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diff --git a/42549-0.txt b/42549-0.txt new file mode 100644 index 0000000..f4e9b11 --- /dev/null +++ b/42549-0.txt @@ -0,0 +1,8602 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 42549 *** + +[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. Beard + +*** END OF THE PROJECT GUTENBERG EBOOK 42549 *** |