flat roof and flat top -surface of the scallops green, using the same paint selected for the -door-arch. Oil paint is best. Be careful not to spatter green on the -white and gold cupolas. - -[Illustration: Fig. 310.--Fasten a strip of paper along the edge.] - -When finished, place your little cathedral up high on a level with your -eyes, turn it until you have the view which is given in Fig. 299, and -you can very easily imagine just how the real Cathedral of the -Assumption appears. - -Thousands of girls, boys, and grown-up men and women in freezing, snowy -Russia, - - -Sleep On Their Stoves - -every night during the long winter months. How strange it would seem to -be away up on top of a great warm stove, built of brick and nearly as -high as the ceiling! The Russians do not bother about making the bed, or -rather the stove, for they have no sheets, blankets, or bedspreads. When -it is time to retire, the inmates climb up on top of the great -whitewashed stove and sleep just as they are, in the clothing they wear -during the day. - -[Illustration: Fig. 311.--Dress a doll like a Russian.] - -[Illustration: Fig. 312.--Half of cap.] - -If you would know how the average Russian looks, - - -Dress a Doll Like a Russian - -(Fig. 311). Cut two halves of a muslin cap (Fig. 312) and sew them -together (Fig. 313). Sew in strands of tan-colored darning cotton on a -line around the cap, midway from top and bottom (A-B, Fig. 312), and -also sew a line of tan-colored strands on each side of the middle -stitching of the white cap, until the lower fringe is reached. Fig. 314 -shows the fringe of hair partially sewed on the cap. Glue this cap on -the doll's head, smooth down the hair and cut it off straight around, -making the hair a trifle shorter at the back than the front. - -[Illustration: Fig. 313.--The cap.] - -[Illustration: Fig. 314.--The fringe of hair partially sewed on.] - -Cut another piece of cloth (Fig. 315), and sew in a fringe of the -tan-colored cotton (Fig. 316); glue this on the doll to form the beard, -and trim off the edges. Paint the moustache on the face, making it the -color of the hair. Russians, as a rule, are blonds, having either red or -lighter-colored hair. - -[Illustration: Fig. 315.--Another piece of cloth.] - -[Illustration: Fig. 316.--The beard.] - -Make the trousers loose and bind them to the doll below the knees. The -Russian leather boots which the natives wear always reach up over the -trousers, and you can make such boots by painting the doll's feet black -and sewing straight pieces of black material on the doll for boot-legs, -allowing the cloth to be long enough to wrinkle around the ankle. - -Try to make the boots appear as if laced up the front, for many wear -them so in Russia. The blouse should be loose and belted in at the -waist, hanging straight and square around the bottom. In case your doll -has real hair, omit the wig and cut the real hair in Russian style. - -These people never use their immense stove for heating a teakettle, -though they drink tea upon all occasions. To make tea they resort to a -samovar, which is a curious brass or copper vessel, shaped something -like an urn. When the tea is ready, it is poured into tall glasses, a -slice of lemon is put in each glass, and the tea drunk scalding hot. The -beverage is called _chai_, and the Russians enjoy it so much that they -often take twenty glasses in succession. When one desires sugar, it is -not put in the tea, but held in one hand, and a portion bitten off from -time to time between the swallows of tea. - -[Illustration: Fig. 317.--A little Russian samovar.] - -If you will empty an egg-shell of its contents and get a sheet of white -writing-paper, a small square box, a piece of yellow sealing-wax, some -liquid gilt, and five gilt beads, four about the size of large peas, and -the fifth a trifle larger, we can manufacture - - -A Little Russian Samovar - -like Fig. 317. Should you have no box, make one of pasteboard one inch -square and half an inch high; if you cannot get the beads, use small, -round buttons. The four beads or buttons are feet for the samovar. -Fasten one on each corner of the bottom of the box with sealing-wax, -then glue the broken centre of the large end of the egg-shell on the -middle of the top of the box. Cut the handles from paper according to -Fig. 318, making each handle one inch and a half long and half an inch -wide. Run the half of one handle over the edge of a blade of the -scissors; this will cause the paper to curl. Turn the handle over and -curl the other half in the opposite direction; bend the handle at the -dotted line, one-quarter of an inch from the lower edge, and paste it on -one side of the samovar, midway between top and bottom. Make the other -handle in the same way, and fasten it on the opposite side. - -[Illustration: Fig. 318. The handle.] - -[Illustration: Fig. 319.--The faucet.] - -[Illustration: Fig. 320.--The different parts of the samovar.] - -Cut the faucet (Fig. 319) of paper one inch wide; roll the paper up from -the bottom, bringing the handle on top; bend the handle straight up, -and bend the spout down in front of the handle. Glue the other end of -the faucet to the front of the samovar with sealing-wax, placing it near -the bottom, half-way between the two handles. - -Make the top chimney of a roll of paper a generous inch in width. Paste -the loose edge of the paper down on the roll, and pierce a hole in the -roll one-quarter inch from the bottom, making it large enough to admit -the end of a match. Glue a burned match in this hole, allowing the main -part to extend out one-quarter of an inch from the chimney. Fasten a -small, round, flat button on the end, and attach a round paper disk -three-quarters of an inch in diameter to the top of the chimney, -crowning the disk with the large bead. - -Fig. 320 gives all the different parts of the samovar and shows as -nearly as possible how they should be put together. When the samovar is -finished, gild it all over, and you will have a unique little creation -that would delight the heart of a Russian. - - - - -CHAPTER XVI - -POTTERY WITHOUT A POTTER'S WHEEL - - -ALMOST every girl at one time in her life has loved dearly to make -mud-pies, and it is not strange, for her mother, grandmother, and many, -many times great-great-grandmother before her delighted in making -mud-pies. The last, the primitive women of our race, made them to some -purpose, for they were the inventors of pottery. The home-making, -house-keeping instinct was strong even in these women, who had no houses -to keep, and they did their best with the material at hand. - -First they wove rude baskets for holding and carrying food; then they -learned that cooked food was better than uncooked and could be preserved -much longer, so they made baskets of a closer weave and cooked in them -by means of water heated by hot stones; finally, they tried cooking over -the fire in shallow baskets lined with clay. The clay came out of the -basket baked and hard, and behold, they had a new kind of -vessel--fire-proof and water-proof. - -We may imagine with what joy they welcomed this addition to their meagre -store of home-making utensils and with what patient industry they strove -to improve upon this discovery. - -[Illustration: Making coiled pottery] - -They used their baskets as moulds to hold the soft clay, and they -fashioned the clay without moulds into shapes suggested by natural -objects. The sea-shells furnished inspiration and many vessels were made -in their beautiful forms. - -The first potter was a woman, even as the first basket-maker was a -woman, and, coming down to our own times, the important discovery of the -production of exquisite colors and blending of colors in the Rookwood -pottery was made by a woman. - -Discovered, developed, and still, in many cases, carried on by women, -surely pottery is a woman's art, and as a girl inheriting the old -instincts, you may find it the simplest and most natural means of -expressing your individuality and love of the beautiful. Beginning as -these gentle savages began, using their primitive method, you may be -inspired to study deeper into the art, and perhaps become the discoverer -of some new process that will give to the world a still more beautiful -pottery. - -Even the smallest girls may do something in - - -Coiled Pottery, - -for it is very simple and easy at first, growing more difficult only as -one grows ambitious to attempt more intricate forms. - - -The Clay - -ready for use you will find at any pottery. If it is dry break into -small pieces, put it in a large stone jar, and cover with cold water; -let it stand until thoroughly soaked through and then stir with a stick -until well mixed, and work with your hands--squeezing and kneading until -free from lumps and perfectly smooth. When it is dry enough not to be -muddy, and is of the consistency of dough, it is in good working -condition. - -Keep the clay always in the jar and closely covered that it may not -again become too dry. - -Besides the clay you will need a table to work on, a pastry-board, a -thin block of wood about twelve inches square, a wet sponge for cleaning -and moistening your fingers, and several simple tools. - - -The Table. - -If you stand at your work, a tall office stool with rotating seat will -be just the thing you want, for by turning the seat this way and that -you may look at your work from all sides without disturbing its -position. Any kind of ordinary table will answer the purpose, however. -On top of the table or stool place your pastry-board, and at the -right-hand side the sponge, which must be kept quite damp. - -[Illustration: Fig. 321.--A short, flat stick.] - -[Illustration: Fig. 322.--The tools. Piece of round stick sharpened at -each end.] - -You will want but - - -Few Tools - -as most of the work is done by the fingers alone. A short, flat stick, -sharpened on one side like the blade of a knife (Fig. 321), an old -penknife, a piece of round stick sharpened at each end like Fig. 322, -and some emery-paper are all you will need at first. - -On the pastry-board place a large lump of clay, then take a handful of -the clay and begin to make - - -The Roll - -by turning it lightly between your hands (Fig. 323). When the clay -lengthens out lay it on the board, and roll under your hands, as perhaps -you have done when making dough snakes. Keep your clay snake of an even -size its entire length, be careful not to flatten any part, and continue -to roll it with a light touch until it is about the thickness of your -little finger. Place your square block on the stand before you, and in -the centre begin - - -To Coil the Clay - -(Fig. 324). When you have made a disk about two and one-half inches in -diameter, lift the roll and build up the sides, coiling slowly round and -round, pinching it slightly as you go, with the last row always resting -on the one just beneath (Fig. 325). - -[Illustration: Fig. 323.--Turn it lightly between your hands.] - -[Illustration: Fig. 324.--Begin to coil the clay.] - -Unless you have made a very long roll, which is not easy to handle at -first, you will soon have to stop coiling for lack of material. Do not -use all of the first roll, but allow the end to rest on the table, where -it can be joined to the new roll you are to make. Pinch the end of the -new roll to that of the old and round the joint between your hands. - -[Illustration: Fig. 325.--Lift the roll and build up the sides.] - -Continue coiling until you have made a cup-shaped vessel three inches -high, then break off the roll and flatten the end to meet the surface of -the brim. Moisten your fingers on the sponge, and smooth the inside of -the cup, holding the walls in place with your left hand curved around -the outside (Fig. 326). Do not press too hard with either hand, but -slide your fingers gently round and round over the inner surface. When -the coils on the inside have become well flattened mix a little clay and -water into a paste, and spread it on, filling any cracks that may still -be left between the coils, constantly smoothing all the time. - -[Illustration: Fig. 326.--Smooth the inside of the cup.] - -You will find that this process has, at first, the effect of broadening -the base and lowering the sides of the cup, and until you have quite -mastered the method you must allow for the broadening and flattening of -your work. Your cup, with a base of two and one-half inches and sides -three inches in height, will now probably be a saucer measuring about -four inches across the bottom, and not more than one inch and a half in -height. It matters little, though, at this stage what shapes you turn -out. Do your best with each piece, and if the work flattens turn it into -a pretty dish by pinching the edge to form a little lip, and adding a -handle like Fig. 327. - -[Illustration: Fig. 327.--Turn it into a pretty dish.] - -As you are working without a wheel the symmetry of your pottery must -depend entirely upon your eye and hand, therefore keep turning the block -upon which it stands that no irregularity may be overlooked. - -When you add ornaments or handles see that the roll of clay from which -you make them adheres closely to the vessel. Add soft clay to the joints -and smooth until the whole seems to be of one piece. - -[Illustration: Fig. 328.--The outside corrugated by the coil.] - -In your first attempts leave the outside of the pottery corrugated by -the coils (Fig. 328); later work you may smooth, making a surface equal -to that turned on a wheel. Do not try to finish a piece in one day; it -is much better to allow it to harden a little and become set, then make -it as smooth as you can with your tools, levelling the edges and taking -away extra thicknesses. If this cannot be done at one time, set the work -away once more covered with a damp cloth and it will keep in good -working condition for any length of time, but remember, the cloth must -be kept damp, otherwise the clay will harden. - -When you have perfected your piece of pottery to your satisfaction put -it away to dry, _not_ in the sun. Several days later, after it has -become quite hard, go over the surface again with knife and emery-paper, -scraping and rubbing down until it is entirely smooth and free from -flaws. The work will then be ready to take to the potter for firing. - -The color of clay changes in firing, and your little piece of pottery -will probably come back to you almost the color of old ivory. One cannot -be very positive about the color, however, for clays vary, and perhaps -yours may be of a kind that will fire another color. The potter will -glaze your work for you if you wish, or leave it in the bisque. Nothing -has been said about what - - -Shapes to Make the Pottery, - -for that will depend much upon your own taste and ability. Rather low, -flat, dish shapes are most easily handled and variations in the cup or -flower-pot shape. After these may come the jars and vases. Set a -well-shaped piece of pottery before you as a model to copy, until you -have ideas of your own to carry out, and learn to handle your clay -before attempting too ambitious a subject. - - - - -CHAPTER XVII - -BABY ALLIGATORS AND OTHER THINGS OF CLAY - - -THE first chance you have go to Florida; you will be charmed with all -you see. Go where the sky is bluest, where winter is changed to summer, -where the wild mocking-bird, the Kentucky cardinal, the scarlet tanager, -the blue jay and a host of other birds are on most friendly terms with -girls and boys. Go where the wild squirrels live unmolested in the -beautiful great live-oaks, whose branches are hung with long, soft gray -moss which swings and sways with the slightest breeze. There you will -find the home of many baby alligators, queer little things whose eyes -are provided with three eyelids; one is transparent and slides across -sidewise like a window-glass to keep the water out of the eyes when the -little fellows want to see what is going on beneath the surface. A -number of baby alligators in a dry, sunny spot, will delight in piling -upon each other four and five deep. The young owner of twenty of these -pets declares that on such occasions all the alligators sleep except one -who, wide-awake, acts as sentinel. At the approach of anyone he will -swing his long tail over all his companions to awaken them and warn them -of the danger that may be near. Fig. 329 was modelled from a baby -alligator who conducted himself in a most dignified and exemplary manner -when placed flat down on a shingle lying on a table; but first he had to -be held in position for a moment in order to recover from the excitement -caused by being taken from his out-of-door home and brought into strange -quarters. - -[Illustration: Fig. 329.--Alligator modelled from life.] - -It is not difficult to model a - - -Baby Alligator of Clay. - -[Illustration: Fig. 330.--Clay for modelling alligator.] - -[Illustration: Fig. 331.--Clay rolled between the hands.] - -[Illustration: Fig. 332.--Beginning the head.] - -[Illustration: Fig. 333.--Extra pieces on for eyes and nose.] - -[Illustration: Fig. 334.--Head almost in shape.] - -[Illustration: Fig. 335.--Head finished.] - -All you need for the work is a lump of soft clay, a hat-pin, your -fingers, and determination to succeed. Take a piece of clay (Fig. 330) -and roll it between your hands until it resembles Fig. 331. Push the two -ends together, causing the roll to hump up slightly near the centre, lay -it down on a board or any hard, flat surface, and with the fingers -carefully pat, squeeze, and push it into the form of Fig. 332. Gently -smooth out all roughness; then nip off little pieces of clay from the -big lump for the nose and two eyes; stick them on as in Fig. 333. Again -smooth the rough edges until the clay looks like Fig. 334. With a little -careful modelling you can make the head exactly like Fig. 335. Mark the -eyes, mouth, and nose with the flat point of the pin. If portions of the -head become too thick, take off some of the clay, and if at any time the -head is worked down too thin fill in the hollow spots with clay. In -modelling one can always pinch off pieces here and there when necessary; -or add little bits, smooth it all down, and the places altered will -never show the marks of the change. - -When the head is finished cover it with a wet cloth to keep the clay -moist, and begin to make - - -The Body. - -[Illustration: Fig. 336.--Clay for body of alligator.] - -[Illustration: Fig. 337.--Body of alligator.] - -Mould another piece of clay like Fig. 336. Run the ball of your thumb -along the sides, making the body the form of Fig. 337, broader and -thicker through the centre than at the two ends. For the tail pull from -the large lump a smaller amount of clay, roll it and model it like Fig. -338, larger at one end than at the other. The last portion (Fig. 339), -like the others, is flat on the bottom, and with the exception of a -small triangle at the heavy end of the tail the two sides meet at the -top, forming a sharp ridge which decreases in height as it tapers down -to a point at the extreme end. As each part is finished keep it moist -with a wet cloth, and when the four sections are made place them in a -row (Fig. 340), then join them together, rounding all the edges -slightly. Fig. 341 shows how to mark the back of the alligator. - -[Illustration: Fig. 338.--Section of tail.] - -[Illustration: Fig. 339.--Tail of alligator.] - -[Illustration: Fig. 340.--Ready to be put together.] - -[Illustration: Fig. 341.--Marking the back.] - -[Illustration: Fig. 342.--Roll a small piece of clay.] - -Live alligators, you know, are encased in a natural - - -Coat of Armor - -formed of small plates or shields, and in the clay one must imitate the -real. Use the hat-pin for marking the lines on the head, and trace -stripes sidewise across the entire length of the body in the manner -shown by Fig. 341 from C to D, continuing the stripes down each side of -the first section of the tail (Fig. 329). Next run a line lengthwise -through the entire centre. D to E (Fig. 341) shows how to begin, only -you must commence the central lengthwise line at C. Mark the plates on -one side starting at C, as indicated from E to F (Fig. 341); then make -them on the other side, which will cause a pointed scallop to stand out -and up on both sides of the space from G to H (Fig. 341). On the last -section the top ridge will be scalloped H to K (Fig. 341). The nostrils -are distinctly marked by two round holes; make these with the point of -the pin. Cover the alligator over with a wet cloth while you model his - - -Legs. - -[Illustration: Fig. 343.--Break off a part.] - -[Illustration: Fig. 344.--Turn back the end.] - -[Illustration: Fig. 345.--Add another piece.] - -[Illustration: Fig. 346.--Press end of leg out flat.] - -Roll a small piece of clay (Fig. 342), break off a part (Fig. 343) and -turn back the broken end (Fig. 344). Add another piece to it (Fig. 345), -smooth the edges together, forming a bend like an elbow (Fig. 346), and -press the end of the leg out flat (Fig. 346). Roll five small pieces -(Fig. 347) and fasten them on the flattened portion of the leg in the -positions shown by Fig. 348. The foot suggests a human hand, the toes -taking the places of thumb and fingers. Rub the toes into the foot and -spread out the extended, flattened part of the leg, making it appear -web-like between the toes (Fig. 349). The foot of the real animal has -nails or claws on three of the toes (Fig. 350), but you need not attempt -this detail. If the foot is correct in form and proportion you have made -it well. Fig. 350 is given merely to show how the natural foot looks. - -[Illustration: Fig. 347.--Ready to begin the foot.] - -[Illustration: Fig. 348.--Modelling the foot.] - -[Illustration: Fig. 349.--Fore-foot and leg of alligator.] - -[Illustration: Fig. 350.--Fore-foot of alligator.] - -Model two front and two hind legs and feet; see that the hind feet and -legs are larger and differently formed from the front ones. The hind -feet have only four toes (Fig. 351). The line A (Fig. 340) designates -the place where the front legs should be joined to the body, and the -line B (Fig. 340) shows where to fasten on the hind legs. That you may -have a thorough understanding of the manner and direction in which the -joints of the legs bend, we will suppose that you rest on the floor on -your knees and elbows. You will then find that your knees bend forward -and your elbows backward, with your arms corresponding to the front legs -and your legs to the hind legs. Now, when you draw or model hereafter, -you will not make any mistake in regard to it. Look again at Fig. 349. -The foot, V, corresponds to or rudely resembles your hand; T, your -wrist; P, your elbow; O, your shoulder. Examine Fig. 329. On the hind -leg are the foot, ankle, knee and hip joint. While the alligator is in a -plastic state make him open his mouth, by cutting a slit in the head -from the front along the waved line up back beyond the eye; carefully -pull apart the jaws (Fig. 352). Have your alligator measure at least -fourteen inches from tip to tip, for it will be more difficult to model -a smaller one. Once having made the little creature, you will find it -easy to model similar animals; select something else in the same line -and try to make it. - -[Illustration: Fig. 351.--Alligator's hind-foot.] - -[Illustration: Fig. 352.--Cut open the mouth.] - -Most fruits are readily reproduced in clay. - - -The Banana - -is very simple to copy. Roll a piece of clay, making the ends bluntly -pointed; bend it slightly as in Fig. 353 and, paying strict attention to -proportion, carefully form the work like the original, adding, taking -from, smoothing and flattening as may be required (Fig. 354). - -[Illustration: Fig. 353.--Clay ready for modelling banana.] - -[Illustration: Fig. 354.--Banana modelled in clay.] - -The "Father of His Country" always commands admiration, and everything -pertaining to him is interesting. - -[Illustration: Fig. 355.--Egg-shaped clay for head.] - - -A Head of Washington - -modelled with your own hands would have a double value. You could show -the head to your friends and tell them how you made it, and should they -wish to become amateur sculptors, you might help them with their work. -Make a thick cake of clay for the bust. On the back part of the top lay -a small, round cake to form the neck, and push a stick down the centre -of the neck through the bust to the board beneath, allowing a portion of -the stick to extend up beyond the neck; then roll a piece of clay into -the form of an egg for the head--three times the size of a hen's -egg--and push it down on the stick (Fig. 355). The stick enters the -head near the centre of one side, so do not push the clay egg on through -one end. Continue to push the head down until it meets the neck. The -stick is necessary to give firmness and support to the work. Model the -head, neck, and bust until it looks like Fig. 356. While modelling you -must not neglect any part of the head; the work should go on at the -sides and back as well as the front; every now and then turn the stand -on which your work is placed that you may model other portions of the -head. In sculpture it is essential that objects be made as they are; -therein lies the difference between sculpture and painting; in painting -and drawing objects are not made as they actually exist but as they -appear. - -[Illustration: Fig. 356.--Head blocked in.] - -[Illustration: Fig. 357.--Modelling features.] - -[Illustration: Fig. 358.--George Washington.] - -Be sure to have the head of correct proportions before beginning the -features; then take away a little of the clay where the nose joins the -forehead and cut away more clay under the nose straight down to the -chin, according to the dotted lines which appear in Fig. 357. Hollow out -places for the eyes and indicate the mouth with a straight line. Add -more clay for the hair, forming it into a queue at the back. - -[Illustration: Fig. 359.--Washington's profile. Finished head.] - -[Illustration: Fig. 360.--Back of Washington's head.] - -Be careful to study well the character of Washington's face before going -on with the work. Notice that it is strong, the chin firm and square, -the lips tightly closed and the mouth almost a straight line, the nose -not perfectly straight but inclined to be aquiline, the eyes rather -heavy-lidded; and the hair, following the line of the head on the top, -is puffed out on the sides, covering both ears. Fig. 358 gives the front -view, Fig. 359 the profile, and Fig. 360 the back view of the head. Make -the neck full and large. You can keep the clay moist with a wet cloth -and work on the head a little each day. Persevere until you make so good -a likeness of George Washington that it will be recognized at a glance, -and ever afterward you will enjoy and appreciate much more all portraits -of him. - - - - -CHAPTER XVIII - -FUNNY LITTLE APPLE TOYS - - -SUCH a funny little porcupine! See how his pointed spears bristle out in -every direction, forming a fine coat of mail (Fig. 362). If he was only -alive, he could coil himself up into a prickly ball--not a ball, though, -that one could handle without being hurt. This little fellows differs -from the _Hystrix cristata_, or real porcupine, in that he did not wait -until his quills grew to turn into a ball, but was a ball to begin with, -for he commenced life as an apple, and an apple is one of the nicest -kinds of balls, as it may be tossed back and forth and then eaten later. - -[Illustration: Fig. 361.--Bent toothpick.] - -[Illustration: Fig. 362.--The apple porcupine.] - -If you can find an apple with a bump on one side, you may make a -porcupine in less than five minutes, for all that is necessary is to -stick the apple full of wooden toothpicks, and that work will be as easy -as putting pins into a cushion. Let the bump on the apple form the head -of the animal. Bend four toothpicks like Fig. 361 and push them up into -the apple to serve as legs and feet. Make the bent toothpicks balance -the apple perfectly, so that the porcupine will stand firmly on its feet -without other support. Use black pins for eyes and broom straws for the -whiskers. Stick them into the head of the animal as shown in Fig. 362. -Begin at the extreme back of the porcupine to insert the wooden -toothpicks that are to serve as quills; although they are not hollow it -makes very little difference, as this wee creature cannot shake them, -causing the quills to knock against each other, as does the real animal -when he wants to produce a rustling sound to warn off an enemy. Continue -pushing in the toothpicks until the apple resembles Fig. 362. Keep the -quills inclined backward and be careful not to have them stand out too -far; slant the quills as much as possible, as the length of the -porcupine must appear greater than the breadth. Now, if you could endow -the animal with life, you would find that he was a vegetarian; that is, -he could not eat meat, and you would be obliged to feed him on fruit, -roots, and certain kinds of bark. You may be glad, though, that this -porcupine is only a "make-believe one," for, if he lived, he would sleep -all day and want to run about and take his exercise during the night; -and, more than that, you would feel very sorry for the poor little -fellow, because he would be extremely lonesome so far away from his -native land of India, Africa, or some part of Southern Europe. So of the -two, all things considered, the apple porcupine makes a better pet for -the small members of the household. - -[Illustration: Fig. 364.--Shape of eye.] - -[Illustration: Fig. 365.--Apple seed in centre of eye.] - -[Illustration: Fig. 366.--The nose.] - -[Illustration: Fig. 367.--Sally's open mouth.] - -[Illustration: Fig. 368.--Strip of paper rolled up tight.] - -[Illustration: Fig. 363.--Sally Walker's head.] - -A round, delicately pink-tinted apple is best for - - -Little Sally Walker's Head - -(Fig. 363). With the small blade of a pocket-knife cut the eyes near the -centre of the apple, placing them far apart to give an innocent -expression to the face (Fig. 363). Cut the lower line of the eyes -straight and the upper curved, as in Fig. 364; then push the small, -pointed end of an apple-seed in the centre of each eye; run the seed in -so far that only a small portion of the blunt end stands out (Fig. 365). -Cut away a small, half-moon-shaped piece of the skin (Fig. 366) to -indicate the nose. The mouth must be open and made the shape of Fig. -367. Cut it into the apple a trifle more than an eighth of an inch in -depth. Make the curls of two narrow strips of paper rolled up tight -like Fig. 368; then pulled out as in Fig. 369. Pin one curl on each side -of the head (Fig. 363). Cut a round piece of white paper for Sally's -collar. Make a small hole in its centre and slip the collar on the end -of a stick; then push the stick well up into the lower part of the head -(Fig. 363). Keep the collar in place by two pins stuck through it into -the apple. - -[Illustration: Fig. 369.--Sally's curl.] - -[Illustration: Fig. 370.--The apple Indian.] - -[Illustration: Fig. 371.--Indian's nose.] - -[Illustration: Fig. 372.--Paper feather for apple Indian.] - -[Illustration: Fig. 373.--The apple Jap.] - - -The Indian - -is very different in coloring and expression from Sally (Fig. 370). -Notice how near together his eyes are; and see how long and narrow his -nose is. If you examine the face of the next red man you see, or the -picture of one, you will probably find that he has two deep, decided -lines from his nose to his mouth, and that the mouth itself is firm and -straight. Remember these hints when making the Indian's head. Select a -dark-red apple, one that is rather long and narrow, if possible, for -the red man seldom has a round face. Cut two eyes of white paper and pin -them on the apple with black-headed pins pierced through the centre of -each eye. Make the long nose of paper (Fig. 371). Cut two slits close -together on the face and slide the sides of the nose (AA, Fig. 371) into -the slits (Fig. 370). Cut two more slits, one on each side of the nose, -down to the corners of the mouth, and insert in each a piece of narrow -white paper to form the lines; then cut one more slit for the mouth and -push in a strip of white paper, which may be bent down to show a wider -portion (Fig. 370). Last, but not least, come the ornamental feathers. -If you can obtain natural ones so much the better; if not, make paper -feathers of bright, differently colored paper. Fig. 372 shows how to -cut them. Roll the bottom portion to make a stiff stem and after -punching holes in the top of the apple, forming them in a row around the -crown of the head, push each feather in place, having the tallest in the -centre, as in Fig. 370. Run a slender stick up into the bottom of the -head and you will have something better than taffy-on-a-stick. - -[Illustration: Fig. 374.--Apple Jap's eye.] - -[Illustration: Fig. 375.--For apple Jap's hair.] - -[Illustration: Fig. 376.--Apple Jap's hair.] - -[Illustration: Fig. 377.--Stick frame for apple Jap.] - - -The Jap's - -(Fig. 373) features are formed very differently from those of either -Sally or the Indian. His eyes are shaped like narrow almonds, rather -bluntly rounded at the inner corners and pointed at the outer corners. -Cut the eyes like Fig. 374 of black paper and stick them on the head -with white-headed pins driven through the centre of each. Let the eyes -slant up at the outer corners, for that is the way real Japanese eyes -grow. They never have eyes like Sally's. - -[Illustration: Fig. 379.--Foundation of apple tower.] - -[Illustration: Fig. 380.--Second floor of apple tower.] - -[Illustration: Fig. 381.--Ready for third floor.] - -[Illustration: Fig. 378.--Apple tower.] - -Make the nose crescent-shaped, and pin it on with two white pins. The -mouth must be much larger than the nose, though cut in similar shape. -Hold the mouth in position by running a row of white pins through it -into the head. The pins will also form the Jap's teeth. Cut the hair of -black paper (Fig. 375); if you have no black paper, make some with ink. -Fringe the hair as in Fig. 376; then fasten the circle of stiff black -hair on top of the head with black pins. Use a russet apple or a yellow -one for the Jap, because, you know, these people do not have red cheeks -or fair skins. When the head is finished, push it down on the top of a -stick across which has been fastened another shorter stick near the top -(Fig. 377). Make a simple kimono-like gown of paper and hang it on -over the Jap's arms. If you wish, you can paste the edges or seams of -the garment together (Fig. 373). - -Find a firm, sound, round apple, and we can - - -Build a Tower - -(Fig. 378). Cut the fruit into rather thick slices, select the middle -slice, that being the largest, and stick four toothpicks into it (Fig. -379). Take the slice next in size and push it down tight on top of the -four toothpicks (Fig. 380). Stick four more toothpicks into the second -slice (Fig. 381), placing the toothpicks in the spaces on the second -slice between the lower first four toothpicks (Fig. 381). On the tops of -the last toothpicks fasten another slice of apple, then stick in more -toothpicks and so on, always remembering to place the top toothpicks in -the spaces on the apple slice left between the lower toothpicks. Build -up the tower at least seven slices high and do the work carefully, -keeping the toothpicks straight and even, that the apple tower may stand -erect and not resemble the famous Leaning Tower of Pisa; for if your -building should incline to one side, as does the Pisa tower, it would -not long retain that position, but the entire structure would come -tumbling down, obliging you to try building again with another apple. - -A fine Dutch windmill can be made of one apple and a paper pin-wheel, -and there are lots of other interesting things you may manufacture from -the same fruit. - - - - -CHAPTER XIX - -MARVEL PICTURES - - -HERE are Mary, Mary's lamb, and Mother Goose's goose all waiting for you -to dress them and make them into Marvel pictures. Mary must be attired -in her clothes, the lamb in his wool, and Mother Goose's goose in its -feathers, and you can do it every bit yourself. Then when all are nicely -finished you can tack them up in your room for everyone to admire and -wonder over. We will begin with - - -Mary, - -because a little girl is vastly more important than a lamb or a goose, -however much the others may be petted and loved. - -[Illustration: Mary.] - -Take a smooth piece of white tissue-paper, lay it over the drawing of -Mary given here, and with a moderately soft pencil make a careful -tracing of the little figure. Turn the paper the other side up and go -over the lines again with a very soft pencil; then lay the paper right -side up on a piece of white cardboard, a little larger than the page -of this book. See that the figure is exactly in the middle and again -go over the lines with your pencil. Remove the tissue-paper and -strengthen the lines of your drawing with your hardest pencil. If you -have a box of water-color paints, tint Mary's face, her neck and arms -flesh-pink. Redden her cheeks a little, and paint her lips a darker red. -Make her eyes blue and her hair a light brown and she will be quite -ready for - - -Her Dress. - -Fig. 382 is the pattern, which you must make by tracing it on -tissue-paper and then cutting it out. Choose any material you -like--wool, cotton, or silk, for her dress and any color, only let it be -quite smooth. Lay the tissue-paper pattern down on the goods, pin it in -place and cut around close to the edges. Try the dress on Mary to see -that it fits perfectly; then cover the wrong side thinly with paste, -adjust it to the little figure and press down firmly, smoothing out any -wrinkles that may appear. Cut a white lawn apron like the pattern (Fig. -383), and paste it over the dress bringing the upper edge up to the -waist line. - -[Illustration: Fig. 382.--Mary's dress.] - -[Illustration: Fig. 383.--Mary's apron.] - -[Illustration: Fig. 384.--The brim of sun-bonnet.] - -[Illustration: Fig. 385.--Crown of sun-bonnet.] - -[Illustration: Fig. 386.--Plait like this.] - -[Illustration: Fig. 387.--Cut like this.] - -[Illustration: Fig. 388.--Mary's sun-bonnet.] - -Make a cunning little - - -Sun-bonnet - -of the white lawn also. Fig. 384 is the brim, Fig. 385 the crown of the -bonnet. Cut out Fig. 384 first and fold back the flap according to the -dotted lines, then Fig. 385, which you must plait fan-shape like Fig. -386, and then cut the shape of Fig. 387. Put a little paste along the -lower edge of Fig. 387, and over it lay the top edge of the brim (Fig. -384), pasting them together like Fig. 388. Fit the bonnet on Mary's head -and paste it in place, but leave the side-flaps to stand out loosely -from her face. - - -Mary's Lamb - -can be traced and then drawn on cardboard in exactly the same manner as -Mary, or it may be drawn on white writing-paper, cut out carefully and -pasted on black or colored cardboard. This last is perhaps the better -plan as the white lamb will show more plainly on a colored background. - -[Illustration: Fig. 389.--Pattern of lamb's coat.] - -Fig. 389 is the pattern for Master Lamb's coat, which you are to cut -from a sheet of white cotton wadding, opened through the centre to give -the wooliness of the raw cotton. A sheep's wool does not grow long on -its legs, so you need not wonder that the lamb is not provided with -leggings. - -[Illustration: Fig. 390.--Lamb's cap.] - -[Illustration: Fig. 390.--Lamb's cap.] - -Paste the coat on the lamb's back and the little cap (Fig. 390) on top -of his head and he will have all the clothing to which he is entitled. -The dotted line below the lamb's ear shows how far the wool is to reach -on his face, and that on the top of his head gives the limit for the -edge of the cap. - -[Illustration: Mary's lamb.] - -When you have traced - - -Mother Goose's Goose - -and transferred it to a sheet of cardboard, you must collect a number of -small feathers as much as possible like the shapes given in the page of -diagrams. Perhaps you can get those plucked from the chicken for -to-day's dinner, or you may be allowed to take a few from mother's -feather pillows or cushions. If you do not find feathers of just the -right shapes take a pair of sharp scissors and trim them down to suit. - -[Illustration: Fig. 391.--Tail feather.] - -[Illustration: Fig. 392.--How to paste on the tail feathers.] - -[Illustration: Fig. 393.--Body feather.] - -[Illustration: Fig. 395.--Wing feather.] - -[Illustration: Fig. 394.--How to paste on the body feathers.] - -[Illustration: Fig. 396.--Wing feather.] - -[Illustration: Fig. 398.--Neck and breast feather.] - -[Illustration: Fig. 397.--How to paste on the wing feathers.] - -[Illustration: Caption of Figures 391-397: How to put the feathers on -Mother Goose's goose.] - -[Illustration: Mother Goose's goose.] - -Select three feathers for the tail like the tail feather Fig. 391, and -fit them in place on the goose to see just where they are to go; then -take them off, cover the tail with glue and carefully put the feathers -back in place, pressing them down until they stick fast (Fig. 392). Find -body feathers like Fig. 393 and, beginning near the tail, cover part of -the body with glue, then stick the feathers on, overlapping them as in -Fig. 394. The under part of the body must be entirely covered with these -feathers, but before going on to the breast and neck the wing must be -attended to. - -[Illustration: Fig. 399.] - -There are two kinds of wing feathers--some long and narrow (Fig. 395), -and others much shorter (Fig. 396). Begin at the lower edge of the wing -and glue a row of the long feathers in place, allowing the lower edge of -one feather to overlap the upper edge of another, as in Fig. 397. Along -the top edge of the wing glue a row of the small feathers (Fig. 397), -and then, beginning again at the lower edge of the wing, cover the -remainder with the small feathers. - -The short, broad feather (Fig. 398), is the kind to use on breast and -neck. Begin at the wing and fasten them on, going upward until the head -is reached, then trim off the stems of the feathers to fit the space -shown by the dotted line on the goose's head (Fig. 399). Do not put too -much glue on the goose at one time, only enough for one row of feathers, -and spread it very thinly, for it takes but little to catch and hold the -light feathers in place. - - - - -PART II - -RECREATION - -[Illustration: Lifting for Pasch eggs.] - - - - -CHAPTER XX - -EGG GAMES FOR THE EASTER HOLIDAYS - - -Lifting for Pasch Eggs - -"LIFTING" was one of the many curious and interesting Easter customs of -the "good old days" in merry England, and we introduce it here in the -form of a very jolly Easter game. - -First you must - - -Prepare the Pasch, or Easter Eggs - -in this way: Select three large white eggs, make a minute hole in the -small end of each, and another hole the size of a silver dime in the -large end. Place the hole at the small end of each shell to your lips -and blow steadily until all the egg has run out. Then set the shells in -a warm place to dry while you make ready "something bitter and something -sweet" with which to fill them. Soft, creamy candies of a small size are -the best for this. Select several pieces for each egg, and pour on each -of these one drop of a weak solution of wormwood or quinine. Mix the -bitter candy with the sweet, and fill the egg-shells. - -Cut from gilt or colored paper three scalloped disks four inches in -diameter (Fig. 400). Through the centre of each disk pass a needle -threaded with doubled black linen thread, cover the under side of the -disk with paste, separate the two ends of the thread and hold them down -on each side of the large end of a shell, as shown in Fig. 401; then -draw the disk down and paste it upon the shell over the threads. If the -ends of the thread extend below the disk, clip them off with sharp -scissors. Wait until the paste is quite dry and the paper firmly -attached to the shells, then hang the eggs by their threads in a -door-way so that they will be just one foot higher than you can reach. - -[Illustration: Fig. 400.--Cut three scalloped disks like this.] - - -The Game - -There must be at least two girls and two boys to play the game. Fold a -shawl or wide scarf until it forms a narrow band. Wrap it around the -waist of one of the girls, fasten it securely, and blindfold her with a -handkerchief. Let a boy stand on either side of her, grasp the band -firmly, and then march her up to the door-way where the eggs are -suspended, chanting these words: - - "Tid, Mid and Mi-se-ra, - Carling, Palm, and Pasch-egg day. - Lift you now off your feet, - Take your bitter with your sweet." - -Reaching the door-way they must halt just before it, and when the girl -says "Ready" she must jump, the boys at the same time lifting her by the -band around her waist. As she jumps she must try to catch one of the -eggs. She can have but one trial, and if she succeeds in bringing down -an egg it is hers; failing, she must wait until her turn comes again for -the chance of securing a prize. - -One of the boys must have the next trial, while the two girls become the -"lifters." The same ceremony must be gone through with for each player, -a girl and a boy alternately, and the same verse repeated. - -[Illustration: Fig. 401.--Paste the disk on the shell.] - -It is not necessary to expend any strength in the "lifting," for the -players should jump, and not depend upon the helpers to be lifted up -within reach of the eggs. When the eggs have been pulled down, the fun -consists in eating the candy, with always the certainty of finding some -bitter drops among the sweet, and the uncertainty of how soon and how -often the bitter will be found. - - -The Egg Dance - -The egg dance is very old, so old that it is a novelty to young people -of this generation. It is said that this dance formerly created much -mirth, and no doubt it will afford our modern girls and boys an equal -amount of merriment. - - -The Eggs - -To prepare for it, take thirteen eggs, blow the contents from the -shells, color eight red, gild four, and leave one white. The object in -removing the egg from the shell is to save the carpet from being soiled -should the eggs be trampled on. If the carpet is protected by a linen -cover hard-boiled eggs may be used. - -Place the eggs on the floor in two circles, one within the other. The -outer circle, formed of the red eggs placed at equal distances apart, -should measure about eight feet in diameter; the inner circle, formed of -the gilded eggs, should be four feet in diameter, and the white egg must -be placed directly in the centre of the inner circle. - - -The Dance - -The eggs being arranged the company is divided into couples, each in -turn to try the dance. The first couple takes position within the outer -circle--that is, between the red eggs and the gilded ones--and, to waltz -music, they dance around the circle three times, keeping within the -space between the two circles. Entering the inner circle they waltz -three times around the central egg, and all this must be done without -breaking or greatly disturbing any of the eggs. When an egg is broken or -knocked more than twelve inches from its position, the dancers retire -and give place to the next couple. The broken eggs are not replaced, but -those out of position are set in order before the succeeding couple -commence the dance. When each couple has had a turn and none have -accomplished the feat, all change partners and the trial begins again. - -The first couple to go through the mazes of the dance without breaking -or disturbing any of the eggs win each a first prize; the next -successful couple receive second prizes, and the third are rewarded with -one colored hard-boiled egg which they may divide between them. - -[Illustration: Angling for Easter eggs.] - - -Easter Angling - -The appliances for this game are manufactured at home, and consist of -three toy hoops, such as children use for rolling, eight bamboo -walking-canes, and eight hooks made of wire like Fig. 402. A piece of -twine three-quarters of a yard long is tied to the small end of each -stick, and to the other end of the twine is fastened a hook. - -[Illustration: Fig. 402.--Eight hooks made of wire.] - -Smooth, stiff, light-brown paper is pasted or tacked over each hoop like -a drum-head, and in this paper covering of each hoop six round holes are -cut, just large enough to admit the small end of an egg, or about the -size of a silver quarter of a dollar. Four of the holes are made at -equal distances apart, twelve inches from the edge of the paper, and the -other two are near the centre (Fig. 403). - -Eighteen eggs to be angled for are provided. They are not boiled, but -the shells are emptied and prepared for decoration in the manner -previously described. - -[Illustration: Fig. 403.--Cut six holes in the paper like these.] - -They may be painted with water-colors, with designs of spring flowers -and butterflies, gilded or silvered, or colored with dyes. - -A circle of gilt paper is folded twice, which forms Fig. 404, and an -eight-pointed star is cut by following the dotted lines in Fig. 404. In -the centre of this is cut a round hole, and when opened, the star (Fig. -405) is the result. - -[Illustration: Fig. 404.--Cut the star by following dotted lines.] - -[Illustration: Fig. 405.--The gilt star.] - -A piece of narrow white satin ribbon, three inches long, is folded and -pushed through the hole in the centre of the star, forming a loop; the -ends are then pasted to the point on either side of the star. - -When the egg-shell has received its decoration, this star and loop are -glued to the large end of each shell, as shown in Fig. 406. - -In twelve of the egg-shells are hidden trifling gifts of candy, a tiny -penknife, silver thimble, or a trinket of any kind; in four are slips of -paper on which are written "Prize Ring," and in the other two are also -slips of paper; on one is written "First Prize," and on the other -"Second Prize." - -Every shell being supplied with its gift the holes at the small end of -the egg are covered by pasting over each a small round of white paper, -the edge of which is cut in points to make it fit more easily to the -shell. - - -Rules of the Game. - -1st. Eight players only can take part in the game. - -2d. The three hoops are placed on the floor, paper side up, at some -distance apart. In each of the two ordinary rings are placed six eggs -standing upright in the holes, small end down; four eggs contain -presents and two the papers bearing the words "Prize Ring." In the -third, or prize ring, are four eggs containing presents, and the two -which hold the papers with the words "First Prize" and "Second Prize." - -[Illustration: Fig. 406.--Glue the star and loop to the shell.] - -3d. There must be no distinguishing mark upon any of the prize eggs. - -4th. Four players stand around each of the ordinary rings. Having once -chosen their places they must keep them until all the eggs have been -taken from the ring. - -5th. Every player is provided with a fishing-rod which is held by one -end, _not_ in the middle. - -6th. The endeavor of each player is to insert his hook through the -ribbon loop on one of the eggs and lift it out of the ring, doing this -as quickly as possible and catching as many as he can. - -As each egg is taken from the ring its contents are examined and the -player who first gets a prize-ring egg ceases angling until the other -prize-ring egg has been caught. - -7th. When the eggs have all been taken out of both ordinary rings, the -two players in each ring who have the prize-ring eggs move to the prize -ring and angle for the eggs which it contains. - -8th. Two prizes, the first and second, fall to the lot of the two -players who are fortunate enough to secure the prize eggs in the prize -ring. - -The prizes given for the prize eggs at the prize ring should be of a -little more importance than those contained in the eggs. Instead of -trinkets these eggs may contain only candy, which will give more -prominence to the two real prizes given at the end of the game. - - -Table Egg-rolling. - -Everyone knows about the egg-rolling where the eggs are started at the -top of a hill and rolled to the bottom, for it has become almost a -national game, being played annually on the White House grounds in -Washington on Easter Monday; but there is a new game of egg-rolling to -be played in the house, in which any person in any place may take part. -This is played, not with cooked eggs, as in the Washington game, but -with empty egg-shells, which have been blown and left as nearly perfect -as possible; and the field for the game is a table with a chalked line -across either end about eight inches from the edge and another line -directly across the centre. - -The players are divided into - - -Two Equal Forces - -which take their places at opposite ends of the table. Each player is -provided with a fan and the egg-shell is placed directly in the centre -of the table on the dividing line. At the word "Ready" all begin to fan, -the object of each side being to send the egg to its goal across the -line at the opposite end of the table, and to prevent its being rolled -into the goal at its own end. - -On no account must the egg be touched except in placing and replacing it -on the centre line, which is done whenever a score is made, and when the -egg rolls off the table; in all other cases it may be moved only by -fanning. Each time the egg enters a goal it counts one for the side at -the opposite end of the table, and when the score is marked the egg must -be replaced in the centre; then, at the given signal, the fanning is -renewed. - -The winning score may be ten, fifteen, or twenty-five, but it is best -not to make it too large, for several short games are more enjoyable -than one long one. - - - - -CHAPTER XXI - -MAY DAY AMUSEMENTS - - -MINGLING with the festivities of May day in the fifteenth and sixteenth -centuries were certain games intended to represent the adventures of -Robin Hood, that bold forest chieftain who with his band of merry men, -all clad in Lincoln green, held many a contest with bow and arrows; and -though most of them were masters of the sport, none could quite equal -the leader, Robin Hood. - -From certain customs of these bygone days we can evolve a delightful -entertainment and call it the Twentieth Century May day. The most -important personage on this occasion is the May Queen, who must win her -crown by skill in archery. The next in importance is the King who wins -his title in the same way. Of course, - - -Bows - -and arrows will be needed for the sport, and these we will make at home. -They will be quite small and easy to manufacture, but the bows, though -tiny, will work to a charm and send the home-made arrows flying with -swiftness and precision to their goal. Look up a piece of flat rattan, -from which to form the bow, such as is often used to stiffen stays and -dress waists; cut it eleven and one-half inches in length and burn a -hole in each end by boring through the rattan with a hair-pin heated red -hot at one end (Fig. 407). Holes made in this way will not split or -break the rattan. Pass a strong linen thread through the hole in one end -of the bow and tie it firmly (Fig. 408); then bring the thread across to -the other end, pass it through the hole, leaving a stretch of eight and -one-quarter inches from end to end of the bow, and tie the end securely -(Fig. 410). - -[Illustration: Fig. 407.--The bow of rattan.] - -[Illustration: Fig. 408.--Fastening on the bow-string.] - - -Make the Arrows - -of slender sticks ten inches in length and sharpened to a point at the -heavier end (Fig. 409). Whittle the arrows as round as possible. If you -happen to have old, slender, long-handled paint brushes, they will make -fine arrows with the brush taken off and the large end pointed. - -[Illustration: Fig. 410.--Bow strung ready for arrow.] - -[Illustration: Fig. 409.--Arrow of paint brush handle.] - -[Illustration: Fig. 411.--Paper cover for target.] - -[Illustration: Fig. 412.--Cowslip for target.] - - -The Target - -may also be home-made; for this use a small hoop--a barrel hoop will -do--and cover it with paper. Take any kind of paper strong enough to -hold, but not too stiff, and cut it three or four inches larger in -circumference than the hoop. Lay the hoop down flat on the paper and -draw a line around its edge; then slash the paper around the edge, -cutting deep enough to almost reach the circle marked by the hoop (Fig. -411). Cut silhouettes of spring flowers from various bright-colored -tissue-paper. Lay a piece of tissue-paper over each flower pattern here -given, and trace the outline directly on the tissue-paper. Make a -cowslip (Fig. 412) of yellow paper for the centre of the target, and -above it place (Fig. 413) a violet of violet tissue-paper, and under -the centre fasten a Jack-in-the-pulpit of green tissue-paper (Fig. -414); at the right attach a pink azalia (Fig. 415) and at the left a -scarlet tulip (Fig. 416). Over the remaining blank portion scatter -bright silhouettes of other flowers. Each wild blossom has its own value: -the yellow centre cowslip counts 10; violet, 9; Jack-in-the-pulpit, -8; pink azalia, 7; scarlet tulip, 6, etc. When the paper flowers are -ready, lay the large target paper on a perfectly flat, hard surface; -then, using paste only around the edges of the flowers, fasten each one -in position on the target paper, beginning with the central cowslip. -When finished turn the paper over on the wrong side and lay the hoop on -it over the circular line previously drawn. The hoop must first have a -strong staple driven in its top (Fig. 417). Turn up the slashed edge of -the paper and paste it down over the hoop. Fig. 418 shows a portion of -the flaps glued over it. Be sure when covering the hoop to keep the -paper perfectly smooth and free from all wrinkles or fulness, as shown -in the target (Fig. 419). - -[Illustration: Fig. 413.--Violet for target.] - -[Illustration: Fig. 414.--Jack-in-the-pulpit for target.] - -[Illustration: Fig. 415.--Azalia for target.] - -[Illustration: Fig. 416.--Tulip for target.] - -[Illustration: Fig. 417.--Staple in hoop.] - -[Illustration: May Queen and King and loyal subjects.] - -Select a good position on a tree or fence. Drive in a nail at the -proper height and hang the target by the staple in its rim; then with a -stick or stone mark a line on the ground about three yards from and -directly in front of the target. Let each player in turn stand with toes -touching the mark and shoot one arrow at the target. Someone must keep -tally, and as each arrow strikes or misses make a record of the shot. -When all have had one trial the second round may be played; then the -third, which finishes the game of archery and decides the relative -places of all the company. - -[Illustration: Fig. 418.--Portion of flaps glued over hoop.] - -[Illustration: Fig. 419.--Target with silhouettes of flowers.] - -The girl and boy with highest records are - - -Queen and King, - -the next highest maids-of-honor and gentlemen-of-the-Court; the others -fall in line according to their records on the target, and the entire -party strikes out for the nearest stretch of land where wild flowers are -to be found. Out from the shade they go into the sunshine, where the -new springing grass is tender and green, and a little beyond under the -trees where a mysterious perfume, the breath of awakening Nature, -pervades the air, where grow the modest blue-eyed violets, the fragrant -trailing arbutus, spicy and sweet, the funny Jack-in-the-pulpit, without -which no collection of wild flowers would be complete, and where also -may be found the rare and beautiful bloodroot, whose stay is so short -one can scarce catch a glimpse of its pure, white blossoms ere they -vanish. - - -The Queen Rules, - -and the King shares her honors. All the subjects must yield implicit -obedience; but, on the other hand, the Queen should issue only unselfish -and kind commands, such as are sure to render her people happy, for the -thought of their comfort and pleasure should ever be uppermost. - -[Illustration: Fig. 420.--Take the flowers up roots and all.] - -The delicate little blossoms of early spring need very careful handling, -and it would be well for the King and his gentlemen to be provided with -old kitchen knives or trowels, that they may be able to dig around and -under the little plants in order to take the flowers up root and all, -with the earth clinging to them (Fig. 420); each one can then be -carefully placed upright in a flat-bottomed basket or box and carried -home in safety. Better still would be a number of tiny water-proof paper -flower-pots, which may be purchased per dozen for a trifling sum. In -each pot place one plant with plenty of damp earth surrounding it, and -upon reaching home tie a gay narrow ribbon through holes pierced on each -side; the little receptacle will then make a charming May-basket, and -the wild flowers will keep fresh and blooming for a long time (Fig. -421). - -[Illustration: Fig. 421.--Water-proof paper flower-pot May-basket.] - -While the King and his men are at work digging up the plants the Queen -and her ladies can gather the buds and blossoms, picking them with as -long stems as possible and remembering to have a few green leaves of -each plant with its blossoms. To keep the flowers from wilting, as they -would if held in the hand, let each girl be provided with a clean, -perfectly dry baking-powder can which has a lid that fits tightly; the -blossoms must be without moisture and very carefully placed within the -can as soon as they are plucked. When the tin box is filled the cover -can be fitted on securely to exclude all the air. The green leaves may -be carried in the hand, and when they droop they can be revived by being -placed in fresh water. The bit of wildwood brought home in the form of -dainty cut flowers could be put in water until dark, when the little - - -May-baskets - -are ready for their reception. These baskets should always be small and -must never be crowded with flowers; it is better to have only one -variety of blossom with its foliage for each basket. - -[Illustration: Fig. 422.--Beginning wire May-basket.] - -[Illustration: Fig. 423.--Basket ready for handle.] - -Manufacture the May-baskets of paper boxes, colored straws, wire, and -cardboard. Those of wire can be made to resemble coral and are pretty -when shaped like that shown at Fig. 425. Make a ring of wire about the -size of the top of a very large teacup by twisting the two ends of the -wire together, then pull it into an oblong shape curved downward at the -two ends. Form another smaller ring, connect the two by a length of wire -fastened on one end (Fig. 422); twist the wire on the bottom loop and -bring it across the bottom and up on the other side end (Fig. 423). -Proceed the same way with the broad sides, extending the wire up and -across the top to form the handle (Fig. 424); if more braces are needed, -add them, and tie bits of string in knots of various sizes at intervals -all over the basket frame to form projections for the branches of coral. - -[Illustration: Fig. 424.--Wire basket to be turned into coral.] - -Transform the wire into coral by melting some white wax and mixing with -it powdered vermilion. While the wax is in a liquid state hang the -basket on the end of a poker or stick and, holding it over the hot wax, -carefully cover the frame with the red mixture by pouring the wax over -the basket with a long-handled spoon. The wax cools rapidly and forms a -coating closely resembling coral; the little lumps and projections that -form give the basket the appearance of real coral, which is branching -and uneven. - -[Illustration: Fig. 425.--Coral May-basket.] - -As soon as the wax has hardened (Fig. 425) insert in the basket a -pasteboard bottom cut to fit; and when filling this basket with flowers -place the foliage around the sides first. The fresh green contrasting -with the red coral gives a pretty effect, and the leaves filling the -spaces between the wires prevent the flowers from falling through. - - -The "Old Oaken, Moss-covered Bucket" - -is very appropriate for woodland blossoms. Make the bucket of a strip of -cardboard ten by four inches; sew the two ends together and cut a -circular piece for the bottom; fit it in and fasten with long stitches. -Cut the handle of cardboard one-quarter of an inch wide and sew it in -place. Cover the bucket with strips of olive-green tissue-paper an inch -and a half wide which have previously been crimped by being folded -backward and forward. Cut the strips in very fine fringe, unfold and gum -them on the bucket in closely overlapping rows, as the cardboard must be -entirely concealed to have the appearance of being covered with natural -moss (Fig. 426). - -[Illustration: Fig. 426.--Old oaken bucket May-basket.] - - -A May-basket - -which can be made in a moment is simply a bright-colored paper six -inches long and three inches wide, with one of its long sides brought -together at the two corners from the middle and fastened securely. A -narrow ribbon forms the handle (Fig. 427). - -Just at dusk the flowers may be arranged in the baskets with as little -handling as possible. Then, when twilight comes, the May day party can -steal cautiously to the door of the house fortunate enough to be favored -by a May-token, hang one of the little baskets of flowers on the -door-knob, ring the bell and scamper away before they are seen, for no -one of the party must be present when the door opens. - -[Illustration: Fig. 427.--Colored paper May-basket.] - - -Bell and Ball May-pole Game for Country or City - -If you live in the country erect your May pole on the lawn or in an open -field; if in the city put it up in the back-yard, or if it rains or is -cold hold your May day games in the house. In any case the pole should -be planted in a tub as in Fig. 428, and decorated as shown in the -illustration. The pole must be round and smooth and stout enough to -support the weight of the hoops at the top. For an out-of-doors pole -from ten to twelve feet is a good height, but an indoor pole must be -adapted to the height of the ceiling of the room it will occupy. - -Before placing the pole in the tub nail securely to its base a piece of -board eighteen inches square, as shown in Fig. 428. Erect the pole in -the middle of the tub, put in cross-pieces (Fig. 428), nailing them at -the ends and fill in all around with stones or bricks, as in Fig. 429. - -[Illustration: Fig. 428.--The pole is planted in a tub.] - -[Illustration: Fig. 429.--Fill in with stones.] - -[Illustration: The first player throws the ball.] - - -How to Dress the May-pole - -Cover the tub with green crimped tissue-paper and bank up with -flowers--paper flowers if no others can be obtained. Beginning at the -top, wrap the pole with ribbon or strips of pink and white cambric in -alternate stripes. This can best be done before the pole is erected. Buy -two toy hoops, the smallest measuring about three feet, the largest four -feet in diameter. Wrap these hoops with greens of some kind--evergreens -if you can find no others--adding sprays of tree blossoms and all the -flowers you can manage to get. - -[Illustration: Fig. 430.--On the end of each ribbon fasten a small -bell.] - -Besides the two large hoops you will need fourteen small ones about nine -inches in diameter. These you can make of wire for yourself. Wrap eight -of the small hoops with pink, and six with white cambric, then decorate -with flowers and green leaves. Keep the decoration quite narrow, in -order to leave as large an opening as possible in the centre. Get two -and two-thirds yards of narrow pink ribbon and two yards of narrow white -ribbon; divide the pink into eight and the white into six pieces. On the -end of each ribbon fasten a small toy bell; tie the ribbon on the small -hoops, the white ones on the white hoops, the pink on the pink hoops, as -shown in Fig. 430. Space the largest hoop off into eight equal parts and -tie the small pink hoops to it at these points by their ribbons. Divide -the other hoops into six equal parts and attach the small white hoops in -the same manner. With wire or ribbon suspend the hoops from the top of -the pole as in the illustration. Decorate the top of the pole with small -flags and flowers. - - -The Balls - -Make four paper balls in this way: Take a piece of newspaper and, -placing a small weight of some kind in the middle, crush it and roll it -into a ball four inches in diameter; place the ball in the centre of a -square of tissue-paper and bring the four corners of the paper together -over the top; overlap the corners and fold and smooth down the fulness -at the sides. Wrap the ball with fine cord, making six melon-like -divisions, as in Fig. 431. Make two of the balls of pink tissue-paper -and two of white. Have ready on a tray a number of small favors -consisting of two or three flowers tied together, some with pink, some -with white ribbon. - -[Illustration: Fig. 431.--Wrap the ball with fine cord.] - -The decorations of the pole may be added to or curtailed as -circumstances permit, and if flowers are scarce paper flowers may be -mingled with the natural ones, and the difference will hardly be -noticed. When - - -The Game - -is held in the house the room is cleared of as much furniture as -possible. The prettily decorated May-pole stands in the middle of the -floor, and the children join hands and dance around it to the -accompaniment of the piano or an appropriate song sung by all. Beginning -with slow time, the music grows faster; faster and faster the wheel of -children spins around the pole until some hand slips from the one -clasping it and the wheel parts. When this happens the circle opens at -the break and the children, still keeping their places, back up against -the wall. - -To the first four children at the right end of the line the four paper -balls are given, one to each. The first child, or Number One, takes -three steps forward and, aiming at the bell in one of the hoops, throws -the ball with the purpose of sending it through the hoop and at the same -time striking the bell hard enough to make it ring. If successful, -Number One is given a favor, to be pinned to the front of the coat or -dress, as the case may be, the color of the ribbon attached to the favor -being in accordance with the color of the hoop through which the ball -passed. As it is more difficult to send the ball through the hoops in -the second row, the white-ribboned favors confer the most honor. - -As soon as Number One has played he or she gives the ball to Number Five -and returns to his or her place; then Number Two takes a turn, giving -his ball afterward to Number Six, and so on down the line, thus always -keeping the children about to play supplied with balls. - -The game goes on until the players are tired or the favors give out, and -the object of the players is to win as many favors as possible. - - - - -CHAPTER XXII - -HALLOWE'EN REVELS - - -ON Hallowe'en you will not be obliged to travel way off to shivery, cold -Klondike to dig for your fortune, because the fairies bring the - - -Gold Nuggets - -nearer home; possibly you may have to work a little for the precious -metal, but the exertion will be only fun. Ten little fairies--your ten -fingers--will cheerfully supply the gold as well as the mine from which -the nuggets must come on the eventful night. The fairies should make a -number of small gold parcels which when finished form the nuggets (Fig. -432). Inside of each package is a piece of candy and a strip of paper -with a fortune written upon it, so whatever may be the fate sent by the -gnomes in the mine, it is sure to be sweet. Have enough lumps of gold to -furnish each player with equal portions of one or more nuggets. Let the -little fairies secure a tub, half-fill it with sand or saw-dust and hide -the gold nuggets well in this home-made gold mine, scattering the -little parcels through the sand like plums through a pudding. The -fairies must stand a small shovel by the side of the mine, then all will -be ready and the miners can dig for their fortunes (Fig. 433). - -[Illustration: Fig. 432.--The gold nugget.] - -[Illustration: Fig. 433.--Hallowe'en miners at work.] - -Each player in turn must take the shovel and dig in the mine until one -gold nugget is found. He must then open the package carefully and read -aloud the fortune Fate has given him, while the other players look on -and listen. The fairies can readily whittle or saw out a wooden mining -shovel from a shingle or thin box-lid. Tell them to make it about four -inches long and three wide, with a handle eleven inches in length. Try -to think of original ideas to write on the slips of fortune paper, or, -failing these, look up apt quotations for the prophecies. If you can -have the lines bright and witty, writing something that will cause a -laugh when read aloud, without hurting anyone's feelings, your -Hallowe'en mining will be a great success. - -[Illustration: Fig. 434.--Stick for apple witch.] - -[Illustration: Fig. 435.--Tissue-paper for making witch.] - - -The Apple Witch - -understands well the art of fortune-telling. She is a funny little -creature made of a stick (Fig. 434), some yellow tissue-paper and an -apple. A strip of the tissue-paper is gathered (Fig. 435), drawn tight -together at the top and placed over the stick with a thread wound around -a short distance from the top to form the head (Fig. 436). The arms are -pieces of tissue-paper (Fig. 437) folded lengthwise (Fig. 438) and run -through a hole punched in the body (Fig. 439). The face is marked with -ink on the head (Fig. 439). Small strips of tissue-paper gathered like -Fig. 440 are sewed on each arm to form the sleeves. Hair of black thread -or darning cotton tied in the centre (Fig. 441) is sewed on the yellow -paper head. - -[Illustration: Fig. 436.--Head formed for witch.] - -[Illustration: Fig. 437.--Tissue-paper for witch arms.] - -[Illustration: Fig. 438.--Paper folded for arms.] - - -The Witch's Hat - -is a triangular piece of paper (Fig. 442) with edges pasted together and -a circular piece of paper slightly slashed around the small hole in the -centre (Fig. 443). The circular piece is slid down over the peak to form -the brim (Fig. 444), glued on, and the entire hat is inked all over, -dried and fitted on the little woman's head. A broom made of a strip of -folded tissue-paper (Fig. 445) with a fringed piece of the same paper -bound on for the broom part (Fig. 446) is sewed in the folded-over end -of the witch's arm. When finished the point of the stick is pushed into -an apple, and the apple placed upon a piece of paper divided into -squares in which different fortunes are written (Fig. 447). When you -want the witch to tell your fortune, spin the apple on the blank centre -of the paper and wait until the witch is again quiet, and she will point -with her broom to some spot where the fortune is written especially for -you. Each girl and boy must be allowed three trials with this apple -witch (Fig. 448). - -[Illustration: Fig. 439.--Arms run through hole in body of witch.] - -[Illustration: Fig. 440.--Sleeves for witch.] - -[Illustration: Fig. 441.--Black hair for witch.] - -[Illustration: Fig. 442.--Crown of witch hat.] - -[Illustration: Fig. 443.--Brim of witch hat.] - -[Illustration: Fig. 444.--Witch hat.] - -[Illustration: Fig. 445.--Witch broom handle.] - -[Illustration: Fig. 446.--Witch broom.] - - -Ghost Writing - -is very mysterious and exciting. Dip a new clean pen in pure lemon juice -and with this queer ink write mottoes or charms on a number of pieces of -writing-paper. Allow the ink to become perfectly dry, when it will fade -out completely; then place the charms in a box and let each girl and boy -in turn draw what appears to be a blank slip of paper. After examining -it, the paper should be handed to some grown person present who is in -the secret and who has provided a lighted candle by means of which he -may read the ghost writing. All the young people will cluster around and -with bated breath watch the magical developing of the words on the blank -paper as the reader moves the message back and forth over the lighted -candle. The heat brings out the writing in distinct letters that all may -see. A second charm must not be taken from the pile until the first has -been read aloud. - - +------------+-------------+-----------+---------------+------------+---------------+---------------+ - | YOU WILL | YOU WILL | YOU WILL | YOU WILL BE | YOU WILL |YOU WILL ALWAYS| YOU WILL | - | PASS YOUR | BE A | WRITE A | A COMFORT TO | LEARN TO | BE KIND AND | PAINT A | - |EXAMINATION.| FAVORITE. | BOOK. | YOUR FAMILY. | SING WELL. | CONSIDERATE. | PICTURE. | - +------------+-------------+-----------+---------------+------------+---------------+---------------+ - | YOU WILL | YOU WILL | YOU WILL | YOU WILL HAVE | YOU WILL | YOU WILL | YOU WILL | - | GO ON A | HAVE A | COMPOSE | BEAUTIFUL | HAVE A | GO TO | EARN A | - | JOURNEY. | HORSE. | MUSIC. | GARDEN. |CANDY PULL. | A FAIR. | FORTUNE. | - +------------+-------------+-----------+ _____ +------------+---------------+---------------+ - | YOU WILL | YOU WILL | YOU WILL / \ YOU WILL BE | YOU WILL | YOU WILL | - | ALWAYS BE | MEET NEW | GO TO A | | A CHAMPION | GO TO A | ALWAYS BE | - | HAPPY. | FRIENDS. | DANCE. \ / GOLF PLAYER.| CIRCUS. |BRIGHT & SUNNY.| - +------------+-------------+-----------+ ----- +------------+---------------+---------------+ - | YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL | - | LIVE IN A | BE WISE | BE AN | HAVE LOTS | HELP | WRITE | PADDLE | - | CASTLE. | WHEN GROWN. | INVENTOR. | OF PETS. | OTHERS. | POETRY. | A CANOE. | - +------------+-------------+-----------+---------------+------------+---------------+---------------+ - | YOU WILL | YOU WILL | YOU WILL |YOU WILL BE THE| YOU WILL | YOU WILL | YOU WILL | - | BE | LIVE IN A | VISIT THE | BEST SCHOLAR | WALK ON | SAIL A | RUN A | - | FAMOUS. |FOREIGN LAND.|WHITEHOUSE.| IN THE CLASS. | STILTS. | BOAT. | RACE. | - +------------+-------------+-----------+---------------+------------+---------------+---------------+ - -[Illustration: Fig. 447.--Fortune chart.] - -If you have - - -A Four-leaved Clover, - -even though it be a pressed one, you can put it in your shoe on the -morning of October 31 and wear it until you retire at night. The clover -is a charm which will bring good luck and will insure at least one -hearty laugh before the next day. - -[Illustration: Fig. 448.--Apple witch.] - -A glimpse into the future showing the disposition of your sweetheart may -be had by - - -Tasting Apple-seeds - -which have previously been dampened and each dipped into a separate -flavoring. The moisture will cause the spices, etc., to cling to the -seed, giving various flavors. Those dipped in liquids must, of course, -be afterward dried. If to your lot falls a seed which has been powdered -with pulverized cloves, your life companion will never be dull and -uninteresting; pepper denotes quick temper; sugar, affection and -kindness; cinnamon is lively, buoyant and bright; vinegar, sour and -cross; gall, bitter and morose; molasses, loving but stupid; lemon, -refreshing and interesting. Add as many more flavors as you wish. When -the seeds have been prepared and dried wrap each one in a small piece of -white tissue-paper and pass them around to the young people, allowing -each girl and boy to take two of the prophecies; then all the children -must be quiet while each in turn tastes first one, then the other seed, -telling aloud as he does so the particular flavor he has received. -Should a player find the first seed sweet and the other sour, it would -mean that the disposition of the future wife or husband will vary, -partaking more of the stronger flavoring. If the taste of the first -apple seed is pleasant, the married life of the player will be -reasonably happy. If the flavor is very agreeable, the married life will -be very happy; if the flavor proves unpleasant, it is best to remain -single. - -A very jolly time may be had with - - -Fortune Bags. - -Purchase or make a number of brown paper bags of medium size. In each -place a simple little gift such as a tiny home-made doll, a paper toy -you have manufactured or a picture of a young woman or man cut from a -newspaper and pasted neatly on a half sheet of fresh writing-paper, drop -a nut in the fifth bag and add other home-made gifts for other bags, and -label each appropriately. Pin a piece of paper on the doll with these -words written on it, "Dorothy's new doll" (if none of the girls happens -to have that name use another in its place). Under the young woman's -picture write, "Marie when she is grown," and under the young man's -write, "This is Malcolm when he is a man." Change the names if they do -not represent any of the party. After a gift has been dropped in, take -the bags one at a time and blow them full of air, do not allow the air -to escape while you wind a string around the openings and tie them -securely. The bags, being puffed out with air, will appear much the -same, rendering it impossible to tell, by merely looking at them, which -contain the largest gifts. All the bags should be tied on a strong -string, forming a fringe of bags stretched across the room. The young -people should draw lots for first choice of the fortune bags, then each -player in turn must point to the bag selected, no one being allowed to -touch a bag until the leader has clipped it from the string. Only one -bag can be given out and opened at a time, in order that all may see and -enjoy the contents of each separate fortune. All young people enjoy the -fun of trying their fortunes. Even when convalescent and not yet quite -strong enough to join in the general frolic, they may, in a quiet way -test many old-time and some new prophecies. The three saucers is one as -in the illustration. The apple seeds charm commencing with "One I love" -is another and for new ideas there is The Feather test, Witch Writing, -etc. - -[Illustration: A Convalescent Witch.] - - - - -CHAPTER XXIII - -THE MAGIC CLOTH AND WHAT IT WILL DO - - -IN India there live wonderful men who can perform the most startling -feats, such as making small plants grow up tall and large in a few -moments, and who, by repeating certain magic words, cause water to -mysteriously spring from the dry earth and fill a hollow, producing a -tiny lake on which little boats can sail. Of course, we do not -understand how such things can be done, never having seen them; but -there are certain amazing and astonishing feats that we do comprehend -and which we can perform. Our jumping frog is so lively and funny that -even the most grave and serious person would smile to see the little -animal actually move and suddenly leap up in the air. - -[Illustration: Fig. 449.--One for the money, two for the show,] - -[Illustration: Fig. 450.--Three to make ready] - - -Make the Frog Jump - -With a soft lead-pencil trace the frog (Fig. 449) on tracing-paper; then -transfer it to a very soft, pliable piece of _white cotton mull_ or any -white cloth that will stretch readily when pulled, for stretch it must, -or the frog will not jump. Turn the square of cloth so that it will -resemble the ace of diamonds in a pack of playing-cards, having one -point up, one down, one at the right and one at the left hand. Fasten -the cloth over a piece of white paper on a smooth board or table with -thumb-tacks or strong pins. Very carefully place the tracing-paper, on -which you have drawn the frog (Fig. 449), over the cloth, allowing the -head to come under the top point of the square and the feet to extend -toward the lower point. Mr. Frog may then be drawn exactly on the bias -weave of the cloth. When you have finished the tracing, go over the -lines again with a soft lead-pencil to make the markings clear and -distinct. - -[Illustration: Fig. 451.--And four to go.] - -Look at the frog to be sure he is correctly drawn; then remove the pins -and, allowing the cloth to remain on the table over the piece of smooth -white paper, spread both of your hands out on the cloth, one at each -side of the frog, and, keeping your eyes on the drawing, move your hands -gradually outward, at the same time moving the mull with them. The -stretching of the bias material will cause the frog to flatten out until -he crouches for a spring (Fig. 450). Cautiously raise your hands up and -off the cloth and place them down again in a different way; put one -above and the other below his Frogship, and, still keeping your eyes on -the figure, suddenly move your hands, stretching the square up and -down, when the frog will give a quick leap and spring straight upward in -the most unexpected manner (Fig. 451). - -[Illustration: Fig. 452.--"We are hungry."] - -Cut the squares of material large enough to be easily handled; if made -too small your hands will slip off the edges. - - -Feed the Birds - -Have you ever seen little young birds in their nest? How they huddle -together with their large yellow mouths open wide watching for their -mother to return with their dinner! Trace the drawing (Fig. 452) on bias -cloth and you can make these little birds move and really stretch up -their heads for their dinner as you slowly pull the cloth upward and -downward (Fig. 453). Watch them. Then stretch the cloth out sidewise and -see the birdlings quietly settle down in their nests with a "Thank you" -and "Good-by." (Fig. 454). - -[Illustration: Fig. 453--"Here comes our dinner."] - -[Illustration: Fig. 454.--"Thank you" and "Good-by."] - - -See the Children Talk - -Trace the girl and boy (Fig. 455) on bias cloth as you did the frog. -Fig. 455 shows how the children appear when they meet. Pull the cloth -sidewise and their faces change expression (Fig. 456); they do not seem -to enjoy their chat. Now pull the cloth in the opposite direction, and -in an instant their faces show surprise and dismay (Fig. 457). - -[Illustration: Fig. 455.--"I can beat you spelling."] - -[Illustration: Fig. 456.--"You can't, either." "I can, too."] - -[Illustration: Fig. 457.--"Oh! Oh! We are both at the foot of the -class."] - - -Make the Tenor Sing - -[Illustration: Fig. 458.--D O.] - -I wonder if you ever attended a concert where the tenor had difficulty -in reaching his high notes, where he fairly seemed to rise up on his -toes in his efforts to attain the notes as his voice ran up the scale, -and everyone in the audience sympathized to such an extent that they, -too, felt like rising and stretching up their heads in search of the -difficult note. Such a tenor is shown at Fig. 459. Trace him on bias -cloth and pull the cloth out sidewise (Fig. 458); then, beginning with -the lower note, _do_, slowly sing the scale as you leisurely pull the -cloth upward and downward at the same time. When you come to _sol_ the -face should be like Fig. 459, and as you continue singing and -stretching the cloth, the tenor should resemble Fig. 460 when you reach -your highest _do_. Though not a very high note it is the best he can do, -and he looks very comical while his face is changing, his eyes and mouth -opening wider and wider and his hair rising up straight on the top of -his head. - -[Illustration: Fig. 459.--S O L.] - -The objects which are here illustrated may be replaced by others with -equally amusing results; any animals, such as goats, rabbits, camels, -hounds, may be drawn on the cloth and then manipulated so as to afford -the greatest amusement. - -[Illustration: Fig. 460.--D O.] - -You can have any amount of fun with the moving figures on your magic -cloth if you will remember the important points, which we will repeat to -be sure you understand. Have the squares of cloth for all the drawings -sufficiently large to be easily manipulated. Draw the design clearly and -distinctly. Draw it on the exact bias of the cloth; move the two sides -of the cloth at precisely the same time. Move the cloth always with both -hands spread out flat on top of the cloth. Place the cloth over a large -piece of white paper that the picture may be plainly seen. Care should -be taken to obtain soft cloth that will stretch readily. These -diversions will afford fine sport for a quiet evening and will be -enjoyed by the entire family. If painted the designs will be still more -comical. - - - - -CHAPTER XXIV - -FINGER-PLAYS FOR LITTLE FOLKS - - -NOW we must play in-doors, and if you will spread out your little hands -and slide them together, back to back, with the palms outward, so that -the longest finger of the left hand rests on the back of the right hand -and the longest finger of the right hand lies on the back of the left -hand, you will have a - - -Queer Little Teeter-tarter - -which will move when and how you wish. The two longest fingers form the -teeter-tarter; half of the teeter is on one side and half on the -opposite side of the fence. The fence is made by the other parts of the -hands, which, crossing each other, fit snugly and tightly, leaving the -teeter free to swing back and forth at will. Fig. 461 shows how your -hands should be placed together: the long finger marked A is half of the -teeter; the other half is on the opposite side. Move the long fingers -and watch the teeter go up and down, first one end then the other, just -like a real teeter made of a board across a fence. If you bend back both -of your wrists, the right wrist will drop while the left wrist will be -raised above it. This will bring one edge of the fence or hands toward -you, and looking down, you can see both ends of the little teeter. - -[Illustration: Fig. 461.--The queer little teeter.] - -You might cut out of writing-paper two small dolls and bend them so that -they will sit on the teeter. The least bit of paste on the ball of the -teeter finger of your left hand and some more on the nail of the teeter -finger of your right hand will fix the paper children securely on the -teeter, and you can make it go as fast as you please without danger of -the dolls' falling off. Fig. 462 gives the pattern for the dolls; Fig. -463 shows how to bend them, and Fig. 464 gives a little paper girl -seated on one end of the teeter. - -[Illustration: Fig. 462.--Pattern of doll.] - -[Illustration: Fig. 463.--Doll ready for teeter.] - -Take the dollies off the teeter and let them rest for a while and watch -you build a church. Place your two hands back to back, with the ends of -the fingers of the right loosely crossing those of the left hand; then, -bring the palms of the hands together, fingers inside and thumbs outside -and lo! - -[Illustration: Fig. 464.--Doll on teeter.] - -[Illustration: Fig. 465.--"Here is the church,"] - -[Illustration: Fig. 466.--"And here is the steeple,"] - - -Here is the Church - -(Fig. 465). But it is without a steeple. Build one by raising the two -first fingers, without disturbing the remainder of the hands; bring the -raised finger-tips together and, "Here is the steeple" (Fig. 466). A -church, like any other building, to be of use, must have people in it, -and if we could only look inside this building we might find them; move -your thumbs apart, or "Open the doors and see all the people" (Fig. -467). There they are sitting in rows; don't you see them? Now let the -people go up-stairs. Cross your two smallest fingers on the inside, -which will bring the backs of the hands toward each other; keeping the -little fingers together, cross the third fingers, next the second, then -the first fingers. The fingers on the left hand form the stairs for the -people or fingers of the right hand to climb. Try it again, allowing the -people to ascend slowly one by one: "Here are the people climbing -up-stairs" (Fig. 468). Keep your hands loosely in the last position and -raise your right elbow; while holding that up, twist your left hand -around forward until the left thumb rests on the inside of the right -hand. Both hands will now be turned downward with the wrists uppermost. - -[Illustration: Fig. 467.--"Open the door and see all the people."] - -[Illustration: Fig. 468.--"Here are the people climbing up-stairs,"] - -Leaving the hands in this position, turn your two elbows outward and -down, which will bring your hands up; slide your right thumb outside and -around your left thumb, the left thumb will then be the minister and, -though you cannot see them, the fingers clasped inside the hands are the -people, but you can see the thumb, preacher, standing up ready to talk -to the people, and you may say, "Here is the preacher who for them -cares" (Fig. 469). - -If you want to form - - -A Bird's Head - -of your hand, lift up the second finger of the left hand with your right -hand, and cross the lifted finger well over the back of the first finger -of the left hand. Again, use your right hand to lift the third finger of -the left hand and twist it over the second left-hand finger. The last -finger is the little one of the left hand; lap this over the left third -finger and you will have all the left-hand fingers crossed, one on top -of the other. Bring the top of the left thumb up to meet the tip of the -second left-hand finger, which will finish the bird's head. The head -does not greatly resemble that of a real bird, but we will pretend it -does, for the fun of seeing who can build the head first. - -[Illustration: Fig. 469.--"Here is the preacher who for them cares."] - -[Illustration: Fig. 470.--Preparing for man chopping wood.] - -[Illustration: Fig. 471.--Man chopping wood.] - -To make a - - -Man Chopping Wood, - -place the inside of the little finger of the right hand on the inside of -the little finger of the left hand, and the inside of the third finger -of the right hand over the inside of the third finger of the left hand; -then bring the second and third fingers of the right hand up and over -the inside of the palm of the left hand, as in Fig. 470. Rest the tip of -the second finger of the right hand on the tip of the thumb of the left -hand. The second finger is the stick of wood. Strike the wood with the -first finger of the left hand (C, Fig. 471); raising that, bring down -the second finger of the left hand (B, Fig. 471). Keep them moving, -first one, then the other, and you will have "the man chopping wood" -(Fig. 471). It is a pity to waste the chips which always fall when wood -is being cut, so let two children, the thumb and first finger of the -right hand, pick them up. Do this by tapping the palm of the left hand -with the thumb and first finger of the right hand, while the man cuts -the wood. - -The four fingers working at the same time make it quite lively, but you -will find that if the man chops fast, the children will pick the chips -very quickly, and if the man works slowly the children will not hurry -about gathering the chips. It will be very difficult for you to have the -man chop slowly when the children are eager and quick at their task. The -feat will be almost as hard as patting your chest with the left hand -while you rub the right hand back and forth over the top of your little -head. You will laugh to see the left hand rub, when you told it to pat; -the poor little left hand tries to mind, but just as soon as its twin -brother, the right hand, begins rubbing, the left hand has to stop -patting and rub too. - -[Illustration: Fig. 472.--"Here are my mother's knives and forks,"] - -Lay your two hands down showing the palms; lace the fingers together and -say, - - -"Here Are My Mother's Knives and Forks" - -(Fig. 472). Of course, the fingers are the knives and forks. Turn your -hands over while the fingers remain in place, bring the wrists down and -say, "Here is my father's table" (Fig. 473). Raise the two first -fingers, bringing their tips together, and say, "Here is my sister's -looking-glass" (Fig. 474). Then raise your two little fingers and, -rocking the hands from side to side, say, "And here is the baby's -cradle" (Fig. 475). - -[Illustration: Fig. 473.--"Here is my father's table,"] - -There is another little finger game, which we will call - - -"The Blackbirds." - -[Illustration: Fig. 474.--"Here is my sister's looking-glass,"] - -[Illustration: Fig. 475.--"And here is the baby's cradle."] - -Dampen two bits of paper and press one down tight on the nail of the -first finger of your right hand and the other on the nail of the first -finger of your left hand. The two pieces of paper are the two -blackbirds. Now hold your first fingers, on which the birds are resting, -out stiff and double up the remaining fingers; then let your father see -how well you have taught these little pet birds to mind, for they will -do exactly as you say, going and coming at your command. Place the tips -of your two first fingers on a chair, which you must pretend is a hill, -and raising first one finger to make the bird fly, then the other, keep -the pets flying up and down while you repeat these lines: - - "Two little blackbirds sitting on a hill; - One named Jack and the other named Jill. - Fly away, Jack!--" - -As you say the last line raise the right finger up and back over your -right shoulder; while there, quickly bend down the right finger with -Jack on it and stiffen out the second finger in its place. Bring your -right hand down with Jack hidden and put the empty second finger on the -chair instead of the first. The bird will be gone and lonesome little -Jill will perch on the hill with no playmate, so you must let her go -too. Repeat these words, "Fly away, Jill," and make her disappear as you -did Jack, bringing down the empty second finger of your left hand and -your father will find that both birds have gone; but you may make them -return by saying, "Come back, Jack," as you raise your right hand and -close down the second finger while you straighten out the first and -bring it again to the chair with Jack upon it. Call Jill also that Jack -may have some one to sing to, and as you say, "Come back, Jill," bend -down the second finger and straighten out the first one with Jill on it, -and let her fly down to Jack. You may repeat the lines again and again, -making the pets come and go. - -You can play - - -"Chin Chopper Chin" - -with your sister, but you must be careful and touch her face very -lightly. As you say "Knock at the door," softly tap her forehead, and at -"Peep in," gently raise the outside of her eyelid by pushing the top of -your finger upward on her temple near the eye, but not too near, as you -might accidentally strike the eye. "Lift up the latch" by slightly -raising the tip of her nose with the end of your finger. At "Walk in" -gently place your finger between her lips; end the play by saying "Chin -Chopper Chin" as you lightly tap several times under her chin. - -Were I with you now we would play - - -"Build the Tower." - -[Illustration: Fig. 476.--The famous five little pigs.] - -I would place my right hand down flat on my lap with the back of the -hand uppermost, and say to you, "Lay your right hand out flat on top of -mine;" then I would place my left hand over yours, and you would cover -mine with your left hand. That would make four hands all piled up in a -tower; but the moment your left hand came down on top of mine I would -pull my right hand out from under the tower and lay it on top, covering -your left hand; then you would hurry to take your right hand from under -the pile and place it on top. So we would continue to play, always -drawing the hand out from the bottom of the pile and placing it on top -until we were able to build the tower very rapidly, and, when either of -us took too long a time to draw her hand out from under the pile, a -forfeit would have to be given to the other. - -[Illustration: Fig. 477.--"This little pig went to market,"] - -[Illustration: Fig. 479.--"This little pig had roast beef,"] - -[Illustration: Fig. 478.--"This little pig stayed at home,"] - -[Illustration: Fig. 480.--"This little pig had none,"] - -[Illustration: Fig. 481.--"This little pig said wee, wee, all the way -home."] - -[Illustration: Fig. 482.--Ring of paper on pig.] - -Ask your older sister or brother to trace the - - -Famous Five Little Pigs - -(Figs. 477, 478, 479, 480, 481) on unruled white writing-paper and cut -them out. The strip of paper extending from one side of each little pig -must be made into a ring (Fig. 482) to fit the end of one of the five -fingers on your right hand (Fig. 476). Begin with "This little pig went -to market" (Fig. 477) for the thumb, next, "This little pig stayed at -home" (Fig. 478) for the first finger, then "This little pig had roast -beef" (Fig. 479) for the second finger, and "This little pig had none" -(Fig. 480) for the third finger; to the little finger belongs (Fig. 481) -"This little pig said wee, wee, all the way home." Adjust the bands -until they fit perfectly, then paste the end of each band under the free -side of the attached pig. If the bands are too long they can be cut to -proper length. Fig. 482 gives the wrong side of a pig with band curled -around and pasted on back of pig, and Fig. 476 shows how the Five Little -Pigs will look when on your fingers. If you can give each little pig a -flat wash of pink water-color paint, and when dry ink the outlines, they -will appear more real. After you have played with the wee pigs, try - - -The Children's Heads - -(Figs. 483, 484, 485, 486, 487), and ask some one to fold paper into -hats for your finger-heads, as shown in Figs. 488, 489, 490, 491, 492. -You might ask to have the various children's heads painted, giving each -girl and boy different colored hair--black, brown, red, deep yellow, -and pale yellow. If the hats are of colored tissue-paper the effect will -be fine, especially if a bit of gay cloth be wound around each finger -for clothing. Then the five alive little dolls can bow to each other and -dance. - -[Illustration: Fig. 483.--"I am sleepy."] - -[Illustration: Fig. 488.--Sleepy boy's hat.] - -[Illustration: Fig. 484.--"Where is my hat?"] - -[Illustration: Fig. 489.--Crying boy's hat.] - -[Illustration: Fig. 485.--"I think you are funny."] - -[Illustration: Fig. 490.--Hat for little girl who wants to play.] - -[Illustration: Fig. 486.--"Will you play with me?"] - -[Illustration: Fig. 491.--Laughing boy's hat.] - -[Illustration: Fig. 487.--"I'll give you a good time."] - -[Illustration: Fig. 492.--Little girl's hat.] - -[Illustration: Arranging the flowers.] - - - - -CHAPTER XXV - -HOW TO ARRANGE FRESH FLOWERS - - -I THINK one must really love the flowers in order to arrange them -perfectly. If you love them you will feel in sympathy with them, and -that alone will help you to understand what is needed to bring out and -emphasize their exquisite beauty. Yet some knowledge of the rules that -govern the best arrangement of flowers is necessary also, for it saves -many experiments and makes the pretty task much more enjoyable and -satisfactory. - -You may crowd a room with the rarest and most expensive flowers, but so -arrange them that more than half of the effect of their beauty is lost; -and you may have only one flower, but if it be the right kind of flower -in the right kind of vase, and placed in just the right spot, your room -will appear abundantly decorated and be filled with the beauty and -sweetness of the one blossom. - -In a house where good taste always prevailed there stood, one day, on -the uncovered top of a grand piano a tall, colorless, transparent vase -which held just one long-stemmed American Beauty rose. The queenly -flower with its stem showing through the glass and the few green leaves -attached were all reflected in the highly polished piano, and the effect -of the colors reproduced in deepened, darkened tones by the rich -rosewood was indescribably lovely. There were no other flowers and, -though the room was a large one, none were needed. One's eyes fell -immediately upon the rose when entering, and lingered there with no wish -to be drawn away by lesser attractions. - -It was not merely a happy accident that placed the one flower in its -prominent and effective position, but the experience and unerring taste -of the daughter of the house. - - -Imagine a Number of Nasturtiums, - -with no green leaves to relieve them, packed tightly into the neck of a -brightly colored porcelain vase, and set primly on a stiff mantel-piece -amid other prim ornaments. Then think of a clear glass rose-bowl -standing on a table, where lie the newest magazines or books, filled and -running over in riotous beauty with the same nasturtiums in their free, -untrammelled state. The viney stems with leaf, bud, and blossom drooping -to the table or hanging over its edge, and the other blossoms standing -up in sweet liberty with room to move about if they will. Can you -hesitate between the two arrangements? Yet I found the first in a -flower-lover's home. - - -Do Not Crowd the Flowers - -Few flowers look well packed tightly together and all are better for -loosening up a trifle. Purple violets are almost the only flowers that -will bear crowding, though many think wild daisies adapted to this -arrangement, and spoil their beauty by making them into hard, tight -bunches. A good rule is to follow Nature as far as possible in this -direction. Flowers that grow singly and far apart, should not be -crowded, but those which grow thickly clustered may be more closely -massed. - -It is almost always well to - - -Combine Green Leaves with the Flowers - -although there are some that do not need this relief. Closely packed -flowers should have no foliage; chrysanthemums, one species of the -brilliant poppy and the sweet-pea need none, but there are few others -that do not show better amid green leaves. - -While flowers of different varieties seldom look well together, you may -sometimes add much to its beauty by giving a flower the foliage of -another plant, and a trailing green vine will often be just the touch -needed to soften a stiff arrangement. - -Asparagus fern is an airy and feathery green, but you must use it with -discretion, as it is suitable only for fragile, delicate flowers in very -loose arrangements. Other ferns, though often used, do not really -combine well with any flowers, they are too distinctly another species -of plant and hold themselves aloof in their separateness. The wild -oxalis, wood-sorrel, or, as the children call it, sour grass, has pretty -delicate leaves that look well with sweet-peas and other small flowers. -As a rule, a flower's own foliage suits it best, however, and you may be -certain not to offend good taste by keeping to it. - - -Do Not Combine Flowers - -that are different in kind or color, it can seldom be done successfully. -To be sure, a mass of sweet-peas in all their variety of color is very -lovely, but even they are more effective when separated into bunches -each of one color. White flowers sometimes are the better for a touch -of color, and white and yellow roses make a pretty combination, or white -and delicate pink, but the strong contrast of white and dark red is not -pleasing. Lilies should always have a vase to themselves, and the -Ascension lily must under all circumstances stand alone. Neither the -quality of the flower nor the associations connected with it permit of -its being grouped with any other. - - -Vases - -In the careful arrangement of flowers your object should always be to -bring out their whole beauty, and let all else be secondary to that. One -vase, though beautiful in itself, may not be at all suitable for holding -flowers, while another, of no value as an ornament, will display them to -their best advantage. - - -Colorless Transparent Vases - -are always safe and in many cases absolutely necessary. Give your roses -transparent vases or bowls whenever possible. If they have long stems, -tall, slender vases, if their stems are short the clear glass rose-bowls -are more suitable. Short-stemmed flowers do not look well in tall vases, -and a flower should always stand some distance above the top of the -vase. Someone gives as a rule that the height of long-stemmed flowers -should be one and one-half times the height of the vase, but when the -vase contains several, of course the height must vary. - - -The Vases and Bowls - -need not be expensive, for they are now in the market at extremely low -prices. Knowing what to choose you can find for a very moderate sum -tall, slender vases with almost no markings, that will show the long -stem and so display the entire loveliness of the rose. Fig. 493 is one -of the least expensive of these vases. Even the colorless glass -olive-bottle, shaped like Fig. 494, makes a pretty and suitable vase, -and an ordinary fish-globe displays the rose-stems to far greater -advantage than a cut-glass rose-bowl. A clear glass water-pitcher -without tracing of any kind is another appropriate receptacle for these -lovely blossoms. When the stems of any flowers have beauty of their own, -they should never be hidden in opaque vases. So it is not for roses -alone these transparent vases are suitable. - -[Illustration: Fig. 493.--An inexpensive clear glass vase.] - -[Illustration: Fig. 494.--The olive bottle.] - - -Colored Vases and Jars - -will sometimes enhance the brilliancy of flowers of contrasting or -complementary colors. A pale-yellow jar will intensify the richness of -the purple of the violet, and a soft green will harmonize with it most -delightfully. The neutral gray often found in Japanese ware will not -clash with any color, and is especially suited to brilliant red flowers; -yellow flowers in a dark-blue jar are quite effective. - -Do not use ornate or highly decorated vases. No design should conflict -with the natural flowers, and the shape of the vase should also be -simple. - -Cylindrical jars, like Fig. 495, are suited to heavy clustering flowers -like the lilac and also to the large chrysanthemums. Fig. 496 is another -good shape; but avoid vases like Fig. 497 with a neck so small it will -admit only one or two stems, while the bowl is much too large for the -few flowers standing stiffly erect. - -[Illustration: Fig. 495.--A cylindrical jar.] - -[Illustration: Fig. 496.--Another good shape.] - -[Illustration: Fig. 497.--Avoid vases like this.] - -Place short-stemmed flowers, like the pansy and violet, in low jars or -bowls, and it is not necessary to have them lie flat on the water. A -friend of mine has invented for her own use this little - - -Flower Lifter - -which holds the flowers above the water while allowing nearly the whole -of their short stems to be immersed. - -With an old pair of shears, or a wire-cutter, snip off a dozen or more -pieces of copper wire of varying lengths between ten inches for the -longest and five for the shortest piece. At each end of every wire make -a loop like Fig. 498; bend the loops over (Fig. 499), then fasten all -the pieces to a brass curtain-ring by twisting each piece once around -the ring at the centre of the wire (Fig. 500). Bunch the wires together -and stand the lifter in a bowl of water; put your flower-stems through -the wire loops, as in Fig. 501, and the wires under water will look like -the flower-stems, the loops being hidden by the blossoms. - -[Illustration: Fig. 498.--At each end of the wire make a loop.] - -[Illustration: Fig. 499.--Bend the loops over.] - - -Symmetry - -is pleasing and necessary in many things, but not in the grouping of -flowers. You must strive for apparent carelessness in effect while -taking the utmost care, and for irregularity and naturalness rather than -stiff, formal arrangement. A bowl of flowers need not look, as it -sometimes does, like a dish for the table, served with the -confectioner's symmetrical decorations; it should rather seem as if the -sweet blossoms were growing in a bed of their own. - -If you can take - - -Wild Flowers - -up in a clump, roots and all; they will look far better than the cut -flowers arranged in vases, and the roots may afterward be planted in -your wild-flower garden. - -[Illustration: Fig. 500.--Fasten the pieces to a brass curtain-ring.] - -Bloodroot will keep a long while if the roots are not disturbed, and one -of the loveliest flower-pieces we ever had in the house was a gray-green -Japanese bowl filled with the growing bloodroot. The blossoms stand -closely together and a small bowl will hold quite a number. - -[Illustration: Fig. 501.--Put the flower stems through the wire loops.] - -Wood anemones, hepaticas, and wild violets are all adapted to this -temporary transplanting. I have kept ferns in this way for several -weeks and the centre-piece for the table in our mountain camp was at one -time a clump of maiden-hair fern in a small china bowl, which lasted -fresh and perfect many days. As there can be comparatively little soil -with the roots of these wild flowers, they must be kept very damp all -the while, and ferns, especially, will do best when set in a pan or bowl -of water. - - - - -CHAPTER XXVI - -OPEN-AIR PLAYHOUSES - - -IN many places in the South the children have most beautiful material -with which to build out-of-door playhouses. Large green palm-leaves grow -close to the ground and point their slender fingers out in many -directions as though holding up their outstretched hands, asking the -girls and boys to come and take them. These palms, together with small, -full-leaved live-oak twigs, Cherokee roses, trailing vines, and long -gray moss, are fashioned into bouquets and tied in great bunches to the -trees with strings made of strips of palms. Four trees growing near -together are usually selected as the boundary lines of the - - -Florida Playhouse, - -their branches overhead serving as a roof. The walls are open, allowing -a free passage of air and plenty of light (Fig. 502). - -Similar playhouses may be built by children in any spot where trees grow -within a short distance of each other. In place of tropical decorations -the young builders can use the most ornamental bouquets within reach, -selecting foliage and flowers which will keep fresh at least for a few -hours. - -If trees are not available, make the open-air - -[Illustration: Fig. 502.--Florida playhouse.] - -[Illustration: Fig. 503.--Framework for umbrella playhouse.] - - -Playhouse of a Large Umbrella. - -Tie a strong piece of twine securely to the end of each of the ribs and -tie the loose end of each piece of twine around the notch cut in a -pointed wooden peg a short distance from its top. This will give an -umbrella with a fringe of dangling pegs. Open the umbrella and fasten -the handle securely to a long, sharp-pointed stick, binding the two -together with strong twine. First run one end of the twine down the -length you intend binding, allowing enough to tie at the bottom; then -commence binding at the top over all three--the umbrella handle, the -twine, and the stick. Wind the string around very tight, and when you -reach the bottom, tie the twine you hold to the loose end of the length -under the wrappings. Examine carefully and be sure the handle does not -slide or twist on the stick; then push the point of the stick down into -the ground at the place decided upon for the playhouse. If you are not -strong enough to erect the house by yourself, ask some companions to -lend a hand and help sink the stick firmly in the earth. When this is -accomplished stretch out each length of twine in turn and drive the peg -in the ground (Fig. 503). You will need a wide ruffle on the edge of the -umbrella of some kind of material full enough to reach around the outer -circle of pegs on the ground beneath its lower edge. The stretched twine -will hold the ruffle out, forming an odd little playhouse with a smooth, -round roof and drapery walls. Plait the ruffle and pin it on the -umbrella with safety-pins; also fasten it at the bottom to each peg -(Fig. 504). Newspapers pasted together and made of double thickness may -be used for the ruffle, if more convenient, but be careful in handling -the paper, as it tears readily. The longer the pole the higher and -larger will be your house, for the strings also must be longer. - -[Illustration: Fig. 504.--Umbrella playhouse.] - -[Illustration: Fig. 505.--Frame for wigwam.] - -When you want to play Indian and pretend you live in the Wild West, your -home must be - - -A Wigwam - -Get a dozen slender poles about as large around as a broom-stick, and -twice and one-half as tall as yourself. Tie three poles securely -together near the tops and stack the others around the first three as a -foundation or framework for the house. Settle each pole firmly in the -ground, forming a circle, and bring the tops together at the centre, -where each pole should form a support for the others, and all should -lean against and across each other; then bind all the poles together at -the top of the framework (Fig. 505). Covers of real wigwams are usually -cut to fit the framework and often decorated in savage fashion. -Sometimes they are composed of skins of wild beasts. If you can make -yours in Indian style, it will be very realistic and lots of fun. Find -some inexpensive dull-brown or gray outing cloth or Canton flannel and -sew several lengths together. Fig. 506 gives the pattern of a wigwam -covering, and the dotted lines enclosing B-B-B-B show how the breadths -are sewed together. C is the chimney-opening where the poles come -through at the top. O is one of the flaps held back with an extra pole; -D, one of the lower front sides folded over for the door-way. The dotted -line A indicates the slit to be cut for the chimney-flap. The two -chimney-flaps can be brought together for protection when necessary. -Along the curved edge of the blank side of the diagram (Fig. 506) holes -are shown for the wooden stakes to be used in pinning the wigwam to the -ground. The holes must be continued along the entire edge of the -covering. - -[Illustration: Fig. 506.--Cover for playhouse wigwam.] - - -Cut Your Wigwam - -similar to diagram (Fig. 506), making an immense cape-like affair. Try -the covering over the framework of poles; if it fits fairly well, hem -the raw edges and bind the small, round holes cut at intervals in the -lower edge, to prevent them from tearing. When finished tie each of the -two top points to a separate pole. Ask someone to assist you and let the -two poles be raised at the same time to the top of the Wigwam framework; -in this way the entire upper part of the covering may be hoisted in -place; then the sides can be spread out and adjusted. Indians, having no -chimneys, always leave quite a large opening at the top of their wigwams -to serve this purpose; the space also admits light into their houses. -Commence near the top at the place where the flaps are cut, and pin the -fronts together with large thorns or sharp-pointed slender sticks. -Fasten the fronts to within a few feet of the ground. The opening left -at the bottom takes the place of a door. Sharpen as many wooden pegs as -there are holes in the bottom of the covering and push a peg through -each hole into the ground, bending the pegs outward a little in order to -keep the tent-like covering from slipping off the tops of the pegs. The -two poles attached to the chimney points must now be carried backward on -each side of the wigwam, to be brought forward again when desired (Fig. -507). When other material is lacking, shawls, bedspreads, or sheets -pinned together may be used for your wigwam-cover. - -[Illustration: Fig. 507.--Your wigwam playhouse.] - -[Illustration: Fig. 508.--African hut playhouse.] - -[Illustration: Fig. 510.--Framework ready for floral tent.] - -[Illustration: Fig. 509.--Binding branch on forked stick.] - -[Illustration: Fig. 511.--Building the floral tent playhouse.] - -With a large-sized Japanese umbrella, a breadth of cloth, a stick, and -some straw you can make an - - -African Hut - -Take the straw or hay and divide some of it into bunches twelve inches -in length. Tie these all together in a long row, forming a straw fringe. -Sew the fringe around the edge of the umbrella with a coarse needle and -thread, allowing it to hang over and down. Overlap the first row with -another straw fringe and continue to sew on row after row until the top -is reached and the umbrella entirely covered; then fasten the handle -securely to a sharp-pointed stick and plant it firmly in the ground. -Measure the distance around the outer edge of the umbrella, not -including the straw thatch, and cut the cloth long enough to reach -around, leaving an open space for the door-way. Use more straw to cover -the cloth completely and sew the straw on in overlapping layers -lengthwise of the material. With safety-pins fasten the wall around the -inner edge of the umbrella, pinning the cloth to little loops of tape -you have tied at intervals over the ribs of the umbrella (Fig. 508). - -[Illustration: Fig. 512.--Floral tent playhouse.] - -The - - -Floral Tent - -is easy to erect. Push two forked sticks into the ground and on one bind -an upright slender branch (Fig. 509); then lay a pole across from one -crotch to another (Figs. 510 and 511). On the upright branch tie flowers -and grasses, twisting a wreath of the same around the forked stick. -Procure some bright-colored flowered material, or cloth of any kind and -hang it over the central pole. Stretch out the four corners and peg them -to the ground (Fig. 512). - - - - -CHAPTER XXVII - -KEEPING STORE - - -THE best place for keeping store is out-of-doors, where there will be -plenty of room and no fear of disturbing the grown people. Select a -shady spot by the side of a house, fence, or tree, carry your supplies -there and set up the store. - - -Build the Counter - -by placing a board across from one empty barrel to another (Fig. 513). -Turn the barrels upside down, bringing the covered side uppermost that -there may be no possibility of losing articles down through the open -barrel heads. Large, strong wooden boxes or two chairs may serve to -support the ends of the counter if barrels are not at hand. - -[Illustration: Fig. 513.--The counter for your store.] - -On each end of the counter nail an empty wooden box. Stand the box on -one end and let the open part face backward; put your hand inside and -drive a few nails through box and counter to fasten the box securely in -place. Do the same with the second box and your counter will be ready -for - - -The Scales. - -[Illustration: Fig. 514.--Tin cover for scale.] - -[Illustration: Fig. 515.--Tin cover pierced with three holes.] - -[Illustration: Fig. 516.--Band for measuring holes.] - -[Illustration: Fig. 517.--Folded paper for measuring.] - -[Illustration: Fig. 518.--Strings tied on tin lid.] - -These are very necessary in weighing different articles. They can be -made of the round covers of two large-sized baking-powder or cracker -cans (Fig. 514). Have the covers exactly the same size, and punch three -holes in the rim of each at equal distances apart (Fig. 515). To obtain -the exact measurements for placing the holes, take a strip of paper and -wrap it smoothly and tightly around the outside of the rim of the cover. -Let the paper be a trifle narrower than the rim of the lid, and be sure -to fold over the long end exactly where it meets the first end (Fig. -516, A). Remove the paper, cut off the fold, and again try the strip on -the cover. See that the measurement is perfectly correct, then take the -paper off and fold it into three equal sections, making two folds and -two ends (Fig. 517), and for the third time wrap the strip of paper -around the cover rim. Mark the tin at the point where the ends meet, and -where the two creases in the paper strike the tin; this will give three -marks on the rim equally distant from each other. Drive a wire nail -through the tin rim at the three marked places to make the necessary -holes (Fig. 515); then tie knots in the ends of six pieces of string of -equal length, and thread a string through each of the three holes in -each of the lids. Fasten the three strings on each lid together at the -top (Fig. 518). Cut a notch at each end of a stick and tie the scales in -place (Fig. 519). Make two notches in the centre of the stick, one on -the top, the other on the bottom, and tie a string around the stick at -the centre notches by which to suspend the scales. This centre string -may be fastened to an overhanging tree-branch, or you can make a support -for it. Nail an upright stick to the end of the counter and box, -allowing it to come a little below the board; then nail another upright -stick in the same way to the other end of the counter. Notch the tops of -the uprights, lay a long, slender stick across from one to the other and -tie the centre string of the scales on the cross-stick (Fig. 520). Fig. -521 gives an end view and shows exactly how to nail the upright on the -box and end of board. Use different-sized stones as weights; a small -one for a quarter of a pound, one twice as large for a half pound, and -another twice the size of the last for a whole pound. - -[Illustration: Fig. 519.--Scales of tin can lids.] - -[Illustration: Fig. 521.--Nail upright on box and end of board this -way.] - -[Illustration: Fig. 520.--Take your place behind the counter and keep -store.] - -Find a number of empty boxes in which to keep - - -Your Supplies, - -and stand them in a row on another counter back of the first (Fig. 522). -Fill each box a little more than half full of sand, earth, pebbles, or -dried leaves, which you must pretend is flour, sugar, coffee, tea, or -other things in stock. Find a large shell, a piece of shingle, or -anything else that will answer the purpose, for a scoop to use in -handling many of the groceries. Label each box with the name of the -article you intend it to contain; then look up your vegetables and nuts. - -[Illustration: Fig. 522.--Supplies for your store.] - -Acorns make fine nuts. Gather a quantity of them, and for cabbage tie a -number of corn-husks together, or grape-vine or hollyhock leaves; any -kind of large leaves will answer the purpose. Take a small, short stick -and with a string wind the ends of the leaves, one leaf at a time, on -the stick, folding the first leaf opposite to and inside the second, the -second in the third, and so on, always allowing each succeeding leaf to -overlap the last until the cabbage-head is large enough; the resemblance -to the real cabbage will be remarkable. Spinach may be made of small -leaves. For asparagus pick a number of long, slender seed stems of the -plantain. Short, slender sticks placed in a glass jar may serve as -sticks of candy, licorice, or licorice root. You can utilize various -grasses, leaves, roots, and seeds in many ways. - -When selling groceries you will need - - -Wrapping Paper - -in which the customers may carry away their goods. Cut newspaper into -uniform sheets of two or three sizes and lay them conveniently near for -use. String will not be necessary if you twist the paper into -cornucopias. Hold the lower right-hand corner of a sheet of paper with -your right hand and the other lower corner on the same edge with your -left hand; pull the corner in your right hand forward, continue to bring -it toward you until it stretches out and up from the corner in your left -hand and covers well within the upper corner diagonally from it. Hold -these two corners together with the right hand while with the left you -roll the bottom corner, held in that hand, outside, forming the lower -point of the cornucopia. Fold up the bottom point to keep the cornucopia -from unrolling (Fig. 523), and it will be ready for whatever it is to -hold. The top point, B, can be turned down as a cover. - -[Illustration: Fig. 523.--Newspaper cornucopia.] - -Flower-pots or tin cans, large and small, may serve for pint and quart -measures. Always give _generous measure_ and _full weight_ when selling -your supplies. This item is very important; remember it every time you -make a sale, for the act will help to build up true ideas of justice and -honesty. - -Now make - - -The Money - -necessary to use in the store. Take ordinary white writing-paper not too -heavy and lay it over a coin; hold the paper down securely with the -thumb and first finger of your left hand while you rub an old spoon or -smooth metal of some kind over and over the paper-covered coin. The -metal end of the handle of a penknife is convenient to use for this -purpose. After one or two rubs you will see indications of the print of -the coin; a few more rubs will bring out the lines distinctly. Make as -many coins as you will need, of different denominations. Money of any -country may be coined in this manner. - -[Illustration: Fig. 524.--Paper for your pocket-book.] - -After printing all money necessary, cut it out ready for use and put the -change into - - -Paper Pocket-books. - -[Illustration: Fig. 525.--Fold down the two top corners until they -meet.] - -[Illustration: Fig. 526.--Fold the other two corners in the same way.] - -[Illustration: Fig. 527.--Fold top point to meet centre of folded edge.] - -[Illustration: Fig. 528.--Fold bottom point to meet centre of folded -edge.] - -It requires only a few moments to make them. Cut a piece of smooth paper -eleven and one-half inches long and seven wide (Fig. 524). Fold down -diagonally the two top corners until they meet (Fig. 525); fold the -other two corners in the same way (Fig. 526). Fold the top point down to -meet centre of folded edge (Fig. 527); do likewise with the bottom point -(Fig. 528). Turn the top over and fold to centre (Fig. 529); bring the -bottom up to meet the edge of the folded top (Fig. 530). Now fold back -and under one of the sides (Fig. 531), fold under the other side (Fig. -532), and bend back lengthwise through the centre until top and bottom -meet (Fig. 533). Lay the pocket-book down on one side and the lower part -will resemble Fig. 534. The lower portion of the sides O and P, Fig. -534, must be fastened together that the bottom may be tight and secure. -Cut a strip of paper a trifle shorter than the length of (Fig. 534), -and insert it at the bottom by first folding the strip through the -centre lengthwise, then sliding one edge in at O and the other in at P. -Push the two sides of the strip well up in the pocket-book, and the -bottom will be tightly bound (Fig. 535). Turn the pocket-book right side -up, and you will find two nice, firm little pockets. Slip your finger in -one pocket and pull out the point to serve as a cover (Fig. 536). Cut a -short slit through one layer of the front of the pocket-book for -securing the point of the cover when the pocket-book is closed (Fig. -537). - -[Illustration: Fig. 529.--Turn the top over and fold to centre] - -[Illustration: Fig. 530.--Bring the bottom up to meet edge of folded -top.] - -Divide the money among those taking part in the sport; then - - -Take Your Place Behind the Counter - -and let your little friends call and purchase whatever they choose. - -[Illustration: Fig. 531.--Fold back and under one of the sides.] - -Be careful in making change that there are no mistakes, and insist that -each customer count the money received in change before leaving the -store. If you wish to be very business-like, take account of all goods -sold. Write down the articles with the measure or weight and the price -received, as nearly as possible as accounts are kept in real stores. -Should customers keep you too busy to put down the items yourself, let -another person act as bookkeeper and cashier, and when you make a sale -call out to your assistant the item with amount sold and money -received; for instance, should a boy purchase a pound of sugar, call to -the bookkeeper: "One pound of sugar, ten cents;" then turn your -attention to the next customer while your comrade writes down the -amount. If the weather continues fine, you can leave your store -undisturbed for several days in succession and conduct it after school -hours. - -[Illustration: Fig. 532.--Fold under the other side.] - -[Illustration: Fig. 533.--Bend backward until top and bottom meet.] - -[Illustration: Fig. 534.--Showing under part of pocket-book.] - -[Illustration: Fig. 535.--Bottom of pocket-book tightly bound.] - -[Illustration: Fig. 536.--Pointed cover of pocket-book.] - -[Illustration: Fig. 537.--Pocket-book closed.] - - -If you find that you need more and a greater - - -Variety of Candy - -manufacture it of strips of bright-colored paper rolled into the form of -paper lighters about the length and thickness of ordinary stick candy. -These mingled together in a separate glass jar or piled upon the counter -add to the attractiveness of the store. Hard lump candy of various-sized -pebbles will probably sell well, but if upon trial the demand is not as -great as desired, you might wrap each pebble in a bit of bright paper to -enhance its appearance; then the customers will doubtless invest more -liberally in the gay-colored sweetmeats. Small candy balls, red and -white, may be made of the red and white clover-heads picked close to -the blossom, leaving no sign of the green stem visible. Keep the -different colors separate, placing all of the red clover candy flat down -in one layer on the inside of a box-lid, where it will look bright and -pretty. The upturned edges of the lid prevent the clover from rolling -out. White-clover candy will appear to better advantage if you place a -piece of colored tissue-paper in a box-lid, allowing the edges of the -paper to stand up a trifle beyond the sides before arranging the white -clover in the lid. Gather a variety of grasses, roots, and leaves, tie -them up in little bunches with strings formed of several pieces of long -grass twisted or braided together, and sell them as soup-seasoning -herbs. Large bouquets of white clover-blossoms with long stems and no -leaves when bunched together, forming a white mass on the top, and then -surrounded by large green leaves tied in place with braided grass, make -excellent imitations of cauliflowers. Use the round, flat hollyhock-seed -for crackers; peel off the outside green cover and the crackers will be -white. You can pretend large-sized poppy-seed vessels are green -tomatoes, which your customers will be glad to buy for making pickles. -Have everything connected with your store neat and orderly, and conduct -it in a business-like manner. - -Do not forget to make bars of soap of moist clay or earth. Have the clay -only soft enough to mould and cut with an old knife; when of the right -consistency form the cakes, making them all the same size. Cut the edges -smooth and even and lay the soap on a board in the sun to harden -sufficiently to handle with ease. - -You might also use moist clay for butter, and cut off portions as -customers call for it, weighing the butter in your scales to obtain the -exact quantity desired by each purchaser. Now try and think of other -supplies you can make of the moist clay. - - - - -CHAPTER XXVIII - -A FROLIC WITH THE ROSES - - -SELECT one rose from the many you have gathered and hold the blossom -tenderly while you look down into its heart and breathe in its beauty -and fragrance; then gently turn the rose over and find how wonderfully -all the petals fit in and are held together in their pretty green cup -with its long green streamers, which we call the calyx. Is there any -flower more beautiful? See how daintily it is formed, how exquisite the -coloring and how wonderful the texture! Could a manufacturer furnish you -with such enchanting material from which to make your toys? - - -Boats of Rose Petals - -Carefully detach the rose petals one by one, beginning with the -outermost and largest. Be cautious not to bruise or injure the fragile -little things. Cut the sail and mast all in one piece from tissue-paper -(Fig. 538). Fold the mast over twice, according to the dotted lines, -that it may be stiff and able to stand erect. Bend the lower portion of -the mast as in Fig. 539. Paste the inner sides of the fold together, and -it will form a flat piece extending out on each side of the mast (Fig. -540). Over the bottom of this spread the least bit of strong paste or -glue and place the mast well forward on one of the largest rose petals. -The portion of the petal which grew inside the calyx forms the front -part or bow of the boat. Have the mast stand perfectly erect; if it is -inclined to bend toward either side, straighten it and keep it upright. -Before launching the vessel allow a few moments for the glue to dry, -then lift the boat very carefully by the top of the mast with your thumb -and first finger and set it down on the water, which must be without -even a ripple. When once the boat is well launched the waves may come -with slight risk of damage to the craft. - -[Illustration: Fig. 538.--Tissue-paper sail and mast cut in one piece.] - -[Illustration: Fig. 539.--Bend lower portion of mast.] - -Let the first boat be of a large pink rose petal and have its sail of -the same color. - - -Make Two Vessels - -of white rose petals with white sails and join the boats with a strip of -white tissue-paper. Paste one end of the paper strip on the inner part -of the right-hand side of one boat and fasten the other end of the paper -strip on the inner part of the left-hand side of the other boat, -allowing sufficient space between the two boats to keep them from -touching. The twins will then sail together like two beautiful white -sea-gulls floating on the crest of a wave. - -[Illustration: Fig. 540.--Form a flat stand.] - -[Illustration: Fig. 541.--Green tissue-paper sail and mast.] - -Take one of the green leaves and fasten on it a green sail different in -shape from the white (Fig. 541). Place this boat with the other pretty -craft on the miniature lake in the large glass dish or basin. Though not -so fragile and delicate, the green bark is charming. Agitate and move -the water as the boats lie at anchor, and watch the effect. Drifting, -floating, and dancing, the fleet of tiny boats will begin to move: the -mingling of the different tints and colors, the various beautiful -reflections cast in the clear water by the little vessels with their -spreading sails, form a delightful fairy-like spectacle. Fig. 542 gives -only a faint idea of the actual scene, which is all color, life, -fragrance, and beauty. - -When you keep the dainty fleet on the water in-doors, it ought to remain -in good condition for several days. If you wish to have the - - -Lake in the Open Air, - -dig a hole in the ground sufficiently large and deep to hold the pan you -intend to use as a lake. Sink the tin in the hole, fit it in perfectly -steady and firm, then pour clear water into the pan, and when it is -quiet launch the fleet. - -[Illustration: Fig. 542.--Fairy fleet of rose-petal boats.] - -You will need a little - - -Rose Girl - -like Fig. 544, to help you enjoy the boats, a girl who can stand by the -water and watch the sailing-vessels; you can make such a one of a rose -turned upside down. Choose the largest and most fully blown rose for the -rose girl. Cut the stem off about two inches from the blossom, and push -a common wooden toothpick through the stem midway between the rose and -the end of the stem. The toothpick forms the girl's two arms (Fig. 543). - -[Illustration: Fig. 543.--How to make the rose girl.] - -Fashion the head from an old seed-vessel, which you will probably find -still clinging to one of the rose-bushes. First make a small hole quite -deep in the top of the seed-vessel; then push the end of the stem of the -rose up into the head (Fig. 543). Run each toothpick arm through a green -leaf and use a white or pale-pink rose petal for the girl's face (Fig. -544). Pin the petal to the head with four rose thorns, using two for the -eyes, one for the nose, and one for the mouth. Pin a rose petal on the -top of the head for a hat. Turn backward two petals, without breaking -them from the rose, to form the dress waist; pin or gum one petal to the -arms and neck in front and the other to the arms and neck at the back. -Then stick three wooden toothpicks in the top of the rose (Fig. 544); -place the toothpicks so they will form a tripod, two on a line across -the front and the third a trifle back of and midway between the front -ones. These three toothpicks will enable the rose girl to stand alone; -the two foremost serve as legs and the other as a support. You can make -feet of two green leaves stuck on the ends of the two front toothpicks -(Fig. 544). - -[Illustration: Fig. 544.--The wide-awake rose girl.] - -Perhaps the little rose girl would like - - -A Garden - -of her own, enclosed by a fence made of green leaves, thorns, short -slender sticks and a pliable rose stem. Bend the stem into an arch and -pin it down to a board with ordinary pins, each end over a green leaf -(Fig. 545). Begin at the bottom and attach the leaves to the arch with -thorns, allowing all leaves to point upward. Decorate one side, then -begin again at the bottom and fasten leaves on the other side; finish -the arch by pinning a leaf upright in the centre. Build the fence of -green leaves pinned together at their sides with slender sticks or broom -straws; stand the fence upright in a circular form, and fasten one end -leaf on each side of the arch (Fig. 546). - -[Illustration: Fig. 545.--Bent rose-stem for arch.] - -[Illustration: Fig. 546.--The rose-girl's garden fence.] - -Of course you must - - -Give the Rose Girl a Party; - -you might call it "The Feast of Roses," and decorate the four corners -of a wee table with vases which would rival in color and beauty the -famous "Peachblow Vase" for which such a fabulous price was paid. Make -the little vases of large pink rosebuds; those beginning to unfold are -the best. Peel off the outside petals and, grasping each bud, in turn, -near its base with the thumb and first two fingers, gently work it back -and forth until it is loosened and can be removed entire without damage. -Stand each vase on a level surface and gather spears of grass to place -in them. Push some of the grass ends down into the vases, but do not -crowd them; have only two or three in each vase (Fig. 547). The pink -color of the vase will contrast pleasingly with the green of the grass, -and the feast will be laden with the delicate perfume of roses. You -might candy different colored rose petals by dipping them in hot sugar -syrup boiled until it spins like a thread, and then drying the petals -separately on oiled paper; they will be appropriate for the party. - -[Illustration: Fig. 547.--Peachblow vase of rosebud.] - -[Illustration: Fig. 548.--Green rose-leaf for part of turtle.] - -[Illustration: Fig. 549.--Rose petal and green leaf turtle.] - -In addition to these things the rose girl must have a little - - -Pet Turtle - -to take out walking in her garden. Cut a green leaf of a rose like Fig. -548. Cover the top with a rose petal gummed on around its edges, and the -turtle will be ready for a stroll (Fig. 549). - -Draw a face with ink on your finger, and make a - - -Rose-petal Cap - -for the finger-head by lapping two petals over each other, leaving the -outer edges for the sides and bottom of the cap. Gum one petal upon the -other and put the cap on your finger (Fig. 550). - -[Illustration: Fig. 550.--Rose-petal cap for finger-head.] - -[Illustration: Fig. 551.--Two cream-colored rose-petals for part of -pansy.] - -[Illustration: Fig. 552.--Pink rose petals partially over light ones.] - -[Illustration: Fig. 553.--Pansy ready for last rose petal.] - -[Illustration: Fig. 554.--Pansy ready for green leaves.] - -[Illustration: Fig. 555.--Pansy green leaf cut from rose leaf.] - -We have not enough rose petals to serve for a shower, as had a Roman -emperor long ago when he made bushels of them rain down upon his guests -from the ceiling of his banquet-hall, but we can collect sufficient - - -Rose Petals to Use in Painting - -some pretty designs. You will need neither paints nor brushes, for the -roses are the colors and deft little fingers the brushes. You must take -the paints as you find them and work this way: Place two cream-colored -petals on a smooth blank paper laid over a flat surface (Fig. 551); -arrange two pink petals partially over the light ones (Fig. 552); lay -down a stem from which you have taken the thorns (Fig. 553); add to the -flower a fifth petal, which should be pink, and you will have painted a -pansy (Fig. 554). Cut two of the green leaves of the rose according to -Fig. 555, and place them as if growing at different distances on -opposite sides of the stem (Fig. 556). Glue or strong paste dropped -sparingly on the paper where you intend to put the centre of the flower -will hold the petals in position, and, if necessary, you may use a -trifle more glue as the work proceeds. - -[Illustration: Fig. 556.--Painting of pansy made with rose petals.] - -Rose butterflies do not look exactly like real ones, but they are very -pretty, and you can readily paint one. Arrange two large red rose petals -for the front wings (Fig. 557); slightly over-lapping the lower edges of -these lay two smaller white petals, and make the body of a green leaf -cut like Fig. 558. Gum it down over the lengthwise centre of the group -of petals. - -[Illustration: Fig. 557.--Red rose-petal wings and green rose-leaf -body.] - -[Illustration: Fig. 558.--Body of butterfly.] - - -Conventional Designs - -are very easy to paint. Take the rose calyx, cut off its lower half and -place the calyx flat down on smooth blank white paper; it resembles a -five-pointed star. - -Under the tip of each point slide the inner end of a rose petal, any -color you choose. Between each two rose petals gum a green leaf (Fig. -559). Now take away the star centre and use rose petals in its place, -and you will have a "rose window" design. Try alternating red and -dark-red velvet petals, or use all yellow petals. In this way you may -form a variety of patterns painted with roses. - -[Illustration: Fig. 559.--Conventional design painted with roses.] - -[Illustration: Fig. 560.--Rose petals pinned together for wreath.] - -To make - - -Dainty Wreaths of Rose Petals, - -pin them together in a long row with slender sticks or broom straws -(Fig. 560). You can weave larger and more substantial wreaths, strong -enough to place on your mother's head when crowning her "Queen of Beauty -and Kindness." Use the entire blossom mingled with buds and green -leaves, all short stemmed, not longer than three or four inches. Bind -the stems with string on a circle made of a piece of willow or some -other pliable material, and be sure to remove the thorns from all the -stems before weaving the wreath (Fig. 561). - -[Illustration: Fig. 561.--Wreath of roses.] - -Try to find some new beauty in every rose you see this summer. Write it -all down, and the following June you will discover still other beauties -to jot in your rose book. - - - - -CHAPTER XXIX - -A STRAW-RIDE PICNIC - - -THERE is a charm in the very word picnic, for it brings with it a -breezy, wholesome, out-of-door atmosphere, quickening the pulse and -causing the lips to smile with delight and the eyes to sparkle with -merriment. A genuine American picnic means a jolly little party in the -open air with plenty of space for all sorts of games and amusements; and -then the dinner! Its equal could not be enjoyed in an ordinary -dining-room. There is no need of chairs when the party is gathered -around the feast, for the novelty and fascination of sitting on the -ground while dining are thoroughly enjoyed, and everyone knows how -delicious a mere bit of bread and butter may taste when eaten from the -low, green table, the general enchantment of place and scene giving an -added flavor. - -[Illustration: Going on a straw-ride picnic.] - -June is the ideal time for picnics; in this month there are so many -perfect days, when none should work, but all should play, that one is -prompted to plan for a little fun and frolic, including an informal - - -Straw Ride, - -which shall form part of the programme of the entertainment. Choose for -the ride a large, roomy wagon, remove all the seats except the one -reserved for the driver, and fill the bottom of the vehicle with plenty -of fresh, clean straw. Let all the party be seated on this, have within -reach warm wraps for protection in case of cooler weather or a shower; -and stow the luncheon away under the seat of the driver. The horse -should not be too spirited for such an occasion, and the driver must be -a strong, reliable man who understands perfectly the management of the -reins. Thus equipped, with two or three grown persons in charge, the -girls and boys may throw care to the winds and enjoy their ride over -hill and dale, through sweet meadows and along leafy lanes dappled with -golden sunshine; again on the highway, past field and wood, driving -gayly along until the picnic ground is reached. - -Should the ride be more than a mile or two, the way may be beguiled with -gay songs and choruses, or games in which all may join while sitting -quietly in their places. Such a game is the old one - - -"Simon Says." - -[Illustration: Fig. 562.--Simon says "Thumbs up."] - -It is played with the hands only; each person doubles up his right hand, -resting it on his lap and allowing his thumb to stand erect (Fig. 562). -When all are in position the leader calls out: "Simon says 'Thumbs -down,'" at the same time turning his thumb downward (Fig. 563). All -follow his example; then comes the bidding "Thumbs up," and many will -resume the first position before they realize that the leader omitted to -prefix the order with "Simon says." Therein lies the catch, for no -command must be obeyed unless it comes from Simon. - -[Illustration: Fig. 563.--Simon says "Thumbs down."] - -[Illustration: Fig. 564.--Simon says "Wiggle waggle."] - -The leader proceeds with "Simon says, 'Thumbs up,'" then up must go all -thumbs, and when "Simon says 'Wiggle waggle,'" all move their thumbs -from side to side while the hand rests in position (Fig. 564)--dotted -lines show the swing of the thumb. If any neglect to do so it counts one -against him; next comes the order "Stop"; the thumbs continuing to wag, -the leader calls "Simon says 'Thumbs stop.'" The leader may command a -change in the position and movement of the hand and thumb according to -his fancy, but the hand cannot be unclasped nor the thumb folded down -during the game. Three failures count the player out, and he must then -content himself with watching the others until the play ends. The -leader, being privileged, follows all directions in order to confuse the -others. The game is short, consisting of ten commands from the leader. -It may be played with sides, the group dividing into two parties; the -young people at one end of the wagon form one side, while those at the -other end constitute the other side. The party losing fewest players -wins the game. - -Another interesting amusement, easily played as the wagon rolls along, -is the - - -"Bird Wish." - -At a given signal each boy and girl must close both eyes tight and make -a wish, not opening the eyes until the leader calls out "Look," when all -may scan the blue heavens and the surrounding country in search of -birds. The first to discover one cries out "Bird," which insures the -fulfilment of the wish. The other players are obliged to try again. -There being but three chances in this game, only three of the company -can be sure of successful wishes. - -If more diversions are needed during the drive, try the following - - -Word Tangle. - -Ask each boy and girl to repeat in turn these lines: - - "She says she sells sea-shells; - Shall she sell sea-shells?" - -The words must not be recited too slowly, as that would spoil the sport. -Let the verse be said a trifle faster than ordinary speech. The tongues -of most of the players will probably become twisted, causing the words -to sound unintelligible to the rest of the company, and a hearty laugh -will follow the effort. Only one trial is accorded each player. When the -line has gone the rounds, repeat in the same manner: - - "Fred fetched freshly fried flying fish." - -These little trials of skill in speech not only give you much fun, but -at the same time they cure hesitancy of speech and brighten the mind; -but do not let that frighten you and deter you from profiting by the -sport. Never be afraid of advantageous learning; let it come in what -guise it may, it will surely add to your pleasure as well as your worth. - -When the picnic grounds are reached and all have had time to look about, -everyone will be ready for exercise. So prepare for a grand rush after -one of the group chosen as - - -The "Deer," - -who, stepping directly in front of the others, calls "Ready," when the -group standing still immediately sings to the air of "Yankee Doodle," - - "My heart is in the Highlands, - My heart isn't here. - My heart is in the Highlands, - Chasing the deer." - -At the word "ready" the "deer" starts to run, and as the pursuers cannot -follow until the song is ended, the "deer" has time to get a certain -distance ahead before the others give chase; this they do as they sing -the last word in the verse. The "deer" runs a short distance, circles -around and returns to the starting-point, or "home" as it is called, the -followers endeavoring to catch him before he reaches his goal. - -After resting from this game bring the rope from its hiding-place in the -wagon, also the long board stowed away flat against the side of the -vehicle, and in less time than you imagine the rope can be securely -fastened on a strong branch of a tree to serve as - - -A Swing, - -while the board may be used for a "Teeter-tarter"; balance the plank -across a log or the lower bars of a fence; then when two players take -their seats at the ends of the board, if it is properly adjusted, they -will rise and sink alternately as the ends move up and down, keeping -time as the players sing: - - "Teeter-tarter, bread and water, - Come and see the pretty daughter." - - "See-saw, Margery Daw, - Came to town to study law." - -If the players are of unequal weight, the heavier one shortens his half -of the plank by shoving it along farther across the fence or log, -preserving in this way the equilibrium. To start the "Teeter-tarter" one -of the players should give a slight spring upward with the feet while -retaining his sitting posture on the board. - -Prepare - - -The Dinner - -early, as the brisk drive in the morning air tends to stimulate the -appetite. Bring the lunch-boxes to the place selected for the meal; let -one person take full charge and give directions, while the others -unpack, build the fire, and go to the spring for water. - -The lunch should have been packed in paper boxes, to avoid the care of -baskets. In the first box might be the loaves of fresh uncut bread and a -tin baking-powder can of sweet butter, the bread to be cut into thin -slices, buttered and prepared for sandwiches of various kinds. These can -be easily made by adding either the chopped nuts that have been packed -in a separate small box, or crisp lettuce leaves which have been -detached from the stalk, well cleaned and sprinkled with fresh water, -then carefully placed by themselves in a box lined with waxed or oiled -paper such as is used by confectioners for sweetmeats. Or the -sandwiches may be of sliced ham, tongue, roast-beef or lamb, each kind -of meat being folded in waxed paper and packed in its own box. When the -different articles of food are managed in this way they are much more -attractive and palatable, each retaining its own flavor, and there is no -danger of their being mashed and jumbled together, as happens too often -when the dinner is indifferently arranged and put together in a -thoughtless manner. - -[Illustration: Fig. 565.--Picnic salt-box.] - -The best way to carry salt, pepper, etc., is to put each into a small -paper box, the salt in one of cylindrical form, the lid of which has -previously been punched full of holes with the aid of a tack or a -slender wire nail (Fig. 565). The pepper can be in a smaller and -differently shaped box, and sugar in a box of still another size and -shape, that there may be no chance of mistaking one for the other and -covering the meat with sugar or trying to sweeten the lemonade with -salt. The perforations in the lid of the pepper-box must be quite small; -punch them with a large-sized needle. After the boxes are filled the -lids can be fastened securely with strong paste and, before they are -packed, may have paper tied down over the tops (Fig. 566), to preclude -all chance of the contents sprinkling out during the journey. - -If mustard is needed, it should be prepared at home and carried in a -small, wide-mouthed bottle. Mayonnaise dressing is best conveyed corked -up in a small stone china jar, such as is often used for jam. - -[Illustration: Fig. 566.--Paper over the top.] - -Boiled, fried, or broiled chicken is always acceptable at a picnic -dinner; the chicken must be well cooked, cut into pieces and each -portion wrapped in a separate piece of waxed paper, then packed together -in a box. Cold-boiled asparagus or string beans, with fresh lettuce and -mayonnaise dressing, may take the place of a meat salad if desired. - -Fruit is very refreshing and always welcome if consisting of fresh -berries, cherries, etc.; pack it in the same manner as lettuce, omitting -the sprinkling and washing. - -[Illustration: Fig. 567.--Picnic wooden-spoon.] - -[Illustration: Fig. 568.--Flat sticks to use as spoons.] - -Of course, young people do not care for coffee, but the grown ones would -like it, and they must be remembered. Grind the coffee and mix with raw -egg; it may then be carried in the tin coffee-pot, the coffee to be made -after the grounds are reached. If cake is taken, do not let it be rich; -sponge or plain cup-cake, made in layers with apple-sauce between, is -best. - -As far as possible have the table equipment of paper, that it may not be -necessary to carry it back home. A tablecloth composed of large sheets -of smooth white wrapping-paper will answer the purpose very well. Paper -plates such as are used by bakers, make excellent substitutes for china -ones and are the very thing for outing parties. Spoons may be home-made, -whittled of wood; should the bowls of the spoons prove too difficult to -manage, make them like small shovels (Fig. 567). If time will not allow -of this, flat, smooth sticks larger at one end than the other (Fig. 568) -may take their place. Knives are not absolutely necessary. Only one need -be taken, but that must be of good size and sharp, to be used for -cutting bread. It is a mistake to carry fine table linen or silver, -they always prove a great care and are apt to be injured or lost, but -not being skilled in the art of eating with chopsticks, like the -Chinese, you will have to be supplied with forks. Take barely enough for -the purpose and have them of the most inexpensive quality; then it will -not matter if one or two happen to be lost. Only a few cups will be -required and no saucers; the company can take turns using the cups. One -item more--a pail for the water. - -A small - - -Camp-fire - -is very important. Build it on a spot where there is not the slightest -danger of its spreading, and into the embers and ashes roll small raw -potatoes. They will be delicious baked--velvety black on the outside -and, when broken open while steaming hot, soft, mealy, and snowy white -on the inside. Before boiling the coffee, pile a layer of flat stones on -two sides of the fire and set the coffee-pot on them, bridging across -the open space over the fire. Water can be heated in this way for tea or -chocolate. - -After luncheon gather all the boxes and paper and burn them in the -camp-fire, being careful not to put too much on the fire at a time and -waiting until one portion is burned before adding more. The paper should -be rolled in small, tight balls to prevent a possible breeze from -wafting it in the air. - -All can join in feeding the fire and enjoy - - -The Game - -which accompanies it. When each one has secured his contribution of box -or paper, all must stand around the fire and in turn cast the fuel on -the flames. The first to do so begins telling any kind of an original -tale which imagination may suggest, such as, - - "The Prince, arrayed in gorgeous and rich apparel, was - about to enter his crystal palace when----" - -There he stops, because the rules of the game do not allow one person to -speak longer than his paper burns, but until it is consumed he must not -cease talking. The next in turn drops her paper on the flame and -continuing the story, says, - - "he was startled by a peculiar noise from the grove - near by. Rushing to discover the cause, he saw - something dark moving among the trees, it turned and - slowly approached----" - -Her paper having completely burned, the third player takes up the plot, -and tossing his box on the glowing coals, says, - - "Nearer and nearer the something came, when, lo! it - proved to be a baby bear walking erect and carrying in - his paws----" - -So it goes on, and everyone adding a little, the story grows. Each -player being at liberty to turn the romance to suit his mind, the story -is apt to assume sudden and comical changes, giving it a peculiar charm -both to those who take part and to those who listen. - -A short, quiet time with jack-stones, played with small stones found on -the ground, will allow of sufficient rest before participating in the -exhilarating sport of - - -"Menagerie." - -In this choose a keeper, whose duty it is to give the name of a -different animal to each player. Then all must form in line for the -grand march. Headed by the keeper, the procession twists and winds -through the trees, this way and that, returning soon to the -starting-point, when all join hands, forming a circle around the keeper -who is then blindfolded. The circle spins merrily around until the -keeper calls out "Jungle," the signal for all the players to shout in -chorus, each one giving the cry of the animal he represents. After that -they stand perfectly still. The keeper next calls to one of the animals -to enter the cage. The player named must break from the circle and, -standing within the ring, gently give the cry peculiar to the animal -represented, at the same time changing his position so that the keeper -may not be able to catch him, as the latter tries to do, guided by the -cry. If the keeper succeeds at the first trial, the two change places, -and the game commences over again, but without the march. Should the -keeper not be able to catch the animal in his first attempt, the bandage -must be removed from his eyes, and the circle standing clasping hands -and elevating them high in air, give space for the animal to dart out of -the cage, followed by the keeper. In and out of the circle they run, -going not more than three times around the ring; if in that time the -keeper does not succeed in capturing his game, he must again be -blindfolded and stand in the middle of the ring while the game -continues. If captured, the animal becomes the keeper and the keeper the -animal. - -Only a short while will remain before it will be time for returning -home, a few moments more for tumbling about close to Nature; then comes -the ride back home in the big wagon filled with gay and happy girls and -boys. - - - - -CHAPTER XXX - -A PAPER CHASE - - -FUN! Why what can compare with it? The clear frosty air is full of life, -the blood is rushing tumultuously through your veins and your feet are -tingling to be off on the chase. It is healthful, it is inspiring, it is -glorious fun. You must think, too, in order to be successful either as -hare or hound, for the object of each is to outwit the other, and Paper -Chase is a game that requires the use of brains as well as muscle. - - -The Hares and Hounds - -compose the party. Two hares and as many hounds as you will, the more -the merrier. Each hare must carry a bag filled with paper cut into small -strips. The hounds carry only the weight of their responsibility to -entrap and catch the hares. - -[Illustration: Over Fences.] - - -The Game - -is a country game, of course. Who would think of the hares and hounds -dashing in a mad run through the streets of town or village. And it is -a noisy game with the Kee-ooi! Kee-ooi! of the fleeing hares, and -answering La-ha-hoo, La-ha-hoo! of the pursuing hounds. - -Select a convenient club-house or residence for the meet and let there -be two hares and at least six hounds. - -The first thing to be decided upon is the distance of the run, which -should not be too great, especially for beginners. The next is the -agreement between the hares upon a general plan to be pursued in their -tactics, which must be kept secret from the hounds. - -The morning hours are best for the game, and a hearty appetite for -lunch, or the hunt-breakfast, it might be called, is the result. - - -At a Given Time - -let the hares start off together, scattering their bits of paper as they -go, to be followed ten or fifteen minutes later by the hounds, who are -led by the paper on the tracks of the hares. - -The object of the hares is so to scatter the paper in their -cross-country run as to lead the hounds on - - -A False Scent. - -This is sometimes done by the hares making a detour into a field, -doubling back on their tracks and running in quite another direction. Or -they may provide a number of false scents leading from one point. - -To be sure all this uses up much precious time, but the compensation -lies in mystifying and delaying the hounds, each of whom must decide for -herself which trail is the most likely to prove the one the hares have -really taken. - -When - - -The Hares Are Off - -and the fifteen minutes up, the hounds must start in pursuit. Their -object is to head off and catch the hares before they can cover the -given distance and again reach the place of meeting. A hound must not -only come in sight of a hare but must touch her in order to make a -catch. Each player in the paper chase acts for herself, and if she -succeeds in catching a hare she wins the honors. And a hare reaching -home without being caught wins great honor. The hares keep together, but -the hounds may scatter at will, though no girl should risk going too far -alone. - -From time to time the hares must give their cry Kee-ooi! Kee-ooi! that -the hounds may not go too far astray, and the hounds reply with their -La-ha-hoo! to let the hares know they are on their tracks. - - -Over Fences, Across Brooks, - -taking to the cover of the woods, or speeding along the roads, it -matters little how you get there, the object is to reach the point you -have decided upon over the shortest route and in the least possible -time. - -This is the fun of it, the wild scramble over all obstacles and the -exultant moment when, if a hound, you have run down the hares or, if a -hare, you outwit the hounds and make the home-run in safety. The game -requires good generalship on both sides, quick thought and ready -decision. - - -How to Dress. - -A short skirt, loose, stout walking shoes, and a sweater make the most -comfortable costume. Wraps will be found in the way and uncomfortably -warm, and you cannot run very well in overshoes. If your feet get wet -keep on running and you will not take cold, but have a change of -foot-wear ready that you may replace wet shoes and stockings with dry -ones as soon as you reach the house. Also throw a wrap over you upon -your return so that you may not cool off too suddenly after your long -run. - -Light bags for the hares to carry may be made of cotton cloth with -straps of the same to throw over the shoulder. - -Good health, good-fellowship, good-nature, and fair play are the -requisites for the complete enjoyment of this most exhilarating of all -games. - - - - -INDEX - - - A - - Adjusting warp, 19 - African hut, 306 - Alligators, clay, 193 - Amusements, Mayday, 237 - Andirons, 142 - Anemones, 296 - Angling, Easter, 231 - Animals, tissue-paper, 75 - Apple, Indian, 209 - Apple, Jap, 211 - Apple-seeds, 261 - Apple tower, 214 - Apple toys, 206 - Arch, door, 177 - Armor, alligator, 197 - Arrow-heads, 122 - Arrow-shaft, 123 - Arrows for Mayday, 238 - Assumption, Cathedral of, 175 - - - B - - Baby alligators, 193 - Bag, school, 31 - Bags, fortune, 262 - Ball game, May, 251 - Ball of twine, 27 - Banana, clay, 201 - Band, spinning-wheel, 8 - To adjust, 9 - Banners, Japanese fish, 171 - Barrel-hoop, 62 - Basket of shavings, 36 - Basket, to make wood, 62 - Basket, to weave splint, 68 - Baskets as moulds, 187 - Baskets, May, 248 - Beads, 182 - Bed, Japanese, 168 - Beds, blankets for dolls', 26 - Bell and ball game, 251 - Bellows, 153 - Binding basket edges, 40 - Binding off, 71 - "Bird Wish," 337 - Birds, tissue-paper, 75, 93 - Birds, to feed, 267 - Bird's head, finger, 277 - Birthday festivals, 170 - Blackbirds, finger, 280 - Blanket, Navajo, 20, 125 - Doll's bed, 26 - Blood root, 296 - Blouse, Russian, 181 - Boats, rose petals, 320 - Body, alligator, 196 - Bonnet, war, 116 - Bonnet-wire stem, 95 - Boots, Russian, 182 - Bouquet-holder, 58 - Bow, 124 - Bow case, 124 - Bowls, 292 - Bows for Mayday amusements, 237 - Breakfast, Japan, 168 - Broom, show, 172 - "Build the Tower," 282 - Butt, rifle, 152 - Button-mould, 171 - - - C - - Calumet, 119 - Calyx, tissue-paper, 96 - Camp-fire, 342 - Cap, rose petal, 328 - Card-board, pot hooks of, 145 - Carnation-pink, 86, 87 - Case, handkerchief, 41 - Cathedral of Assumption, 176 - "Chai," Russian, 181 - Chamois skin gown, 125 - Chase, paper, 345 - Chicken, tissue-paper, 75 - Chieftain's shield, 120 - Children, talking, 268 - Chimney samovar, 184 - "Chin Chopper Chin," 282 - Churn, 160 - Circle, to cut a, 88 - Clay, 187 - Clay alligators, 193 - Cleaning for spinning-wheel, 8 - Cloak, old colonial, 155 - Cloth, magic, 264 - Clothes-line, possibilities of, 162 - Clover, four-leaved, 260 - Coat of armor, alligator, 197 - Coiled pottery, 187 - Colonial kitchen, toy, 133 - Colorless vases, 292 - Combinations, flower, 291 - Common grasses, 53 - Conventional designs, 330 - Cork churn lid, 160 - Counter, store, 308 - Cradle, papoose, 130 - Crane, 137 - Crazy bull, 116 - Crosses, paper, 178 - Crowding, flower, 290 - Cupola, Russian cathedral, 178 - Curtain-bee frolic, 48 - Curtain, sash, 34 - Curtains, primitive reed, 43 - - - D - - Daffodil, tissue-paper, 99 - Dance, egg, 230 - Dasher, churn, 160 - "Deer," 338 - Design, ornamental, 67 - Designs, conventional, 330 - Dinner, straw ride, 339 - Distaff, 7 - Doll, Japanese, 174 - Doll, Russian, 180 - Dolls' beds, blankets for, 26 - Dolls, feast of, 172 - Dolls' hammock, 56 - Dolls, new race of, 103 - Door-way, Russian cathedral, 177 - Door-way screens, 149 - Dress, Mary's, 217 - Dress, May-pole to, 252 - Dress, Miss Muffet's, 108 - Dress, paper-chase, 348 - Dutch windmill, 214 - - - E - - Eagle feather of paper, 121 - Easter egg games, 227 - Edges, basket, 40 - Egg games, 227 - Elephant, tissue-paper, 83 - Encampment, Indian, 111 - End-pieces, 63 - - - F - - Face, Miss Muffet's, 106 - False scent, 347 - Faucet, samovar, 182 - Feast of dolls, 172 - Feather, eagle paper, 121 - Feathers, for goose, 221 - Fence, paper, 168 - Fenced in garden, 168 - Ferns, 297 - Festivals, Japanese, 169 - Finger church, 275 - Finger plays, 273 - Finger steeple, 275 - Fire, tissue-paper, 114 - Fireplace, 138 - Fish, Japanese paper, 170 - Five little pigs, 285 - Flax, 10 - Flintlock rifle, 151 - Floors, Japan paper house, 167 - Floral tent, 307 - Florida playhouse, 298 - Floor, colonial kitchen, 136 - Flower lifter, 294 - Flowers, to arrange, 289 - Folks, finger plays for little, 273 - Food, alligator, 198 - Fortune bags, 262 - Four-leaved clover, 260 - Fresh flowers, to arrange, 289 - Fringe, to make hammock, 30 - Frog, jumping, 264 - Frolic, curtain-bee, 48 - Frolic with roses, 320 - Funny little apple toys, 206 - - - G - - Games, egg, 227 - Garden, fenced in, 168 - Garden, rose girls, 325 - Germantown wool for Navajo blanket, 20 - Ghost writing, 259 - Girl, rose, 323 - Gold nuggets, 254 - Good Indian, 115 - Goose, Mother Goose's, 220 - Gown, chamois skin, 125 - Grass, napkin ring, 59 - Grasses, common, 53 - Grasshopper house, 53 - Green leaf boat, 322 - Green leaves, 291 - Groceries, 312 - Gun, flintlock, 151 - - - H - - Hallowe'en revels, 259 - Hammock, dolls', 56 - Handkerchief case, 41 - Handle, basket, 40 - Handle, churn, 160 - Hares, 345 - Hut, African, 306 - Hat, witch's, 257 - Head, Washington, 202 - Headdress, Indian, 116 - Heddles, how to make loom, 17 - Hepaticas, 296 - Hibiscus, 86 - Holder, bouquet, 58 - Home-like rag rug, 154 - Home-made loom, weaving on, 15 - Hooks, pot, 145 - Hounds, 345 - Houses, Japan paper, 162 - House, grasshopper, 53 - Hub, spinning-wheel, 149 - - - I - - Indian apple, 209 - Indian Encampment, 111 - Indian pot, 143 - Indian travois, 118 - - - J - - Jap apple, 210 - Japan, paper houses of, 162 - Japanese doll, 174 - Japanese paper, 162 - Japanese umbrella, 173 - Jars, flower, 293 - Jumping frog, 264 - - - K - - Kago, 172 - Keeping store, 308 - King, May, 245 - Kitchen, toy colonial, 133 - Kneading clay, 187 - Knitting needle, gun-barrel, 152 - "Knives and Forks," "Here are my Mother's," 279 - Koi, Japanese, 171 - Kremlin, 175 - - - L - - Lake, open air, 323 - Lamb, Mary's, 219 - Lanterns, paper, 167 - Leather boots, 181 - Leaves, green, 291 - Leaves, tissue-paper, 193 - Legs, alligator, 198 - Lifter, flower, 294 - Lifting for Pasch eggs, 227 - Line, clothes, 62 - Lingerie, Miss Muffet's, 107 - Little apple toys, 206 - Little bellows, 153 - Little Miss Muffet, 103 - Little paper houses, 162 - Little pigs, famous five, 285 - Loom, weaving on home-made, 15 - - - M - - Magic cloth, 264 - Marvel pictures, 215 - Mary, 215 - Material, reed curtain, 43 - Mats, table, 41 - May baskets, 248 - Mayday amusements, 237 - May-pole, 252 - Menagerie, game of, 343 - Miniature cathedral, 176 - Miss Muffet, tissue-paper, 103 - Moccasins, 117 - Modelling in tissue-paper, 75 - Money, store, 314 - Morning glory, tissue-paper, 86, 94 - Mother Goose's goose, 220 - Mother's knives and forks, 280 - - - N - - Navajo blanket, 20 - Navajo blankets, 125 - Nail, staple, 46 - Napkin-ring, grass, 59 - Nasturtiums, 290 - Nature study, tissue-paper, 86 - Netting, rope, 65 - Nuggets, gold, 254 - - - O - - Odd things in Russia, 175 - Odd utensils, 144 - Odd colonial clock, 155 - Old-fashioned flintlock rifle, 151 - Old oaken bucket, 250 - Open air lake, 323 - Open air play houses, 298 - Ornamental design, 67 - Oven, 139 - - - P - - Paint, for Japan houses, 165 - Painting, rose petals for, 328 - Paper chase, 345 - Paper houses of Japan, 162 - Paper lanterns, 167 - Paper modelling, in tissue, 75 - Paper, store wrapping, 313 - Papoose, 130 - Parker, Thankful, 146 - Party, rose girls, 326 - Pasch eggs, 227 - Pattern, blanket, 24 - "Peel," 144 - Pet turtle, 327 - Pewter ware, 154 - Picnic, straw ride, 333 - Pictures, marvel, 215 - Pigs, five little, 285 - Pin loom, how to make, 16 - Pine-shavings, 36 - Pipe of peace, 119 - Play house, open air, 298 - Plays, finger, 273 - Pocket-books, store, 314 - Pole, May, 252 - Possibilities of a clothes-line, 62 - Pot hooks, 145 - Pot, iron, 143 - Pottery, 185 - Practice on spinning-wheel, 11 - Primitive reed curtains, 43 - - - Q - - Queen May, 245 - Queer little teeter-tarter, 273 - - - R - - Race of dolls, new, 103 - Rag rug, home-like, 154 - Rare frolic, 320 - Reed curtains, primitive, 43 - Revels, Hallowe'en, 254 - Rice ball, 171 - Rifle, 151 - Ring, grass napkin, 59 - "Rock," 7 - Roll, clay, 189 - Roll of splint, 68 - Rolling, egg, 235 - Roof, Russian cathedral, 177 - Rookwood pottery, 187 - Rope netting, 65 - Rose girl, 323 - Rose petal boats, 320 - Rug, 154 - Rules, Pasch game, 234 - Russia, odd things in, 175 - Russian doll, 180 - - - S - - Sally Walker's hood, 208 - Samovar, 182 - Sash-curtain, 34 - Scales, store, 309 - Scent, false, 347 - School-boy, 31 - Screens, doorway, 49 - Seed-top grasses, 61 - Shafts, arrow, 123 - Shapes, pottery, 192 - Shavings, armful of, 36 - Shield, Indian, 120 - Shoes, Miss Muffet's, 107 - Shovel, 144 - Shuttle, 19 - Sides, to weave basket, 39 - "Simon Says," 335 - Spindle, 5 - Spindle-frame, 5 - Spinning, 3 - Spinning wheel, 3 - Spinning wheel, colonial kitchen, 147 - Splint basket, to weave, 68 - Splint, roll of, 68 - Spokes, splint basket, 69 - Staple-nail, 46 - Straw, bonnet wire, 95 - Store, keeping, 308 - Stories, telling, 343 - Stoves, Russian, 180 - Straw ride, 333 - Straw ride picnic, 333 - Study, tissue-paper, nature, 86 - Sun-bonnet, Mary's, 218 - Sun-bonnet, Miss Muffet's, 110 - Supplies, store, 312 - Supplies, straw ride picnic, 341 - Swift dog, 116 - Swing, 338 - Symmetry, 295 - - - T - - Table egg rolling, 235 - Table mats, 41 - Table, moulding, 188 - Talking children, 268 - Tangle, word, 337 - Targets, Mayday, 240 - Tassels, 66 - Tea, how Russians make, 188 - Teeter tarter, 273 - Tenor, singing, 269 - Tent, floral, 317 - Thankful Parker, 146 - Things to make of common grasses, 53 - Thread, when broken, 12 - Time-piece, old fashioned, 159 - Tinfoil, 153 - Tissue paper, moulding in, 75 - Toaster, 144 - Tomahawk, 120 - Tools, moulding, 188 - Tower, apple, 214 - Tower, finger, 282 - Toy colonial kitchen, 133 - Toys, apples, 206 - Toys, tissue-paper, 75 - Transparent vases, 292 - Travois, to make, 118 - Tree, Indian encampment, 129 - Trimming, 73 - Trousers, Russian, 181 - Turkey, tissue-paper, 81 - Turning eagle, 116 - Turtle, pet, 327 - Twine, what may be made of ball of, 27 - - - U - - Umbrella, Japanese, 173 - Umbrella play house, 299 - Uprights, spindle-frame, 5 - Utensils, colonial kitchen, 144 - - - V - - Variety of candy, 317 - Vases, 292 - Vases, colorless, 292 - Violets, 296 - - - W - - Walker, Sally, 208 - Wampum, 131 - War bonnet, 116 - Ware, pewter, 154 - Warp, to adjust, 19 - Washington, clay head of, 202 - Weavers, 68 - Weaving on home-made loom, 15 - Weaving splint basket, 70 - Weights, clock, 159 - Wheel, spinning, 3 - White-ash splint, 74 - Wig, Miss Muffet's, 106 - Wigwam, playhouse, 301 - Wigwam, to make, 112 - Wild flowers, 295 - Wild violets 296 - Windmill, Dutch, 214 - Windows, Russian cathedral, 177 - Wing feathers, 222 - Wish, bird, 337 - Witch apple, 256 - Wood-basket, 62 - Wood chopper, finger, 277 - Word tangle, 337 - Woof, 20 - Wool, Germantown, 20 - Wrapping paper, 313 - Wreaths, rose petal, 331 - - - Z - - Zulu doll, 115 - - - - -THE BEARD BOOKS FOR GIRLS By LINA and ADELIA B. BEARD - - -Handicraft and Recreation for Girls - - =With over 700 illustrations by the Authors= - =8vo. $1.50 net= - -An elaborate book for girls, by Lina and Adelia Beard whose former books -on girls' sports have become classic, which contains a mass of practical -instruction on handicrafts and recreations. So many and so various are -the things it tells how to do and make that it will give occupation to -any sort of girl in all seasons and all weathers. - - "The girl who gets this book will not lack for - occupation and pleasure."--_Chicago Evening Post._ - - -What a Girl Can Make and Do - -New Ideas for Work and Play - - =With more than 300 illustrations by the Authors= - =Square 8vo. $1.50 net= - -This book is the result of the authors' earnest desire to encourage in -their young friends the wish to do things for themselves. Its aim is to -give suggestions that will help them to satisfy this wish. Within its -covers are described a great variety of things useful, instructive, and -entertaining, suited for both indoors and out. - - "It would be a dull girl who could not make herself - busy and happy following its precepts."--_Chicago - Record-Herald._ - - -THE AMERICAN GIRL'S HANDY BOOK - -How To Amuse Yourself and Others - - =With nearly 500 illustrations= - =8vo. $1.50 net= - -In this book Lina and Adelia Beard, the authors, tell everything the -girls of to-day want to know about sports, games, and winter afternoon -and evening amusements and work, in a clear, simple, entertaining way. -Eight new chapters have been added to the original forty-two that made -the book famous. - - "It is a treasure which, once possessed, no practical - girl would willingly part with."--_Grace Greenwood._ - - - -Things Worth Doing and How To Do Them - -With some 600 drawings by the Authors that show exactly how they should -be done - - =8vo. $1.50 net= - -This book by Lina and Adelia Beard comprises an infinite variety of -amusing things that are worth doing. Some of these things are:--"A -Wonderful Circus at Home," "The Wild West on a Table," "How to Weave -Without a Loom," "How to Make Friends with the Stars," "A Living -Christmas Tree," etc. - - "Everything is so plainly set forth and so fully - illustrated with drawings that the happy owners of the - book should find it easy to follow its - suggestions."--_New York Tribune._ - - - - -THE BEARD BOOKS FOR BOYS - -By DAN C. BEARD - - -Shelters, Shacks, and Shanties - - =Illustrated by the Author= =$1.25 net (postage extra)= - -He gives easily workable directions, accompanied by very full -illustration, for over fifty shelters, shacks, and shanties, ranging -from the most primitive shelter to a fully equipped log cabin. Boys will -find it an invaluable guide in constructing temporary or permanent -shelters in their hikes or encampments. - - -Boat-Building and Boating - -A Handy Book for Beginners - - =Illustrated by the Author= =$1.00 net= - -The directions for making boats are practical and illustrated by simple -diagrams, and the work is full of new and suggestive ideas for all kinds -of craft. - - -The Boy Pioneers - -Sons of Daniel Boone - - =Illustrated by the Author= =$1.50 net= - - "A book that is truly fine and will probably have a - wider influence on the lives of boys into whose hands - it falls than almost any other book that comes their - way."--_The Interior._ - - -The Field and Forest Handy Book - -Or, New Ideas for Out of Doors - - =Illustrated by the Author= =$1.50 net= - - "Instructions as to ways to build boats and - fire-engines, make aquariums, rafts and sleds, to camp - in a back-yard, etc. No better book of the kind - exists."--_Chicago Record-Herald._ - - -The Jack of All Trades - -Or, New Ideas for American Boys - - =Illustrated by the Author= =$1.50 net= - - "Every boy who is handy with tools of any sort will - enjoy this book."--_Youth's Companion._ - - "Full of new ideas for active boys who like to use - tools and see interesting things growing under their - hands."--_New York Tribune._ - - "A perfect treasure-house of things that delight the - soul of a boy."--_The Interior._ - - -The Outdoor Handy Book - -For Playground, Field and Forest - - =Illustrated by the Author= =$1.50 net= - - "It tells how to play all sorts of games with marbles, - how to make and spin more kinds of tops than most boys - ever heard of, how to make the latest things in plain - and fancy kites, where to dig bait and how to fish, - all about boats and sailing, and a host of other - things which can be done out of doors. The volume is - profusely illustrated and will be an unmixed delight - to any boy."--_New York Tribune._ - - -The American Boys Handy Book - -Or, What To Do and How To Do It - - =Illustrated by the Author= =$1.50 net= - - "It tells boys how to make all kinds of things-boats, - traps, toys, puzzles, aquariums, fishing tackle; how - to tie knots, splice ropes, make bird calls, sleds, - blow guns, balloons; how to rear wild birds, to train - dogs, and do a thousand and one things that boys take - delight in. The book is illustrated in such a way that - no mistake can be made; and the boy who gets a copy of - this book will consider himself set up in - business."--_The Indianapolis Journal._ - - CHARLES SCRIBNER'S SONS - - * * * * * - -Transcriber's Notes: - -Obvious punctuation errors repaired. There is no figure 75. - -Page xi, "Witche's" changed to "Witch's" (Witch's Hair) - -Page xii, CHAPTER XXVI, "Play-House" and "Play-Houses" changed to -"Playhouse" and "Playhouses" to match usage in text. - -Page 193, "tanger" changed to "tanager" (cardinal, the scarlet tanager) - -Page 206, "fellows" changed to "fellow" (little fellow differs) - -Page 273, CHAPTER XXIV came after the chapter title, FINGER-PLAYS FOR -LITTLE FOLKS, in the original text. These were switched to follow the -form of the rest of the book. - -Page 308, "Flay" changed to "Fly" ("Fly away, Jill,") - -Page 337, "payed" changed to "played" (easily played as the) - -Page 353, "Face, Miss Muffet's" was moved from the last place in the "E" -section to the first place of the "F" section. - -Page 354, the section titles for "I" and "J" were added to the text. - -Page 355, since the text capitalizes all uses of Pasch, the index was -changed to reflect this (Lifting for Pasch eggs) and also on page 355 -(Rules, Pasch game) - -Page 355, "Pocketbooks" changed to "Pocket-books" to match usage in text -(Pocket-books, store) - -Page 357, "play-house" changed to "playhouse" to match usage in text -(Wigwam, playhouse) - - - - - -End of the Project Gutenberg EBook of Indoor and Outdoor Recreations for -Girls, by Lina Beard and Adelia B. 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Beard - -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: Indoor and Outdoor Recreations for Girls - -Author: Lina Beard - Adelia B. Beard - -Release Date: April 16, 2013 [EBook #42549] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RECREATIONS FOR GIRLS *** - - - - -Produced by Chris Curnow, Emmy and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42549 ***</div> <div class="figcenter" style="width: 428px;"> <img src="images/cover.jpg" width="428" height="600" alt="Cover: Recreation for Girls" /> @@ -2402,7 +2362,7 @@ together with brass curtain-rings, and you can fray it out into soft, pretty tassels. You can make it into a decorative wood-basket, a grille for an open doorway, fringe -for curtains and portières, or decoration for +for curtains and portières, or decoration for the top of a wooden chest. One use will suggest another and you will probably find some way of adapting the rope that has never yet been @@ -13812,383 +13772,6 @@ changed to reflect this (Lifting for Pasch eggs) and also on page 355 <p>Page 357, "play-house" changed to "playhouse" to match usage in text (Wigwam, playhouse)</p></div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Indoor and Outdoor Recreations for -Girls, by Lina Beard and Adelia B. Beard - -*** END OF THIS PROJECT GUTENBERG EBOOK RECREATIONS FOR GIRLS *** - -***** This file should be named 42549-h.htm or 42549-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/5/4/42549/ - -Produced by Chris Curnow, Emmy and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from 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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