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+*** START OF THE PROJECT GUTENBERG EBOOK 44440 ***
+
+[=Transcriber's Note:= This book was written in a time in which we
+didn't know what we know now. For example, we now know foxglove to be
+very poisonous and would not suggest children use the blossoms for
+fairy caps. Please use caution if attempting any of these crafts. And
+don't play with foxglove.
+
+As to this text version, italic text is surrounded by _underscores_ and
+bold text by =equal signs=.]
+
+
+
+Mother Nature's Toy-Shop
+
+By
+
+LINA BEARD AND ADELIA B. BEARD
+
+    With Many Illustrations
+    by the Authors
+
+    Charles Scribner's Sons
+    New York        Chicago      Boston
+
+
+
+
+    COPYRIGHT, 1918, BY
+    CHARLES SCRIBNER'S SONS
+
+    SPECIAL NOTICE
+
+    All the material in this book, both text and cuts, is
+    original with the authors and invented by them; and
+    warning is hereby given that the unauthorized printing
+    of any portion of the text and the reproduction of
+    any of the illustrations or diagrams are expressly
+    forbidden.
+
+
+
+
+PRESENTATION
+
+
+MOTHER NATURE is every bit as fond of the little folks in her human
+family as of the grown-ups, and while she prepares untold joys for
+lovers of the outdoors among men and women and larger boys and girls,
+she never forgets the little ones.
+
+For their benefit she keeps an open toy-shop full of marvellous
+playthings, all free to any child who wants them, and instead of the
+children paying her for what they take she pays them for coming to her
+by giving them rosier cheeks, brighter eyes, and stronger bodies. She
+puts more glee into their laughter and greater happiness into their
+trustful little hearts.
+
+As in the large department stores in big cities, the goods in Mother
+Nature's shop are changed for each season of the year; so the little
+shoppers have constant variety and hail every new season with fresh
+delight. This book is written to call attention to the beautiful and
+wonderful things to be found in Mother Nature's toy-shop and to tell
+what to do with them, for one must know how to use the amusing material
+that is furnished.
+
+After really getting into this most enchanting of all toy-shops with
+eyes open to see its wonders, we found that the difficulty to be met
+was not how to write about them, but how to stop writing. The display
+was so varied and so inviting, it seemed that we must tell the children
+about everything we saw, but if we had gone on seeing more and telling
+more there is no saying what size this book would have been.
+
+                                                     LINA BEARD,
+                                             ADELIA BELLE BEARD.
+
+
+
+
+CONTENTS
+
+
+    PART I--WILD FLOWERS
+
+    CHAPTER                                                   PAGE
+        I. DAISIES                                               1
+       II. JACK-IN-THE-PULPIT                                    5
+      III. RED AND WHITE CLOVERS                                 8
+       IV. CLOVER DESIGNS                                       12
+        V. OTHER WILD-FLOWER DESIGNS                            19
+       VI. PUSSY-WILLOWS                                        24
+      VII. ARRANGEMENT OF FLOWERS                               33
+
+
+    PART II--GRASSES
+
+     VIII. FAIRY-TREES MADE OF GRASSES                          40
+       IX. A HOUSE MADE OF GRASS                                45
+        X. GRASS DRESS AND GRASS HEAD-DRESS                     56
+
+
+    PART III--GREEN LEAVES
+
+       XI. OAK-LEAVES                                           61
+      XII. GRAPE-LEAF DRINKING-CUP                              68
+     XIII. GREEN-LEAF DESIGNS                                   71
+
+
+    PART IV--CULTIVATED FLOWERS
+
+      XIV. PHLOX                                                 76
+       XV. CULTIVATED FOXGLOVE                                   81
+      XVI. MISS HOLLYHOCK'S GARDEN-PARTY                         88
+     XVII. DAFFODILS                                             92
+
+
+    PART V--SEED-VESSELS
+
+    XVIII. SEED-VESSEL PLAYTHINGS                                96
+      XIX. BUCKEYE HORSE AND BUCKEYE RIDER                      103
+       XX. BURDOCK-BURRS                                        108
+      XXI. THINGS TO MAKE OF ENGLISH-WALNUT SHELLS              117
+
+
+    PART VI--VEGETABLES
+
+     XXII. THINGS YOU CAN MAKE OF LIMA BEANS                    123
+    XXIII. SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH  130
+     XXIV. GREEN-PEA TOYS AND A GREEN-PEA DESIGN                136
+      XXV. CORN-HUSKS AND CORN-COBS                             148
+
+
+    PART VII--FRUIT
+
+     XXVI. THE FUNNY ORANGE-HEAD                                163
+    XXVII. APPLES AND APPLE FUN                                 171
+
+
+
+
+Mother Nature's Toy-Shop
+
+
+
+
+_PART I_
+
+WILD FLOWERS
+
+
+
+
+CHAPTER I
+
+DAISIES
+
+
+What You Can Do with Them
+
+WILD flowers, like children, are up early. _They_ don't want to lie
+abed after their long winter's sleep; they want to be awake and see
+what is going on in the world. While you think it is still winter there
+is a stirring going on under the blankets of brown earth, and sometimes
+before the snow is off the ground you may find the little things
+working up through the stiff soil and opening their eyes to the gentle
+spring sunshine.
+
+It is remarkable the way the soft, tender sprouts force their way
+through hard ground that we would have to take a knife or trowel to dig
+into. But they do it. Not all at once with a great, blustering rush,
+but gently, steadily, and quietly they push and keep on pushing until
+their heads are above ground; then they begin to grow in good earnest,
+and pretty soon they laugh right out into blossom.
+
+The pleasure these earliest wild flowers give us is in going out to
+look for them and in gathering handfuls to carry home and put into
+little glass bowls to be "Oh'd" over and wondered at, to be admired and
+loved because they are lovely, and because they bring some of the sweet
+outdoors of spring into the furnace-heated house.
+
+They are too delicate and fragile, these anemones, hepaticas, and
+bloodroots, to be handled and played with, but later come the stronger,
+sturdier flowers and with many of these you can do all sorts of
+entertaining things. You don't have to look very far for them either.
+They are in the fields, by the roadsides, and even along the edges of
+the streets of a village or small town. You won't find them in the city.
+
+To begin with, there are the daisies. How white the fields are with
+them! If they are fine, large daisies on tall, strong stems they will
+reach up to your waist--that is, if you are a little girl. If you are
+bigger they will come well above your knees. There are a number of
+things that you can do with them. First, you can make a really beautiful
+
+
+Daisy Crown
+
+for a May queen, or to wear yourself just for the fun of it.
+
+[Illustration: Fig.1 - Begin the wreath in this way.]
+
+[Illustration: Fig.2 - Turn the stem of B under the stem of A.]
+
+Gather a whole lot of daisies with rather long stems. They will stay
+fresh longer if you put them into a pail of cool water and let them
+drink a little before using them; and if they have wilted while you
+carried them, the water will bring them up again as fresh as--why, as
+fresh as a daisy to be sure. This is the way to make the crown. It is a
+new way and a good way.
+
+[Illustration: Fig.3 - Bring B around and in front of it's own upright.]
+
+Take one daisy in your left hand and hold it, not upright but in what
+is called a horizontal position like the one marked A in Fig. 1, then
+with your right hand hold another daisy upright and place its stem in
+front of and across the stem of the first, as you see it in Fig. 1.
+
+[Illustration: Fig.4 - Let the stem of B rest on the stem of A.]
+
+This second daisy we will call B. Now turn the stem of B under the
+stem of A and up at the back as it is in Fig. 2. Bring this same stem,
+B, around and in front of its own upright part like Fig. 3. Turn it
+all the way around the upright part and let the stem of B rest on top
+of the stem of A. Fig. 4 shows this, but in the drawing the stems
+are separated a little so that you may see each one plainly. It is
+something like weaving, you see. And it is weaving of a sort.
+
+[Illustration: Fig.5 - Weave another daisy, C, on the first two stems.]
+
+Across the stems of the daisies A and B, two stems this time, place the
+stem of another daisy that we will call C, and weave it on the first
+two stems exactly as you wove B onto A (Fig. 5). The stem of the fourth
+daisy will have to cross three stems, A, B, and C. The fifth daisy-stem
+will cross four stems, but after that the end of the daisy-stem A will
+probably have been passed and you will be weaving on the others. It
+depends upon the length of the stems how many are woven over; sometimes
+there may be five. It is not well to have more than that number. You
+can cut a stem off when it seems to be going too far around the crown.
+
+[Illustration: Fig.6 - A new way to make a Daisy Wreath.]
+
+Place the daisies close enough together to have their petals touch,
+or even crowd a trifle, because when the crown is curved and the ends
+brought together the flowers will separate and leave wider spaces. When
+you have woven enough daisies to make your crown the proper size to fit
+your head, cut the last stems off about two inches from the last flower
+and, with a strong blade of grass or piece of string, tie them to the
+stem of the daisy A, just back of the flower. Fig. 6 shows what the
+daisy crown looks like when finished.
+
+
+
+
+CHAPTER II
+
+JACK-IN-THE-PULPIT
+
+
+ONE of the earliest wild flowers to show its head above ground is
+Jack-in-the-pulpit. It is an odd plant and what we call the flower is
+not the blossom at all, but a protecting leaf called a spathe which
+surrounds the tiny flowers growing on the club-shaped spike (or spadix)
+standing upright inside.
+
+That is a good thing to know and remember, but what concerns us now is
+that there is a pulpit with its curved sounding-board--or perhaps it is
+a striped awning--overhead, and that in the pulpit is Jack.
+
+He is a cheerful little preacher and his pulpit is somewhat gayer than
+we usually see, but no one ever told Jack that to be good he must be
+solemn and that to preach he must have a pulpit rich and sombre. The
+good God who made him gave him his pretty, striped pulpit with its
+striped awning to shelter it, and Jack goes on preaching his cheerful
+sermons from this as long as he lives. Hear what some one has said of
+him:
+
+    "Jack-in-the-Pulpit preaches to-day,
+     Under the green trees, just over the way;
+     Squirrel and Song-Sparrow high on their perch,
+     Hear the sweet lily-bells ringing to church.
+
+    "Come, hear what his reverence rises to say,
+     In his low, painted pulpit, this calm Sabbath day.
+     Fair is the canopy over him seen
+     Pencilled by Nature's hand, black, brown, and green."
+
+Some people who love the woods and the wild flowers can understand
+Jack's wild-wood language. They will tell you that over and over again
+he is saying: "Come into the clean, shady woods and learn to love
+all the wonderful living, growing things to be found here. Come into
+the green woods and hear what we can tell you of beauty and love and
+kindness; of courage and perseverance and strength, for plants must
+have courage and perseverance as well as strength in order to live."
+
+All the time these plants are working in the ground and above it to
+make their flowers perfect and their seeds fruitful. Sometimes it is
+difficult work, too, if the soil does not give them enough food, or a
+dry summer chokes them with thirst. Sometimes they must struggle hard
+to gain a footing between the rocks where they were told to grow, or to
+keep from being crowded out by stronger, coarser plants that are called
+weeds.
+
+But they keep on trying to do their part and to do it well; they work
+and love, and their children, the blossoms, laugh, laugh, laugh with
+the happiness of it all.
+
+[Illustration: Fig.7 - Cut a hole at the back of the Pulpit.]
+
+Now if Jack seems to you to stand too still in his pulpit while he
+preaches all this, why you can make him move around. He can turn first
+to one side then to the other, and he can lean forward over the front
+with extended arms as some preachers do when they are very much in
+earnest.
+
+For this you will first have to cut a hole at the back of the pulpit
+near the bottom, as is shown in Fig. 7, then, slipping your knife
+inside, cut Jack loose from the flower and drop him out from the top by
+turning the pulpit upside down.
+
+[Illustration: Fig.8 - The Spike.]
+
+Cut off the lower, thin part of the spike to which the arrow points in
+Fig. 8 and, after puncturing a deep hole in the end, push in a very
+slender twig or grass-stem. Fig. 9 shows how this is done. For arms
+that will make Jack seem more like a little man, push a short piece of
+grass-stem through the spike near the top where you see it in Fig. 9.
+Make a hole all the way through the spike with a pin so that the arms
+will slip in easily.
+
+[Illustration: Fig.9 - This is Jack.]
+
+When you are ready for Jack to preach put him in his pulpit, sliding
+the grass-stem through the hole at the back. While you hold the stem of
+the pulpit in one hand take the grass-stem in the other and, by moving
+it up and down, twisting it one way, then the other, and tipping it up,
+you can make him rise up tall and straight, then sink down; you can
+make him turn to the right and to the left and lean forward. That is
+being active enough in such a small pulpit, isn't it?
+
+
+
+
+CHAPTER III
+
+RED AND WHITE CLOVERS
+
+
+BY the roadside, through the meadows, on the farm, at the cottage
+door, and in your own yard those dear, familiar little friends, the
+clover-blossoms, come to greet you. Even in city parks you may find
+them, and always they are ready and glad to help you have a good time.
+Gather a lot of these flowers and sit in the shade under a tree with
+your lap filled with them while I tell you how to make a
+
+
+Clover Wreath
+
+Select some long-stemmed blossoms and leaves, bunch them and bind their
+stems together their full length with strong grass or string. Wind the
+grass around and around the stems, tucking the ends securely in under
+the last wind. You may need several long blades of grass for binding
+one bunch.
+
+In the same way make a second bunch and fit the flowers up close
+against the first bunch of blossoms, with their stems lying along the
+side of the first stems. Do not lap the flowers of one bunch over the
+flowers of another. Fasten the second bunch in place by binding the
+stems to those of the first bunch; then make a third bunch and bind
+it on next to the second bunch. Continue making these clover bunches
+and binding their stems to the stems of those already a part of the
+wreath until the strip is long enough to fit around your head. Try it
+on and, if it is the proper length, join the two ends by binding the
+last stems to the stems of the first bunches. Fig. 10 shows the clover
+wreath complete.
+
+[Illustration: Fig.10 - Wreath of freshly picked Clover.]
+
+You should also have a
+
+
+Clover Bracelet
+
+to wear with the wreath. Make this as you did the wreath but with much
+smaller bunches. Keep binding the bunches together until the strip for
+the bracelet fits your arm (Fig. 11), then join the two ends, and slip
+the pretty thing on your wrist. Of course, you will want
+
+
+Clover Earrings
+
+to match, and those two plump, full, fresh blossoms lying at the top of
+the others on your lap are exactly what you need.
+
+[Illustration: Fig.11 - Clover bracelet.]
+
+[Illustration: Fig.12 - Clover earring.]
+
+[Illustration: Fig.13 - Clover Blossom ring.]
+
+[Illustration: Fig.14 - Clover Blossom pendant on Clover necklace.]
+
+Take one of these clovers and fit it in tight between your cheek and
+the lobe of your ear (Fig. 12). Be careful not to break the long stem,
+for you must bring it up snugly just back of your ear along the line
+where the ear joins your head, and when this is done, bend the end
+of the stem down gently over the top of your ear. The stem will hold
+your earring in place. Make the other earring in the same way. The
+two clover-blossoms used for the earrings should be as much alike as
+possible both in size and shape. They should be matched carefully, as
+pearls and diamonds are matched in a pair of real earrings.
+
+Now for a "solitaire"
+
+
+Clover Ring
+
+Choose the finest clover for the jewel, and hold it against the back of
+your left forefinger while you wrap the stem once around the finger,
+loop it over the blossom and draw the loop tight. Fasten the end by
+tucking it under and over, and again under the stem ring on your
+finger. This clover ring is really very effective, and can be made of
+any colored clover. Fig. 13 gives an idea of how it looks.
+
+
+A Necklace of Clover
+
+will complete your beautiful set of flower jewelry. Make the necklace
+as you made the bracelet and fasten three pendant blossoms at the
+centre, allowing the middle clover to hang down a little below those on
+either side (Fig. 14).
+
+Now you are ready, with the addition of a long, straight twig, at the
+top of which you have fastened a bouquet of clover, to play that you
+are queen of all the clover fairies, and that your clover-tipped twig
+is your magic wand.
+
+
+Other Things of Clover
+
+The running, vinelike clovers are fine to use for climbing-roses
+on outdoor doll-houses. They can also be trained over the doll
+garden-frames and arches.
+
+
+
+
+CHAPTER IV
+
+CLOVER DESIGNS
+
+
+HAVE you ever admired the pretty patterns on wallpaper of flowers and
+green leaves? Have you ever embroidered dainty designs in colors on
+white linen, and do you love it all? If you do, you will like to make
+some designs yourself in a new way, and with real flowers and real
+leaves.
+
+You don't have to know how to draw or to paint in this designing, for
+the flowers are there ready for you to use, more exquisitely drawn and
+colored than the greatest artist could do them. Your part is to group
+and arrange them on a sheet of paper so that they will form beautiful
+designs; designs that will not only delight you, but that may be copied
+in embroidery or in other ways.
+
+Merely to place the flowers on the paper in some sort of a pattern is
+interesting, but the design won't last because the flowers won't stay
+in place. Your sleeve may wipe them all off, or a puff of air blow them
+away, so a method has been invented especially for you that will keep
+them where you want them to stay, and that method is simply to _paste_
+them there.
+
+You can make designs of almost any kind of flowers, the common
+pink-and-white clover that grows underfoot nearly everywhere makes
+a particularly pretty one. This is the long-stemmed, viny kind, and
+its name is alsike clover. Fig. 15 shows what the alsike clover looks
+like, and you will see that its leaves are rather pointed at the tip,
+and shaped more like the leaves of the large red clover than like the
+almost round ones of the little white clover.
+
+[Illustration: Fig.15 - The Alsike Clover. Deep rose color. The way it
+grows.]
+
+[Illustration: Fig.16 - Upright design of Alsike Clover.]
+
+The graceful, upright design (Fig. 16) was made of the alsike clover,
+the blossom of which was a deep-rose color, and the original design
+when finished looked like a piece of embroidery done in silks. It was
+so lovely I wish that it could be given in its natural colors here.
+
+[Illustration: Fig.17 - Parts of upright Clover design.]
+
+Look at Fig. 16 carefully and see that while the sprays of clover
+at the right and left appear to be exactly alike, though turned in
+opposite directions, they are not really so, and the little differences
+help to make the design interesting. They keep it from being what we
+call monotonous. Now look at D, E, and F, Fig. 17. These are tracings
+of the sprays of clover before they were grouped together to form the
+design Fig. 16. The spray on the left, marked D, is just as it grew
+and as it was used in the finished design; but F, on the right, had to
+have the little budded spray added at the place on the stem shown by
+the arrows to make it resemble and balance the other. This bud with its
+leaves was clipped from another clover-vine.
+
+[Illustration: Fig.18 - Running design of Clover.]
+
+The spray in the centre of the design was like E, Fig. 17, and it was
+necessary to give it the extra leaves shown at its right because,
+without them, it was not symmetrical, which means evenly balanced, and
+it would not have looked well in the design.
+
+[Illustration: Fig.19 - Parts of running design.]
+
+When all of the material was collected and ready to be put together,
+the central spray, E, was laid in the middle of a sheet of unruled,
+white paper with the lower end of the stem near the bottom edge, then
+the sprays D and F were placed on the right and left of the centre
+one and tried first in one position, then in another, until it was
+decided that they looked best arranged as in Fig. 16. After that the
+extra leaves for the middle spray, and the bud and its leaves for the
+right-hand spray, were put in place.
+
+[Illustration: Fig.20 - Large Red Clover design.]
+
+It all seemed charmingly satisfactory, so the design was taken apart
+that it might be fastened permanently in place. The middle spray had
+to be adjusted first, and a drop of good library paste was put on the
+under-side of the clover-blossom, a drop on the under part of each
+leaf, and on the under part of the stem at the lower end. Then the
+spray was laid in the middle of the paper just where it was at first,
+and pressed down to make it stick. Paste was put on the under part
+of each of the three leaves to be added and on the under part of their
+stem at the end, and they were pasted down to look as if growing on the
+main stem, opposite the other leaves.
+
+[Illustration: Fig.21 - Design of leaves and buds of Red Clover.]
+
+[Illustration: Fig.22 - Parts of leaf and bud design.]
+
+Next the left-hand spray was pasted in place in the same way, then the
+right-hand spray, to which was given its bud that curves in to almost
+touch the bud on the other spray. Paste was also put half-way down on
+the under part of the long stems of each of the side sprays.
+
+This completed the clover design and it was exceedingly pretty, but
+after it had been sufficiently admired it was placed between papers
+under several heavy books to press, that it might be more durable.
+It was after it had been pressed that it looked like a piece of silk
+embroidery.
+
+Pasted designs can be made without pressing; but while they are more
+beautiful they will not last as long as the others. You can enjoy your
+fresh designs for a while and then press them. Do not make the mistake
+of covering the entire under part of a flower or leaf with paste as if
+it were made of paper; a drop is all that is needed, more will spoil it.
+
+Flowers do not always grow exactly as you want them for your designs,
+but a too straight stem can be coaxed to curve by drawing it between
+your fingers, and leaves and sprays can be cut away or added as has
+been shown. All this changing about only makes it more fun to work out
+the design.
+
+Fig. 18 is a running design of clovers which can be used for a border.
+The little arrows on Fig. 19 show where the different parts are joined.
+
+The large red clover was used for the design Fig. 20 and the leaves
+and buds of the red clover for Fig. 21. Fig. 22 shows how the parts of
+Fig. 21 are put together. These drawings are all original from designs
+actually made of fresh clover-blossoms and their foliage.
+
+
+
+
+CHAPTER V
+
+OTHER WILD-FLOWER DESIGNS
+
+
+Daisy Fleabane Design
+
+ISN'T the design Fig. 23 what grown-ups call Japanesque? Doesn't it
+look as if it had been copied from a printed pattern on a piece of
+Japanese cotton cloth?
+
+[Illustration: Fig.23 - Daisy Fleabane design.]
+
+Well, it was not. It is from a design made especially for you of real
+wild flowers, freshly gathered. The name of the flower is the daisy
+fleabane which grows in almost all open grassy fields where daisies and
+buttercups and clovers are found.
+
+The illustration Fig. 24 shows how the daisy fleabane looks when first
+gathered. Sometimes the blossom is entirely white, sometimes it is
+tinged with purple, and it has a bright-yellow centre. Its petals are
+as fine as a fringe, like those of the asters that blossom in the fall.
+
+In making the design the full-blown flowers were pressed down flat,
+which makes them round like a sunflower, while the buds and partly
+open flowers were left as they naturally grew. The composition, or
+arrangement, of this design is like that used for the upright clover
+design (Fig. 16), that is, it has two tall side sprays and a shorter
+middle spray; but see how very different the two designs are in
+appearance. The clover is all graceful curves, the daisy fleabane is
+stiff and formal with straight lines and angles.
+
+If you use the white flower, make the design on a sheet of tinted
+paper, else the flower will not show. All white flowers should have
+tinted paper for a background.
+
+
+Wild Mustard Design
+
+The small, yellow blossoms of the wild mustard and its compound leaves
+make very dainty designs. Fig. 25 is one of them.
+
+[Illustration: Fig.25 - Wild Mustard design.]
+
+[Illustration: Fig.26 - Wild Mustard.]
+
+[Illustration: Fig.24 - The Daisy Fleabane grows like this.]
+
+From the drawing of the wild mustard (Fig. 26) you will see that the
+flowers do not grow close to the leaves as they are placed in this
+design, but on tall stems which lift them far above the scattered
+leaf-sprays. The design Fig. 25 was made by cutting off a number of
+flower-clusters and leaves, and grouping first one flower-cluster and
+one leaf-spray together, with the ends of their stems touching, then
+another flower-cluster and another leaf-spray. The arrows in Fig. 27
+show where the stems are brought together, and the design Fig. 25 shows
+how the joining of the first two is covered with one of the small
+leaves of the second leaf-spray, and how the joining of the second two
+is hidden under a leaf of the third leaf-spray, and so on.
+
+[Illustration: Fig.27 - Parts of Wild Mustard design.]
+
+There are four flower-clusters and five leaf-sprays in the design. You
+can have as many as you wish but must end them with a leaf-spray.
+
+[Illustration: Fig.28 - Buttercup design.]
+
+
+Buttercups--a Design
+
+Buttercups are so beautifully golden, so glossy and bright, you would
+think they could be made into many nice things, a gold necklace for
+instance. And so they could if they only would not wilt almost as soon
+as they are gathered. To be sure, they will revive and freshen up when
+put in water if they are not too much wilted, but we cannot make them
+into jewelry while their stems are in water.
+
+Still there is something buttercups can be used for, and that is
+designs. Fig. 28 is a drawing from the simplest kind of a buttercup
+design but a pretty one. It shows five wide-open blossoms placed in a
+row at equal distances apart with a little spray of leaves and bud at
+the lower end of each stem. These sprays do not grow as they are in the
+design but are added after the flowers are placed in a row.
+
+As in all other designs, each flower, bud, and stem is touched with
+paste on the under-side to hold it in place on the paper. A design like
+Fig. 28 should be pressed after it is arranged, and it will last a long
+while and keep its bright color. A number of other and very beautiful
+designs can be made of the common wild buttercup.
+
+
+
+
+CHAPTER VI
+
+PUSSY-WILLOWS
+
+
+WE all welcome and love the dear little pussy-willows (Fig. 29) whose
+fur is so soft and silvery. How pretty they look sitting along the
+slender, bare branches of the small American willow-tree which is their
+home. The pussies like to come early to assure us that spring is here.
+They are very tame little kitties, and will allow you to carry them
+away to your school or to your home.
+
+[Illustration: Fig.29 - Pussy-Willows.]
+
+Sometimes pussy-willows turn into little rabbits, squirrels,
+bumblebees, and mice, but they need your help, they cannot make the
+magic change alone. It will be lots of fun helping them if you do it
+this way.
+
+[Illustration: Fig.30 - The Rabbit and the Rabbit's ears, enlarged.]
+
+[Illustration: Fig.31 - The Pussy-Willow Bunnies.]
+
+[Illustration: Fig.32 - Pussy-Willow Squirrel, enlarged.]
+
+[Illustration: Fig.33 - Paper tail, enlarged, for squirrel.]
+
+
+Pussy-Willow Rabbits
+
+Take a small branch of the very largest pussies you can find, have
+ready some scraps of smooth, fresh writing-paper, a piece of cardboard,
+pair of scissors, and some good paste. It only requires long ears
+to change the pussy-willows into bunnies. Cut the ears from your
+writing-paper like the pattern Fig. 30. Put paste on the strip
+between the letters G and H, then take a pussy from the branch and
+stick the paste-covered strip just above the small end of the pussy,
+which will be the bunny's head. The arrow I, Fig. 30, points to the
+place for the ears. When the paste has dried bend the ears up like the
+ears of the rabbits in Fig. 31. Make three or four rabbits to keep each
+other company and paste them in a row on your piece of cardboard.
+
+[Illustration: Fig.34 - The Pussy-Willow Bumble-Bee.]
+
+
+A Pussy-Willow Squirrel
+
+This little gray squirrel (Fig. 32), sitting up in such a lifelike
+pose, must be made of a slightly bent, rather long, slender pussy.
+Pull forward some of the fur near the small end so that it will
+look like the front legs of the squirrel when he holds a nut in his
+hand-like front paws, and push up two tufts on the head for ears. The
+pussy from which Fig. 32 was made already had these tufts for legs and
+ears, and it looked so much like a squirrel one simply had to add the
+tail and let it be a squirrel.
+
+[Illustration: Fig.35 - Parts of bumble-bee.]
+
+[Illustration: Fig.36 - Draw the legs of the bee like this.]
+
+Cut the paper tail like the pattern Fig. 33, fringe it along the edge
+and bend forward the little lap at the bottom which is separated from
+the tail by the dotted line. Curve the tail backward, put paste on top
+of the lap, and stick the lap to the under part of the large end of the
+pussy; then paste the finished squirrel to a piece of pasteboard cut
+round or square as you like best.
+
+
+Pussy-Willow Bumblebee
+
+Mr. Bumblebee (Fig. 34) needs one whole pussy for his body, one-half
+of a pussy for his big, round throat, and a small piece of the pussy
+for his head (Fig. 35). On the piece of cardboard which is to hold the
+bee, draw his legs like Fig. 36, then paste the three parts--body,
+throat, and head--on top of the legs. Fig. 37 shows how it would look
+underneath if you could see through the paper, so you will know exactly
+where to paste first the throat, then the head, and lastly the body.
+The edges of these parts where they join must be pushed close together.
+
+[Illustration: Fig.37 - Paste the three parts of the bee on top of the
+legs.]
+
+[Illustration: Fig.38 - Mr. Bumble-Bee, enlarged, ready for his wings.]
+
+A bumblebee has slightly curved spikes extending from his head which
+are called antennæ. Fig. 38 shows you where to draw them. You will also
+see on the same diagram how to widen the six legs, making them thicker
+and more lifelike. Cut paper wings the shape of Fig. 39, making them
+the proper size to fit your bee. Remember that a bumblebee has small,
+short wings compared to the size of its body. Bend the lap at the
+bottom of the wing along the dotted line, and paste the lap of each
+wing onto the sides of Mr. Bumblebee's chest. The wings turn back over
+the laps and hide them. (See Fig. 40). The finished bee is shown in
+Fig. 34.
+
+[Illustration: Fig.39 - Pattern of bumble-bee wing.]
+
+[Illustration: Fig.40 - Showing lap of wing bent back.]
+
+If you cut a leaf out of green paper and put your bumble-bee on that
+instead of on the cardboard, he will look, with his extended wings, as
+if just ready to fly, and will make a fine addition to your collection
+of things made of outdoor material.
+
+[Illustration: Fig.41 - Pussy-Willow Mouse, enlarged.]
+
+
+Pussy-Willow Mouse
+
+Then there is the pussy-willow mouse (Fig. 41). He is a nice little
+gray mouse with a long tail.
+
+Choose a large pussy-willow for this mouse, ruffle the fur up on top of
+the head and it will look like ears. The head is at the small end of
+the pussy. Paste one end of a piece of cotton string under the large
+end of the mouse, and that will be his tail. The string should be white.
+
+[Illustration: Fig.42 - Jumping Pussy-Willow Game-Board.]
+
+Finish by pasting the mouse to a round or square piece of pasteboard.
+
+
+Jumping Pussy-Willows--a Game
+
+This is a good game and it will make you laugh to see the pussies leap
+up in the air, sail along a short distance, and land on a numbered
+square of the game-board.
+
+The board (Fig. 42) should be ten or twelve inches square. Cut it from
+a flat, even box lid or any other pasteboard you happen to have. Draw
+straight lines from top to bottom about one inch apart, then more
+straight lines from side to side one inch apart. This will divide the
+board into squares like a checker-board. Each of these squares must
+be numbered and you can draw or paste them in. Fig. 42 shows how the
+game-board should look.
+
+To play the game, lay the board down on a flat surface, a stone will
+do if you are out-of-doors, or even the ground; and a table, if in the
+house. In front of the board draw a short line for the starting-post.
+The line should be ten or more inches from the board according to the
+distance you can make the pussies jump. Any number of players may join
+in the game and each player should have his own jumping pussy.
+
+[Illustration: Fig.43 - Place your finger on the Pussy-Willow and make
+it jump.]
+
+Fig. 43 shows how to place the pussy under the tip of your right
+forefinger, with the large, blunt end standing a little out beyond the
+finger-tip. When ready to shoot, press down suddenly on the pussy and,
+as your finger slides off the small end, away jumps pussy and lands
+on a square of the game-board. Each player plays in turn, always, of
+course, placing the pussy on the starting-line when shooting. The
+player whose pussy lands on the highest number wins the game. Jumping
+pussy-willow can also be played by dividing the players into two even
+sides; then the side which has the highest score, after the numbers won
+by them have been added up, is the winner.
+
+
+Pussy-Willow Bouquet
+
+A nice, big bunch of pussy-willows makes an attractive bouquet, and a
+very welcome one early in the spring. "The pussies are out!" we hear
+some one say, and then the boys and girls vie with one another in their
+effort to be the first to find and bring home branches of the little
+catkins as proof that spring has come and they were the first to see
+her.
+
+
+
+
+CHAPTER VII
+
+ARRANGEMENT OF FLOWERS
+
+
+THE arrangement of flowers is interesting and means a great deal. It
+means that this chapter will tell you what wild flowers look prettiest
+on the dinner-table and in bowls and vases in other parts of the house;
+what flowers and vines will keep fresh longest, and the kind that do
+not need water but are beautiful when dry. It means that you can learn
+not to force a tightly packed handful of all sorts of flowers into a
+small vase and expect them to look well. Flowers don't like crowding
+and are quite particular about their associates.
+
+If you come in hot and tired after your walk, put the flowers you have
+gathered into a pail of fresh water and let them stay there until you
+have rested and are ready to sort them out and make each kind look its
+very best. All flowers do not appear well in stiff, straight vases; all
+do not look well in bowls. That is the first thing to learn, and the
+next is that while some flowers seem to smile upon and nestle lovingly
+up to some others, there are kinds that they seem to draw away from
+and frown upon. Only a few examples can be given here. If you love the
+flowers you will find out more for yourself.
+
+
+The Wild Morning-Glory
+
+In your walks through the fields and along the country roadsides have
+you ever noticed the wild morning-glory? Of course, you have seen it
+and, perhaps, gathered some blossoms, only to find them in a short time
+wilted in your hand or turned into little, long bags, puckered at the
+top as if drawn up with a string.
+
+[Illustration: Fig.44 - This is the way the Wild Morning Glory looks.]
+
+When I say noticed, I mean have you thought about the flowers while you
+looked at them? Have you noticed their shape and beautiful color, and
+have you seen the great difference between the green leaf of the wild
+morning-glory and that of the cultivated one?
+
+The wild morning-glory leaf (Fig. 44) is more beautiful in shape, the
+vine is more graceful, and the blossom just as lovely as the cultivated
+morning-glory, and all this beauty need not be left behind when you
+gather the wild flowers which are to make the rooms of your home
+charming.
+
+While I write this, July 7, there stands on a table in our living-room
+a tall glass vase, wide at the top and holding plenty of water. It is
+filled with a mass of wild morning-glory-vines, and there are four new,
+entirely open, pink and white blossoms while others are just twisting
+open.
+
+[Illustration: Fig.45 - The Wild Morning Glory blossomed after it was
+gathered.]
+
+Four days ago, when out for a walk in the country, I gathered the vine
+by the roadside where it grew in the company of daisies, buttercups,
+and wild mustard. Lifting themselves up into the light, where the
+warmth of the morning sun could open the buds and where the leaves
+could breathe in the fresh air, some of these trailing vines had wound
+themselves in masses around tall, strong weed-stalks.
+
+I gathered the vines, weed-stalks and all, breaking them off close to
+the ground; and now these stalks hold most of the vines upright in the
+vase, while other sprays droop gracefully over the edge and hang down
+almost to the table-top. Only one or two flowers were in bloom when I
+found the vines, but there were quantities of green buds which I hoped
+would open later, and that is just what they are doing. It is like
+having wild flowers growing in one's window. And as for decoration,
+nothing can be more beautiful (Fig. 45).
+
+Trailing vines always make pretty decorations, and many wild ones keep
+fresh a long while when given plenty of water. Some have flowers, some
+have not, but in any case they are worth gathering when you have large
+vases to fill.
+
+
+The Wild Balsam-Apple
+
+or as some people call it, the wild cucumber, is very decorative.
+That means it has beautiful curves and twists, and its small, white
+flowers, prickly, egg-shaped fruit, and long tendrils twisted spirally,
+like a steel watch-spring let loose, make us love to look at it. The
+leaves are pretty, too, being shaped almost like a five-pointed star.
+Sometimes this vine is cultivated and you will find it trained up on
+strings to shade the porch, or over the kitchen-door of a farmhouse.
+Wherever you find it, it is beautiful. A large jar filled with sprays
+of the wild balsam makes a good centrepiece for the table, or a tall
+vase holding some upright and some drooping sprays looks very pretty
+when placed near a window where the light will fall on it. Do not mix
+other flowers with it, its own blossoms are sufficient.
+
+
+Wild Clematis
+
+The wild clematis is another beautiful vine, and you will find it
+clambering over fences and bushes along the country road. Its masses of
+white flowers fill the air with a sweet, spicy perfume that delights
+you.
+
+You can gather the clematis when it is in blossom, and keep it fresh in
+water for some time if you put it in root ends down. This vine does not
+wilt as you carry it. Later in the season, when the white flowers have
+turned into balls of silvery fringe, the vine is lovely in a different
+way. Then you can gather great armfuls and take it home to hang over
+mirrors or picture-frames, letting it become quite dry. It is best to
+strip the leaves off the sprays at first because they are not beautiful
+when dry. In a day or two after hanging up your clematis the balls of
+fringe will become a mass of soft down which will cling to the vine for
+many weeks. Later, when it becomes dusty, take it down.
+
+
+Bittersweet
+
+Then there is bittersweet, another wild vine that we gather in the
+fall. It covers fences and bushes as the clematis does, but instead
+of turning into fringe balls its small, creamy white flowers become
+bunches of berries.
+
+The berries are yellow at first; when ripe they split open and curl
+back to show the brilliant red seeds inside that look like coral beads.
+
+Gather the bittersweet while the berries are yellow, strip off the
+green leaves, and hang the vine up dry or put it in a large vase
+without water. Then the berries will open and last all winter.
+
+
+Snapdragon and Wild Carrot
+
+Both of these are pretty flowers and worth gathering. The snapdragon
+(perhaps you call it butter-and-eggs) does not mind at all where
+it grows. Field, roadside, or even the village streets may be its
+home, but wherever it lives, it makes the spot shine joyously with
+its stalks of yellow blossoms. Snapdragons combine well with the wild
+carrot, whose other name is Queen Anne's lace, and together they make a
+delicate and beautiful bouquet.
+
+If you have a large glass fish-globe fill it with fresh water, and put
+in the snapdragon and wild carrot in a loose bouquet. Nothing could be
+prettier for the August lunch-table than this.
+
+
+Wild Roses
+
+look best in a low glass bowl, for they have no stems to speak of.
+Short-stemmed flowers do not belong in tall vases. The roses wilt
+quickly out of water and should have plenty of it.
+
+Do not put any other kind of flowers in the bowl; the roses won't
+like it; neither will you when you see how much better they look by
+themselves.
+
+
+Daisies and Buttercups
+
+so friendly in the fields, look pretty when arranged in a deep jar
+together, but I would not mix daisies with any other flowers, unless it
+is the lacy wild carrot. Buttercups look well with the carrot, too, and
+buttercups look pretty mixed with grasses. You see they all know each
+other very well, growing in the fields together.
+
+
+The Wild Flag, or Iris
+
+whose home is along the banks of ponds and small streams, should be
+put into a tall clear glass vase or pitcher, where its stems will show
+through, that it may look its best.
+
+There is the yellow iris, the white and the purple, and they are
+very beautiful when combined but not crowded. Always put some of the
+long-spiked leaves in with the flowers.
+
+
+Clover Bouquets
+
+Clover bouquets make delightful centrepieces for the table. Arranged
+loosely with its own green foliage, the rose-colored clover is
+especially beautiful in a clear, green glass bowl of water. The sprays
+should be brought over the edges of the bowl, and allowed to droop
+down, resting partly on the table.
+
+Yellow clover and its foliage mingled with white clover makes a
+charming combination as a bouquet for almost any occasion. The name of
+the yellow clover is hop-clover. It is not as common as the other kinds.
+
+
+Green Bouquets
+
+When there are no flowers to be had you can have bouquets and
+centrepieces of green leaves, ferns, and vines, and you will be
+surprised to find what pretty ones can be arranged and how much they
+will be admired.
+
+Ferns will wither soon unless taken up with the roots and the soil
+surrounding them; but if they have the roots and soil they will last
+a long while, provided you put them in a bowl or jar and keep them
+_always wet_. That does not mean to water them as you would any other
+growing plant, but to keep them _standing_ in water _all the time_.
+Maidenhair-fern kept in this way makes a delicate and beautiful
+centrepiece for the table.
+
+Sometimes you will find varieties of foliage that are full of color. In
+early summer the young leaves of the scrub-oak are very brilliant in
+reds and yellows, and I have made bouquets of nothing but leaves from
+the rose-bushes. These are often tinged with red and purple. Sprays of
+the barberry-bush with its rows of dangling red berries are pretty in
+a green bowl. Be careful of the thorns when you gather this. Cut the
+stems; do not try to break them.
+
+
+
+
+_PART II_
+
+GRASSES
+
+
+
+
+CHAPTER VIII
+
+FAIRY-TREES MADE OF GRASSES
+
+
+SOME of our grasses appear like very large trees to the little grass
+fairies who, we like to pretend, hide in their midst; while other
+grasses, with their jointed, bamboo-like stems, seem to these tiny
+people to be tall forests of real bamboo.
+
+Why not play that you are a little fairy and live among the grasses?
+But to see the grasses as the fairies see them you must lie down and
+bring your eyes very near the ground; so stretch yourself out flat,
+face down, with your head lower than the grass tops; then look steadily
+ahead through the tall grass stems. What do you see?
+
+The five fairy-trees standing by themselves in Fig. 46 are four
+short-stemmed tops of the Scribner's panic-grass. Fig. 47 shows
+exactly how the grass looks before you pick it, and Fig. 48 gives a
+simple design that you can make by placing the tips of the four grass
+tops together, allowing the stems of two heads to lie in a straight
+horizontal line (that means a line running from left to right), and the
+stems of the other two heads to lie in a straight line vertically (that
+means up and down).
+
+While you are playing with the grasses you can begin to learn something
+about them. The beard-grass, which some people call the little
+blue-stem (Fig. 49), has near relatives named forked beard-grass and
+bushy beard-grass. These are stiff and angular, with bamboo-like stems,
+just the thing for trees in a little Japanese garden which some time
+you will want to make. You may run across them anywhere, for they are
+common in all parts of our country.
+
+[Illustration: Fig.46 - Trees of Scribner's Panic-Grass.]
+
+[Illustration: Fig.47 - Scribner's Panic-Grass as it grows, Panicum
+Scribnerianum.]
+
+Make friends with these and with other grasses. As you find them learn
+their names just as you would learn the names of new playmates. Take
+the grasses home, show them to your father and to your mother; if they
+do not know their names, carry them to school and ask your teacher
+about them. In case she cannot tell you, go to the public library with
+your grasses and persuade the librarian at the desk to help you find
+their pictures and names in some of her books. All grasses have names,
+so [Illustration: Fig.49 - You will run across these anywhere.] keep
+asking and hunting until you know what to call them. When you know
+their names you will be glad to see your friends, the pretty green
+grasses, whenever you find them.
+
+In Chapter XVIII, which tells how to make a burdock-burr house, you
+will find more about grasses.
+
+[Illustration: Fig.48 - Scribner's Panic-Grass. Design made of four
+grass heads.]
+
+
+
+
+CHAPTER IX
+
+A HOUSE MADE OF GRASS
+
+
+REAL people live in grass houses way off in the Philippine Islands.
+That is, their houses are made of bamboo, which is a kind of giant
+grass. It must be a pretty airy, comfortable house in summer, and it is
+always summer in the Philippines, but we never see that kind of houses
+here. One reason is because in most of our country a grass house would
+be very cold in winter, and another reason for not building them is
+because the bamboo grows only in the extreme south, and even down there
+people want more substantial homes.
+
+A prettier playhouse, though, could not be devised, and if you could
+see a Filipino house you would want it immediately, but since you
+cannot have a real one you can have the fun of making a little doll
+Filipino house, and of making it exactly as the little brown Filipino
+men make theirs. Suppose you gather some grass and twigs now, and build
+the little house for your doll.
+
+Some of the queer little people whose home is in the Philippine Islands
+perch their houses like birds' nests up in the trees, but often they
+are built on stilts to lift them high from the ground. Our little house
+(Fig. 50) shall be on stilts. We will make the floor first. If you do
+not understand how to measure by inches, ask an older person to help
+you.
+
+
+The Floor
+
+Find two straight, round sticks, not quite as large round as a
+lead-pencil. The sticks must be cut six and a half inches long, then
+two sticks of the same kind five inches long; after that there must be
+six more sticks five inches long. Split these last six sticks in half
+lengthwise.
+
+The Philippine people do not use nails, or screws, or glue, and not
+even wooden pegs, in building their houses; they bind and tie the parts
+together with rattan, and as we are going to build just as they do we,
+too, will tie the parts of our house together, but will use raffia in
+place of the rattan.
+
+[Illustration: Fig.50 - The little Grass House you can make.]
+
+Hold one of the six-and-a-half-inch sticks (letter J, Fig. 51) upright
+in your hand while you cross it a short distance below the top with a
+five-inch-round stick (letter K, Fig. 51). The distance from the top
+of the upright stick to the crossing and the distance from the short
+end of the other stick to the crossing must be the same.
+
+[Illustration: Fig.51 - Begin binding them together.]
+
+[Illustration: Fig.52 - Carry the raffia over and between the two ends
+of the sticks.]
+
+Begin binding them together as shown in Fig. 51. Then carry the raffia
+(string will do if you cannot get raffia) over and between the two
+ends of the sticks (Fig. 52), and wind it opposite ways several times
+around the sticks, bringing the raffia between as well as over them.
+This will lash them firmly together. Now turn this beginning of your
+floor around so that the short stick will be upright and the long one
+extend from side to side. Do not let the binding loosen; hold it tight
+and cross the long stick with one of the split five-inch sticks (Fig.
+53). Be sure that the flat side of the split stick is next to the
+long stick, and that you leave a slight opening between it and the
+first crosspiece. Pull the raffia tight and bind it over this second
+crosspiece (Fig. 54), then back, crossing it as in Fig. 55.
+
+[Illustration: Fig.53 - Turn the sticks, bringing J in horizontal
+position.]
+
+[Illustration: Fig.54 - Bind raffia over second stick.]
+
+[Illustration: Fig.55 - Then bring raffia across front of second stick.]
+
+Bind on the next split crosspiece in the same way, and go on adding
+crosspieces until they reach almost to the end of the long stick, then
+let the last crosspiece be the second unsplit five-inch stick. When
+all the short crosspieces are properly bound onto the long stick,
+bind the other six-and-a-half-inch long stick under the opposite ends
+of the crosspieces in the same way, and just as carefully (Fig. 56).
+This makes the floor and we must lash it to the stilts, which are four
+upright sticks, each seven and one half inches long. Fit the stilts in
+the outside corners made by the crossing of the end and side sticks of
+the floor, and, holding the floor about four and a half inches above
+the lower ends of the stilts, bind floor and stilts together (Fig. 57).
+Of course you can put the stilts on only one at a time.
+
+
+The Walls
+
+Make the framework for the walls by binding and tying onto the stilts
+near the top two sticks, each six and a half inches long, one stick on
+each side. Across these sticks, from stilt to stilt, at each end, bind
+a five-inch-length stick (Fig. 58).
+
+[Illustration: Fig.56 - Make the floor this way.]
+
+
+The Roof
+
+To support the roof there must be two upright sticks, each seven inches
+long, and these sticks must be bound and tied to the middle of the end
+sticks of the floor and the end sticks of the wall. They are lettered L
+and L in Fig. 59
+
+[Illustration: Fig.57 - Lash the floor to the stilts.]
+
+[Illustration: Fig.58 - Bind on four more poles making framework for
+walls.]
+
+Fig. 60 shows the framework of the house without the bindings, so
+that you may see exactly how the sticks are put together. There is
+a ridge-pole which forms the top ridge of the roof. This must be a
+stick about seven inches long, and it is to be tied to the uprights
+lettered L and L that you have just fastened on the two ends of the
+house. (See Fig. 59, L and L.) Four other sticks, M and M and N and N,
+long enough to reach from the ridge-pole, crossing above it, to the
+side crosspieces of the wall, you must tie to the ridge-pole and the
+side-wall sticks, placing them slanting, as you see them in Fig. 60, at
+each end.
+
+
+The Porch
+
+Like many other people, the Filipino wants a porch to his house.
+Perhaps he sits there to smoke his curious little pipe, which is not
+much larger than the one you make of an acorn. I have never seen him
+on his porch, but I have seen him smoke and afterward tuck his pipe
+away in his long, fuzzy hair, where it remained in safety even while he
+leaped and pranced about in the wild dance he loves so much.
+
+[Illustration: Fig.59 - End poles are added to hold up the roof.]
+
+[Illustration: Fig.60 - This is the way the house is put together.]
+
+But we must not forget the porch. If the Filipino has one to his
+house, we must have a porch to ours. We won't make it separately and
+add it to the part already built, but, as the Filipino does, we will
+use part of the house-floor for the floor of the porch, and let the
+roof cover that as well as the house. To do this we must separate the
+house part from the porch part by putting up two more uprights, one on
+each side, a little way back from the front of the house, and these
+uprights will form the boundary-line. Letters O and P in Fig. 60 are
+these last uprights, the sticks which form them being long enough to
+reach from the wall side-piece to the floor, and extend a little above
+and below where they cross the upper and lower sticks.
+
+[Illustration: Fig.61 - Fresh grass instead of palms over one side
+wall.]
+
+[Illustration: Fig.62 - Strips of wood to bind down the grass on wall.]
+
+
+Thatching
+
+Now we come to the real grass part of the house, for we have had to
+use small sticks for the framework instead of bamboo, and where the
+Filipino uses palm-leaves we will use grass.
+
+Gather some long, coarse, fresh blades of grass for thatching both
+the roof and walls, and begin with the walls. Bunch the grass evenly,
+the stem ends all together, bend the bunch at the centre, then spread
+it out at its centre, and hang it thickly over one side-wall beam,
+which is the upper stick (Fig. 61). Have the stem ends inside the house
+hang down as long as the tip ends on the outside, and let the outside
+ends hang down below the edge of the floor; then take a flat strip of
+wood and place it near the top of the grass-covered wall, bend the
+ends a little and slide them back of the uprights (Fig. 62). Smooth
+the grass down evenly and put in another flat stick, this time at the
+bottom (Fig. 62). If you want the inside of the house as perfect as the
+outside, slide in two other strips on the inside of each wall to hold
+the grass down. Fig. 62 shows the grass partially trimmed off to make
+it even at the bottom.
+
+[Illustration: Fig.63 - Pole rafter being thatched for roof.]
+
+[Illustration: Fig.64 - Shows exactly how the raffia is tied.]
+
+[Illustration: Fig.65 - Hang grass over ridge pole of roof.]
+
+To thatch the roof you will need two more sticks for rafters. Over one
+stick, near the end, tie a bunch of grass into a tassel, using a piece
+of raffia to bind it; hang more grass over the stick or rafter, and tie
+it into another tassel, and with the same piece of raffia tie a third
+tassel (Fig. 63). Fig. 64 shows exactly how the raffia is tied. Make
+the tassels rather thick and put them close together so that there
+will be no space between.
+
+When this rafter (the stick) is covered with thatch lay it across the
+side of the roof half-way between the ridge-pole (top stick on the
+roof) and the stick forming the side wall of the house, and tie the
+ends securely to the slanting sticks of the roof. Thatch another rafter
+and fasten it on the opposite side of the roof, then cover two shorter
+sticks with thatch and tie one across the front, the other across the
+back peak of the roof on a line with the thatched rafters on the sides.
+
+Fasten more thatch at the front and back peak of the roof, tying it
+to the ridge-pole, also to the two slanting sticks. Allow the grass
+to hang down far enough to cover the top of the thatch below it (Fig.
+50). This thatch must entirely fill up the ends of the roof made by the
+peak. Now hang grass over the ridge-pole at the top of the roof as you
+would hang your doll's little sheets on your toy clothes-line (Fig.
+65), and bring the ends down over the thatched rafters on each side of
+the roof. Hold this top thatch in place by laying sticks across the
+grass just below the ridge-pole on each side of the roof. Bind and tie
+these sticks at each end to the framework of the house (Fig. 50).
+
+If grass cannot be had for thatching, soak hay in water to make it
+soften and take the stiffness out, then use that. Raffia dyed green
+might do, or should all else fail, take fine broom-straws softened in
+hot water for the thatch, and use loosely twisted string for binding
+and tying. Of course the string should not be white, but you can dip it
+in coffee and dry it; the color will then be like the color of rattan.
+
+
+The Ladder
+
+The spry little Filipinos use ladders instead of stairs to reach their
+living-room, so we must make a rustic ladder for our house.
+
+Cut two slender sticks about six and one-half inches long for the
+sides; then cut seven or eight short sticks for the crosspieces or
+rungs. The rungs should be one and three-quarter inches long. Bind
+and tie the ends of the rungs to the side sticks (Fig. 66), placing
+them about three-quarters of an inch apart. The ends of the rungs must
+cross the side sticks and extend out about one-quarter of an inch. If
+properly tied, your little ladder will be firm and strong.
+
+[Illustration: Fig.66 - The ladder will be strong and firm.]
+
+Place the ladder one end resting on the ground, the other end on the
+front edge of the porch, then stand off and admire your work. It is
+certainly worth admiring, for the house will be a perfect miniature
+Filipino home, and you may imagine you can see tall cocoanut-palms and
+many other strange and beautiful trees and plants that grow in the hot
+Philippine Islands. You might copy some of these with grasses and small
+flowering wild plants.
+
+If you have a Noah's ark it will be a good idea to select some of
+the animals that live in the Philippines and put them in the little
+rattan and bamboo jungles which you have made of grasses. A piece of
+looking-glass or plain window-glass can represent water not far from
+the house, and here you should have a crocodile sunning himself on the
+bank. Let a wild boar be plunging out of the jungle, and deep in the
+bamboo grove you might hide the tremendously large snake called a boa.
+I don't think there will be a boa in your Noah's ark, but you can make
+one of bread dough, or of clay. With all these dangerous creatures
+prowling round, do you think it strange that the Filipino people put
+their houses on stilts?
+
+If this were a real house in the real Philippines you might see a
+number of natives, wearing little or no clothes, coming toward you
+bringing small snakes which they had caught to sell in the towns for
+rat-catchers. And near the house there would be most wonderful flowers,
+some of them orchids, the flowers that live on air; while all around
+would be strange and rare birds.
+
+At one side of the house, some distance away, there would, perhaps, be
+a wet rice-field where the queer water-buffalo, called a carabao, would
+be drawing a strange-looking plough, the driver, a little brown man,
+wearing an immense umbrella-like hat woven of palm-leaves.
+
+Listen! Do you hear that deep, booming sound? It comes from the
+peculiar tree which a native is striking with his big club in slow,
+heavy blows on one of its immense, wall-like roots. The sound goes
+rolling far over the land, telephoning to other natives that white
+people are coming.
+
+
+A Doll Filipino Woman
+
+To make the little house seem more real, dress a doll in genuine
+Philippine costume and stand her near the ladder with arms extended as
+if in welcome. The dress must be a white waist with flowing sleeves,
+a light-colored skirt, a large gay handkerchief, called a _pañuelo_,
+folded around the doll's neck, and an overskirt made of a square of
+dark cloth drawn tightly around her body from waist to knees. No
+stockings are needed, but you can give her heelless slippers with only
+a narrow strip over the toes to keep them on.
+
+
+
+
+CHAPTER X
+
+GRASS DRESS AND GRASS HEAD-DRESS
+
+
+LOOK at the little girl in the photograph who is wearing her new grass
+dress made of the wavy hair-grass and playing that she is a wood-nymph.
+She feels very proud and is greatly pleased with her pretty costume.
+
+[Illustration: Fig.67 - Bring the long end of string across front of
+second bunch and form loop A.]
+
+[Illustration: Fig.68 - First loop, A, on front of grass and string
+passed around back of grass forming second loop, B.]
+
+[Illustration: Fig.69 - String brought forward again and slipped
+through first loop, A.]
+
+Almost any kind of long, slender grasses can be used for a dress of
+this kind, but you must gather an armful or more. It takes a good deal
+of material, for the fringe must be close and thick. [Illustration:
+She is greatly pleased with her pretty grass costume.]
+
+Divide the grass into bunches, each bunch about as thick as your thumb,
+and have the heads of all the grasses together at one end of the bunch,
+and the stem ends together at the other end.
+
+[Illustration: Fig.70 - Use a strong string for tying the grass fringe.]
+
+Tie a strong string around the stem ends of one bunch. Hold this tied
+bunch under your left arm, stem ends to the front, and take up another
+bunch (Fig. 70). Bring the long end of the string across the front of
+the second bunch and form a loop (A, Fig. 67). Hold the loop while you
+pass the string around the back of the bunch (Fig. 68), then slide the
+end through the loop A, Fig. 69. Draw this loop-fastening very tight
+and it will hold. Now place the second bunch under your arm with the
+first bunch, and make a loop-fastening around the third bunch. Keep
+on adding bunches of grass in this way, always drawing the last bunch
+close to the one before it, and holding them all together under your
+arm as in the photograph (Fig. 70). In this picture the grass bunches
+are purposely left far apart that you may see exactly how to make the
+fringe.
+
+[Illustration: Fig.71 - Bristle-spiked Cyperus grass used for
+head-dress. See photograph.]
+
+The grass dress will be finished when you have made a strip of fringe
+long enough to reach around your waist, for the skirt--it needs no
+waist--is really only a fringe of grasses to be worn over a light
+summer dress.
+
+
+Grass Head-Dress
+
+The grass head-dress to be worn with the wood-nymph skirt is quite as
+wild-looking, but is simply a band of grasses, with bunches of the
+bristle-spiked cyperus grass (Fig. 71) hanging downward on each end.
+The band goes across over the top of the head, and the grass side
+ornaments fall over the ears.
+
+Wear the grass costume and carry a light branch of green leaves in
+each hand when you give your next outdoor fancy dance, or take part in
+outdoor tableaux where you could represent either a wood-nymph or the
+spirit of the grasses.
+
+
+
+
+_PART III_
+
+GREEN LEAVES
+
+
+
+
+CHAPTER XI
+
+OAK-LEAVES
+
+
+TO dress up and pretend is something every little girl, and boy too,
+for that matter, likes to do, and there is no better place for having
+this kind of fun and no greater storehouse for dress-up material than
+the wide, sunny fields and green, shady forest on a summer's day.
+
+[Illustration: Fig.72 - The Robinson Crusoe Hat.]
+
+If you want to be a wood-nymph, a fairy, or a pioneer; if you would
+be a fashionable lady decked in jewels rare, or a rollicking cowboy,
+or Robinson Crusoe, it is all the same to Mother Nature's department
+store. Fields, Woods & Co. can furnish all you need. If the goods are
+not always ready to wear, they are at least ready to be made up into
+what you want.
+
+Why, you can even be a little savage and wear a skirt made of a fringe
+of long grasses, like the wood-nymph's dress, and bracelets of slender,
+golden-brown rootlets, if that pleases you; all the materials are ready
+to your hand. And you can make a
+
+
+Robinson Crusoe Hat
+
+of the large leaves of the scrub-oak--a pretty and becoming hat and
+one that will keep your head cool though you walk under the hottest of
+noonday suns.
+
+The photograph given here shows one little girl who likes immensely to
+wear her Crusoe hat, and Fig. 72 shows just how the hat looks when not
+on her head.
+
+It won't take more than five minutes to make the hat, but first you
+must gather the leaves. Ordinary oak-leaves are too small to use; it is
+on the scrub-oak that you will find them large enough. The scrub-oak
+grows low, like a bush, and the leaves will be quite within your reach.
+Like a good shopkeeper, this kind of oak shows his customers leaves of
+various sizes, but it is the very largest that you must take, and only
+the ones that are dark-green in color. The pretty new light-green or
+brownish leaves will soon wilt and curl on the edges, while a hat made
+of the older, tougher ones will last in good condition several days if
+left out in the dew at night or kept damp in the house.
+
+[Illustration: The Robinson Crusoe Hat is pretty and becoming.]
+
+The number of leaves needed depends upon the size of the leaves and the
+size of your head. It is well to have at least a dozen and a half; then
+you can select the best. The largest leaves are not always perfect,
+but unless very much torn or eaten away by insects they will answer.
+To gather all you need you will probably have to visit several of the
+little scrub-oaks.
+
+If you are at home when you make your hat, use broom-straws to pin the
+leaves together; if you are in the woods find some smooth, slender
+twigs, break them in short pieces, and they will take the place of the
+straws.
+
+Begin by pinning two leaves together as they are in Fig. 73. These
+leaves are lettered U and V. You see that U is lapped over V and then
+pinned to it in two places, first near the stem and then through the
+lower side lobe. The next leaf would be letter W, and W would be pinned
+to U just as U is pinned to V. Make the stems meet at the top and keep
+adding leaves, pinning one to another, until the hat is large enough to
+fit your head comfortably, then pin the last leaf to the first.
+
+[Illustration: Fig.73 - Pin the leaves together in this way.]
+
+Do not make the hat too flat; if you find it flattening out, lap the
+leaves over more at the bottom. When finished it should be shaped like
+Fig. 72.
+
+
+Oak-Leaf Mask
+
+Among other frolics in the woods you can have a masquerade--a real
+one, where you wear a mask, and that mask made of one of the largest
+leaves of the scrub-oak. Not even a pair of scissors will be needed to
+make this mask, and it is a funny one too (Fig. 74). See the turned-up
+eyelids and the wide nose tilted at the end.
+
+When you have found a leaf large enough (the one in the drawing was
+nine inches long and seven inches wide) use your thumb-nail to cut out
+the eyes and nose. The outlines at the top of Fig. 74 show how to shape
+them, and the dotted lines show where they are bent up.
+
+[Illustration: Fig.74 - The Oak Leaf Mask.]
+
+There is no mouth, none is needed, for the leaf, below the nose, drops
+down loosely over your mouth like the curtain on a mask one buys at a
+shop. The oak-leaf mask will stay on your face if you wet the under
+parts of each side and stick them to your cheeks.
+
+Another way to make the mask is to turn the leaf around, stem down,
+and then cut the eyes and nose in the wide part, leaving the narrower
+stem end for a long chin. This kind you can hold in front of your face
+by taking the stem in your hand. It requires so short a time to make a
+mask that when one wears out or is lost you can have another to replace
+it in a minute or two.
+
+[Illustration: Fig.75 - The little Oak Leaf Dog.]
+
+[Illustration: Fig.77 - This shows how the dog was made.]
+
+[Illustration: Fig.76 - The leaf the dog was made of.]
+
+
+The Little Oak-Leaf Dog
+
+He has the funny expression of a real dog when he is making up his mind
+what to do next, even if he is only an oak-leaf. It was an ordinary
+leaf four inches long which was, by tearing a little here and bending a
+little there, transformed into his absurd dogship (Fig. 75).
+
+Fig. 76 is the tracing of the leaf actually used for the dog. Fig. 77
+shows the same leaf with its stem nipped off and the other end torn up,
+not very evenly, where the dotted lines are in Fig. 76. This makes the
+little dog's tail. The tear on either side reaches to the mid-rib of
+the leaf, but does not cross it, and the mid-rib being unbroken holds
+the tail out stiff and straight.
+
+The two hind legs are bent down just where the tear ends in making
+the tail. The dotted line in Fig. 77 shows this. The other two legs,
+formed by the side lobes of the leaf, are bent down as the dotted lines
+indicate. The tip of the lobe on the left side had to be torn off
+because that leg was longer than the opposite one.
+
+In making the neck the narrow part of the leaf was bent up and then
+down, the two dotted lines show where. Then the ears were bent up and
+the little oak-leaf dog was placed standing as you see him in Fig. 75,
+to have his picture drawn.
+
+
+
+
+CHAPTER XII
+
+GRAPE-LEAF DRINKING-CUP
+
+
+A WILD-GRAPE leaf will do quite as well as a cultivated one for a
+drinking-cup if it is large enough. You want a large leaf, because a
+small one will hold only a sip of water, and when one is really thirsty
+that is certainly not enough.
+
+Whether wild or cultivated, the grape-leaf should be washed in clean
+water to take off dust and any possible insects that may be on it.
+Where there is water to drink there is water for washing the leaf,
+so there can be no difficulty about that, and the large green leaf,
+freshened by the water, looks very cool and inviting.
+
+It is simply a matter of folding, first one way, then the other, that
+turns the grape-leaf into a cup. Fig. 78 is a tracing of the leaf from
+which the cup (Fig. 79) was made. It measured eight inches at its
+widest part, almost seven inches from tip to stem, and the cup held a
+good supply of water.
+
+Begin to fold by bringing the two lower lobes of the leaf together in
+the way shown in Fig. 80. This makes the middle bend that is indicated
+by the dotted line in Fig. 78. Then bring the two lobes around to the
+left, or to the right if that comes easier, hold them close together
+and lap them over the upper lobe on that side. That makes the two side
+bends which join at the middle bend (Fig. 78), and rounds the cup into
+shape.
+
+[Illustration: Fig.78 - The drinking cup was made of a leaf like this.]
+
+[Illustration: Fig.79 - A fine drinking cup made by folding a Grape
+leaf.]
+
+[Illustration: Fig.80 - Bring the two lower lobes of the leaf together.]
+
+The bottom of the cup is pointed, as you see, and, of course, will not
+stand; then, too, the cup falls apart when you loosen your hold, but
+neither of these things are of any consequence, for you can let your
+cup lie flat and fold it again very quickly when it is needed. As
+long as the folds are held tight in your fingers, the cup will keep
+its shape and hold water without leaking a particle. Use the upper, or
+green, side of the leaf for the inside of the cup; the under, or light,
+side is fuzzy and may harbor small insects even after it is washed. Be
+sure you look into the water before drinking it. This should be done no
+matter what you drink from or where you get the water.
+
+
+
+
+CHAPTER XIII
+
+GREEN-LEAF DESIGNS
+
+
+Beech-Leaves
+
+REMARKABLY pretty designs can be made entirely of green leaves; also
+with leaves and their seed-pods, their nuts and berries. You can press
+a design of leaves alone, but one having seed-pods, berries, or nuts
+cannot be pressed. It is fun to make it, even if it cannot be preserved
+by pressing, and you will like to do it.
+
+[Illustration: Fig.81 - Two twigs broken off a Beech Tree made this
+design.]
+
+Fig. 81 is the drawing of a charming design made of two twigs broken
+off a beech-tree. On one twig were two beechnuts in their pretty green,
+spiky outer shells; on the other was just one nut. Each twig had three
+leaves. Nothing was cut off and nothing was added for this design; the
+twigs were used exactly as they came from the tree. The stems were
+simply crossed, with the lower leaf of one twig falling over the stem
+of the other twig, and that finished it. The easiest thing in the world
+to do if you happen to think of it.
+
+
+Violet-Leaves
+
+There is one thing about the green leaves of the violet which makes it
+a joy to use them in a design, and that is, the stems are so pliable,
+so easily bent and curved, you can do almost anything with them.
+
+[Illustration: Fig.82 - Design made of Violet leaves.]
+
+See how the stems add to the beauty of the violet-leaf design Fig. 82.
+
+[Illustration: Fig.83 - The stem curves naturally.]
+
+[Illustration: Fig.84 - Under side of the small leaf in the design.]
+
+The curve of the stem of Fig. 83 is a natural one for it to take, and
+you can probably find a leaf with its stem curved very much like it,
+but it is another thing to come across one of the same size which has a
+stem curved in the opposite direction, and such a stem is necessary for
+a design like Fig. 82.
+
+Very well! Since the stem does not naturally curve the way we want it,
+we will make it do so. All we have to do is to draw it through our
+fingers several times and, by pressure, gently persuade it to turn as
+we wish.
+
+Fig. 84 is the under-side of the small leaf at the bottom of the design
+(Fig. 82), and shows how the stem loop above the leaf was made.
+
+[Illustration: Fig.85 - This is the way the curling Ground-Pine grows.]
+
+First a violet-leaf with stem curved like the one in Fig. 83 was laid
+down on a sheet of paper, then another leaf of the same size, with stem
+_made_ to curve in the opposite direction, was placed beside but not
+touching the first leaf, and with its stem crossing the other stem. The
+two stems meeting at the bottom formed a pear-shaped loop. The small
+leaf, after its stem had been formed into a loop and the end tucked in
+at the back, was fitted on top of the stems of the large leaves, as you
+see it in Fig. 82.
+
+[Illustration: Fig.86 - Beautiful, tiny, green Pine-Tree made of a
+curling branch of the Ground-Pine.]
+
+Violet-leaves are seldom flat; they are apt to curl at the edges; some
+are so curled as to form little cornucopias. Choose the flattest you
+can find for a design like Fig. 82, and paste them to the paper with a
+touch of paste on the under-part of the tip and of the two lobes at the
+bottom of each leaf. Paste the stems down also with a touch of paste
+here and there.
+
+The violet-leaf design can be pressed.
+
+
+Ground-Pine
+
+Deep in the shadowy woods, often where pine-trees are growing, you
+will find the ground-pine. Clinging close to the ground, curling in
+feathery, green clusters on its vine-like root, it runs for yards over
+the surface, while its root, lying along the top, sends down slender
+rootlets into the earth. Push away the dry leaves or pine-needles that
+usually cover the root, and you can pull up long strips and soon gather
+enough to make the prettiest kind of festive decorations.
+
+Festoons of the ground-pine are very pretty on walls, stair-banisters,
+porch-railings, over picture-frames, and hanging from chandeliers, and
+this ready-made evergreen rope is as suitable for outdoor as for indoor
+decoration, as beautiful in summer as in winter.
+
+When you want to "dress-up" in the woods use the ground-pine for
+trimmings. Loop it over your skirt and make a wreath for your
+hair. Last summer at camp we used the ground-pine in this way and
+the little girls, arrayed for a dance, never looked prettier. For
+table decorations at camp and for decorating the tent doorways the
+ground-pine is charming.
+
+Fig. 85 shows how the short, curled clusters grow on the long root, and
+Fig. 86 gives a wee pine-tree made of one cluster picked off the root
+and planted in an outdoor doll's garden.
+
+This is what our American writer and poet, Ralph Waldo Emerson, said of
+the ground-pine:
+
+    "As I spoke, beneath my feet
+     The ground-pine curled its pretty wreath."
+
+
+
+
+_PART IV_
+
+CULTIVATED FLOWERS
+
+
+
+
+CHAPTER XIV
+
+PHLOX
+
+
+Phlox Tower and Phlox Design
+
+IN a great bunch of garden-flowers given me by a friend I found some
+pink-and-white phlox (Fig. 87), and from it I made first a
+
+
+Phlox Tower
+
+As you know, the blossom is trumpet-shaped and flares at the open end
+into five petals. The tube part is long and narrows to a point, so
+it is easy to push one flower into another. That is what you do in
+building the phlox tower. You pull the blossom off its stem and out of
+the little green calyx which holds it, then you push the end of the
+tube part into the round red eye in the centre of another flower as far
+down as it will go. Then you push another blossom into that one and
+build up until your tower is as high as you want it, or as high as it
+will stand without toppling over. A bud stuck in the top flower makes a
+good finish (Fig. 88).
+
+
+Phlox Design
+
+The design Fig. 89 was made by first putting three blossoms together,
+sticking one inside the other as for the tower, to form the long side
+sprays, and afterward arranging three blossoms below the side sprays
+and one above with their stems meeting at the middle, as they are in
+Fig. 89. On each side of the upper flower was placed a sprig of buds;
+then the tube part of a blossom was cut off and the petal part fitted
+in the centre of the design to cover the ends of the other flowers
+where they met.
+
+[Illustration: Fig.87 - Blossoms of the Phlox.]
+
+[Illustration: Fig.88 - Build your Phlox Tower like this.]
+
+The tube parts of three more flowers were cut away, and the petal parts
+arranged in the position shown in Fig. 89. This formed a scattered
+design quite different from any of the others made of flowers.
+
+Touches of paste on the under part held all the flowers in place. The
+phlox design is a good one to preserve by pressing.
+
+
+The Tiger-Lily Leopard
+
+[Illustration: Fig.89 - This phlox design should be pressed.]
+
+From the brilliant-orange tiger-lily, with its dark-brown or black
+spots, we are going to make a--tiger? No, a leopard. Tiger-lilies may
+have spots, but tigers, you know, are striped.
+
+It is really wonderful how much this little animal, made of parts of a
+beautiful flower and broom-straws, looks like the stealthy, prowling,
+wild creature which lives in Africa and Asia. The yellow coat of the
+live leopard is covered with black spots, and so is that of our flower
+leopard. The fierce living animal has a long tail that it moves slowly
+back and forth in anger or when it threatens to attack another animal
+or a man. Our little leopard also has a long tail which, if it does
+not really move, looks as if it were just going to. But while the live
+animal is ferocious and will kill, we can only pretend that of the
+tiger-lily leopard. Though he looks dangerous, he cannot even nibble a
+green leaf.
+
+The illustration of the tiger-lily given here is a drawing of the one
+from which the lily leopard (Fig. 90) was made. You will notice that
+at the right of the flower (Fig. 91) there is the stem and pistil of a
+blossom that has fallen apart.
+
+[Illustration: Fig.90 - The stealthy, prowling Leopard.]
+
+[Illustration: Fig.91 - The leopard is made from a Tiger Lily like
+this.]
+
+When we make the leopard we cut off this lily-stem close to the stalk,
+leaving the pistil attached, to use for the back-bone and tail. Four
+broom-straws, about an inch and a half long and sharpened at one end,
+we use for legs. The pointed ends of two of the legs are pushed into
+the stem at the front, and the other two in part of the pistil at the
+back, as shown in Fig. 92. That makes the skeleton.
+
+[Illustration: Fig.92 - This is the skeleton of the leopard.]
+
+[Illustration: Fig.93 - The leopard's spotted coat.]
+
+Now we have to fit on the skeleton the leopard's spotted coat. After
+pulling the perfect flower apart we select the petal best suited for
+this purpose (Fig. 93), and then take the curl partially out of it by
+pressing it down on the table with our fingers. The tip of the petal
+will have to be cut off because it comes down too far over the tail.
+
+The blunt end of the petal will be the leopard's head, and it can be
+rounded up and moulded with your fingers until it looks like the head
+of the leopard in Fig. 90. Small ears of bits of broom-straw, pointed
+at one end, we must stick in the head where they belong and then, in
+order to make the coat stay in place, we will pin it to the skeleton at
+the neck, in the middle of the back, and again at the tail, with fine
+broom-straws. So we have the little leopard complete.
+
+
+
+
+CHAPTER XV
+
+CULTIVATED FOXGLOVE
+
+
+Fairy-Caps
+
+[=Transcriber's Note:= Foxglove is poisonous. Do not play with
+foxgloves.]
+
+DO you know the cultivated foxglove with its tall spikes of
+thimble-shaped flowers, prettily spotted inside? (Fig. 94.) And do you
+know that these flowers will fit on the ends of your fingers like tall
+caps on the heads of little fairies?
+
+Perhaps there are foxgloves growing in your garden now. If there are,
+pick five blossoms off the stalk, selecting a large one for your thumb
+and a small one for your little finger; the others should be of a size
+in between these two.
+
+Turn these blossoms upside down and they at once become fairy-caps. Fit
+the caps on all five fingers of your left hand. Then on your fingers,
+just below the caps, draw little faces with pen and ink. Now you have
+five living, moving fairies who will do all sorts of things and be very
+spry about it (Fig. 95). They will nod at you joyously, they will bend
+low in solemn salute, and they will put their little heads together to
+plan some piece of mischief.
+
+They can be fairy children at school, if you like, with the short, fat
+thumb fairy for the teacher; and you can make the fairy pupils stand
+close together, shoulder to shoulder, then at a word from the teacher,
+separate and stand alone again.
+
+It will be fun to name the fairies, such names as Pepper-grass,
+Mustard-seed, and Catnip, and with the teacher standing before his
+class, have him call the roll and have each fairy bob his head as he
+answers to his name.
+
+[Illustration: Fig.94 - "Do you know the cultivated Fox Glove?"]
+
+Perhaps you will want the teacher to require each pupil to sing a
+little song or recite a short verse. When a fairy does that, he moves
+forward in front of the others, and stays in that place until he has
+finished. Here is a pretty verse for a flower-capped fairy to recite:
+
+    "I wonder what the Clover thinks,
+     Intimate friend of the Bobolinks,
+     Lover of Daisies, slim and white,
+     Waltzer with Buttercups at night.
+
+           *       *       *       *       *
+
+     Oh, who knows what the Clover thinks?
+     No one! Unless the Bobolinks."
+
+
+Sweet Pea--the Peacock
+
+[Illustration: Fig.95 - Five living Fairies.]
+
+You use a little pretended magic when you turn a sweet-pea blossom into
+a peacock, and that makes it seem more mysterious and more interesting.
+It doesn't take a second but while you are doing it you must repeat
+this transformation rhyme:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock.
+     I turn two down,
+     And you're a peacock."
+
+Pick out a fine, large sweet-pea blossom. It doesn't matter about the
+color. If you have a number to choose from, suit yourself. Hold the
+flower in your left hand by its stem and recite the first two lines:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock."
+
+[Illustration Fig.96: - "Sweet Pea, Sweet Pea, Your petals unlock."]
+
+[Illustration Fig.97: - "I turn two down and you're a Peacock."]
+
+Then as you reach around to the back of the flower with your right hand
+and put your thumb on one curled petal, X, and your first finger on the
+other curled petal, Y (Fig. 96), finish the rhyme:
+
+    "I turn two down,
+     And you're a peacock."
+
+and at the same time turn these petals down as they are in Fig. 97. You
+will see right away that the turned-down petals at the sides are the
+wings, the upright petal at the back is the tail, and the closed middle
+part is the body. The tipped-up point of the body part makes a very
+good head for the little sweet-pea peacock.
+
+[Illustration: Fig.98 - The blossoms of the cultivated Snapdragon are
+large.]
+
+
+Snapdragon--Lady's Head and Lion's Head
+
+The magic that turns a blossom of the large, cultivated snapdragon into
+a little lady's head, upon which rests a dainty, ruffled sunbonnet, or
+into a ferocious-looking lion's head, is the magic of pen and ink, not
+of rhyme.
+
+[Illustration: Fig.99 - The Snapdragon Lady's Head.]
+
+[Illustration: Fig.100 - The Snapdragon Lion's Head.]
+
+The blossoms of the cultivated snapdragon are very much larger than
+those of its wild cousin, called by some people butter-and-eggs, but
+the cultivated flowers grow on a stalk in the same way as the wild
+ones. You would hardly recognize the cultivated flowers as snapdragons
+because of their size and wonderful colors. A sure test is to pinch
+one; if it opens its mouth it is a real snapdragon; if it doesn't it
+is not; but you must know how to pinch it, else it may refuse to snap.
+
+The illustration (Fig. 98) shows a stalk of the cultivated flower, and
+looking at the blossoms in that position you can see neither the lady's
+head nor the lion's, yet they are there.
+
+
+LADY'S HEAD
+
+Pick a blossom off its stalk, leaving the little stem attached, and
+turn it around until you discover the sunbonnet and see that it looks
+like Fig. 99, then with pen and ink draw eyes, nose, and mouth on the
+part under the bonnet that is the face. This part is white, while the
+sunbonnet is sometimes a dainty pink and sometimes a gorgeous scarlet
+or orange, with deeper color on the edges.
+
+
+LION'S HEAD
+
+Turn another blossom upside down and the crown of the bonnet becomes
+the lower jaw and beard of the lion, while the other part is the lion's
+face. On the face you must make two fierce eyes like those in Fig. 100.
+When you take hold of the lion's jaws at the back and pinch them he
+will open his great, wide mouth as if to send out a tremendous roar,
+only to snap it shut again without a sound as you stop pinching. Fig.
+100 shows how to hold the flower to open the lion's mouth.
+
+The pink snapdragon is best to use for the lady's head and the
+orange-colored one for the lion's. If you would rather call it a
+dragon's head, you can, you know, but it looks more like a lion.
+
+
+
+
+CHAPTER XVI
+
+MISS HOLLYHOCK'S GARDEN-PARTY
+
+
+[Illustration: Fig.101 - Miss Hollyhock gives a garden party.]
+
+WHEN Miss Hollyhock gives a garden-party the scene is a gay one.
+All the ladies, and you can have as many as you want, are in their
+freshest, crispest summer gowns. There are dainty pink ones, white,
+rose-colored, and deep red; there are light yellow and orange; there
+are gowns almost brown and others almost black, but whatever the color
+of the skirt the waist is always green. Green waists are the style
+where Miss Hollyhock lives, and she and all her friends follow the
+style very closely.
+
+[Illustration: Fig.102 - Cut the Pistil out of the flowers.]
+
+The hats these little ladies wear to the party are of the same silky
+material as their skirts and are usually of the same color, though
+sometimes a lady in white will appear in a pink or yellow hat, or a
+pink lady can be seen wearing a white hat, and the lady in rose knows
+how well she looks in a hat that is almost black. When there are two
+or more gowns of the same color the hollyhock ladies prefer to have
+different colored hats so that they will not all look alike.
+
+Fig. 101 shows how Miss Hollyhock and her friends are made from the
+flowers of that name. When you have gathered the flowers you must cut
+off the stem of each close to the green calyx which is Miss Hollyhock's
+waist, and then cut out the pistil which grows inside the blossom. This
+pistil is shaped something like a little club, and is covered with the
+yellow grains of pollen (ask some one what pollen is). It looks like
+Fig. 102. The pollen will make the flower wilt quickly. That is why it
+is best to take the pistil out.
+
+[Illustration: Fig.103 - This is the way to make Miss Hollyhock.]
+
+Now select a nice, round, hard, green bud for a head and leave its stem
+on for the neck. Turn the sharp point of your scissors around in the
+top of the hollyhock calyx to make a little round hole, then push the
+stem of the bud into the hole, screwing it round and round until the
+bud almost, but not quite, touches the calyx. If you push it all the
+way down your lady will have no neck; her head will grow directly out
+of her shoulders.
+
+[Illustration: Fig.104 - Miss Hollyhock's Tea Table.]
+
+[Illustration: Fig.105 - Teapot and cups for the Hollyhock tea table.]
+
+Wooden toothpicks are used for legs, arms, and support, but strong
+broom-straws will answer as well, or straight, slender twigs. Push
+three toothpicks, twigs, or broom-straws up into the centre of the
+flower, two in front and one at the back as you see them in Fig. 103.
+The dotted lines show where they go inside the blossom. Be sure to have
+all three the same length so that the little lady will stand firmly.
+The arrows on Fig. 103 show where to insert the arms. Cut sharp points
+on the broom-straws to make them slide in easily. Blunt ends will tear
+the flower.
+
+With pen and ink make the eyes, nose, and mouth on the head, and use
+a petal of another hollyhock for a hat. Pin the hat to the top of the
+lady's head with a pin or short broom-straw.
+
+A garden-party would not be complete without
+
+
+A Tea-Table
+
+Make the tea-table of the hollyhock's round cake of unripe seeds which
+most children call a cheese. This is covered with a green case which
+is easily taken off and then you have a round, white disk like a
+little table-top turned up at the edge. Select the largest one you can
+find and push the ends of three toothpicks or broom-straws into the
+under-side for the table legs (Fig. 104). Now the tea-table must have a
+
+
+Teapot and Cups
+
+Find a green bud for a teapot shaped like Z (Fig. 105). Push two short
+straws into the bud in the places shown by the arrows in Z (Fig. 105),
+one for the spout and one for the handle. Cut the tops off smaller buds
+to make them into teacups (A and B, Fig. 105). A drop of paste at the
+bottom of the teapot and the cups will keep them in place on the table.
+
+
+
+
+CHAPTER XVII
+
+DAFFODILS
+
+
+Dancing Flowers and Whirligigs
+
+DAFFODILS, yellow as sunshine, always come with the beautiful
+springtime. The blossoms of the single daffodils, with their tall,
+golden cups resting in the saucers of lighter-colored petals, are
+the daintiest, though both single and double are so like a song of
+cheerfulness it is a joy to have them near. They look as if they wanted
+to dance for sheer happiness and, wonder of wonders, you can actually
+make them dance.
+
+[Illustration: Fig.106 - The Daffodil Dancer.]
+
+[Illustration: Fig.107 - The Daffodil Animal.]
+
+Gather a few of the single daffies, leaving on them the very short
+stems which hold them to the main stalk. These little green stems will
+be the stiff ornaments at the top of the dancers' green caps when you
+turn the flowers upside down, which is right side up for the dancers.
+
+
+Daffodil Dancers
+
+To make a flower stand alone and give it feet to dance on, push three
+wooden toothpicks firmly up under the little yellow skirt into the
+centre of the blossom. It doesn't matter if a flower has three feet;
+like an insect, it may have more than two and it won't stand on two.
+Spread the bottom ends of the toothpicks out a trifle like a tripod to
+make the flower stand steady (Fig. 106).
+
+When you have made several dancers, stand them on a tin tray, and they
+will be a group of "daffy-down-dillies just come to town," arrayed in
+their best gowns and ready to take part in the dance. Tap the tray
+gently from underneath and the dancers will begin to move. Tap a little
+harder and they will begin to dance. Tip the tray slightly forward and
+they will dance toward you; tip it backward and they will dance away
+again.
+
+[Illustration: Fig.108 - Daffodil stalk for you to turn into a
+whirligig.]
+
+[Illustration: Fig.109 - The Whirligig.]
+
+
+A Daffodil Animal
+
+Queer little animals that come only from Daffy land can be made of the
+single daffodil-blossoms. Take one of the flowers and carefully cut
+away the outstanding petals, leaving the perfect, long cup. Hold the
+cup in your left hand with the short, green stem hanging down; the stem
+is the animal's head; then break off about half an inch from the blunt
+ends of four wooden toothpicks and use the longest parts for legs. Push
+the pointed ends of the tooth pick legs up into the under-side of the
+long, slender cup as it is held in your left hand. Keep the legs of an
+even length and the animal will stand firmly. This little fellow, with
+his green head and long green nose, is very comical (Fig. 107). He can
+dance on the tin tray too, and run about when you tip it.
+
+The daffodil toys will keep their color a long while even after the
+blossoms are dry. Do not take off the brown calyx which is lightly
+wrapped around the bottom of each flower. It represents the hair of the
+dancers and the ears of the animal.
+
+
+The Whirligig
+
+You can have some fun with the daffodil stalk, too, after taking off
+the flowers.
+
+Fig. 108 is a daffodil stalk; look at it closely, then look at Fig.
+109. They are really the very same though they appear to be so
+different. One seems to have a blossom at the top, and you know that
+the other has not.
+
+If you want to do the trick and make a stalk blossom, select a stalk
+like Fig. 108, hold the stem closely between your open hands and roll
+it rapidly by first sliding your right hand forward while the left
+slides backward, then the left forward and the right hand back. This
+makes a whirligig of your stalk, and the flower will appear at the top
+as you see it in Fig. 109.
+
+Try making whirligigs of other kinds of stems; of grasses, twigs, and
+leaves.
+
+
+
+
+_PART V_
+
+SEED-VESSELS
+
+
+
+
+CHAPTER XVIII
+
+SEED-VESSEL PLAYTHINGS
+
+
+WHEN the flowers have gone then come the seed-vessels, equally as good
+for playthings but very different.
+
+Of course, you know the rose-haws, the little red and yellow and green
+apples that you find on the rose-bushes in the fall. They are the
+seed-vessels of the rose, and every rose which is allowed to remain on
+the bush until it fades and falls apart leaves a seed-vessel to take
+its place.
+
+[Illustration: Fig.110 - Rose-haw apples for your doll's table.]
+
+[Illustration: Fig.112 - The bronze-green Rose-haw.]
+
+[Illustration: Fig.111: - This necklace is made of Rose-haws and
+Plantain Lily seed pods.]
+
+
+The Doll's Fruit Piece
+
+The rose-haws look very much like little apples. Rosy-cheeked Baldwins,
+yellow harvest-apples, and greenings, and they will make a fine
+fruit-piece for the centre of your doll's table. Pile them up on one
+of the toy dishes and put the smallest of green rose-leaves around the
+edge (Fig. 110).
+
+
+Rose-Haw Necklace
+
+But the rose-haws can be used for something besides toy apples; you can
+pretend they are jewels and string them for a real necklace.
+
+One necklace can be entirely of the haws and another like Fig. 111,
+which is made of bronze-green haws (Fig. 112), and the long, green
+seed-pods of the plantain (Fig. 113). The blossoms of the plantain
+are pale purple or lavender, and hang from the stalk as the seed-pods
+do. They are bell-shaped and about an inch long. The leaf is like a
+lily-leaf.
+
+[Illustration: Fig.113 - The long, green seed pods of the Plantain
+Lily.]
+
+[Illustration: Fig.114 - The seed pod earring.]
+
+As you see, the haws and seed-pods are strung alternately; first a
+haw, then a seed-pod, again a haw and so on. Thread your needle with
+strong thread and be sure the thread is long enough for the necklace.
+Measure it around your neck, letting it droop as much as you wish; then
+allow several inches at each end for tying. If you cannot find the
+large, brownish-green haws use yellow or red ones, but the green haws,
+when strung with the green seed-pods, are more beautiful.
+
+[Illustration: Fig.115 - This necklace is made of Barberries and
+Plantain Lily Stalk.]
+
+[Illustration: Fig.116 - A branch of the Barberry Bush.]
+
+
+Seed-Pod Earrings
+
+To match the necklace, make long, green earrings of the plantain
+seed-pods. Fig. 114 shows a seed-pod earring. You see it is strung on
+a thread and the ends of the thread are then tied to form a loop. The
+loop must be just large enough to fit comfortably over your ear, and
+when you wear the earring, the green jewel will hang down and dangle
+delightfully. The upper end of the seed-pod should almost touch your
+ear.
+
+[Illustration: Fig.117 - Make the earring in this way.]
+
+
+Necklace of Barberries and Plantain-Stalk
+
+Plantain is very useful in making jewelry because you can use the stalk
+as well as the seed-pods.
+
+Fig. 115 is a necklace made of the plantain-stalk cut in short pieces,
+all the same length, and the coral-red berries of the barberry-bush.
+The crooked branches of the barberry-bush grow very close together and
+are covered with thorns which stand out straight and sharp like pins.
+That is why it is so often used for hedges; nothing can get through it
+without being terribly scratched. From the branches the red berries
+hang down like coral drops. Fig. 116 shows the way they grow. To make
+this necklace, string first a piece of the plantain-stalk, pushing the
+needle through lengthwise, then string a barberry and again a piece of
+the green stalk; after that a barberry. Keep on in this way until the
+necklace is as long as you want it.
+
+[Illustration: Fig.118 - Maple seed vessel used as bird wings.]
+
+The berries are exceedingly pretty strung as you see them, hanging down
+in their natural way, and really, you cannot string them any other way.
+The upper part of the berry is the only part through which you can
+pass your needle because of the large, hard seed which fills the space
+below.
+
+
+Plantain-Stalk and Barberry Earrings
+
+How to make the earrings to complete this set of jewelry is shown
+in Fig. 117. First you string a piece of the plantain-stalk, then a
+barberry; then you put your needle back through the stalk and tie the
+thread at the top. After that you make the loop to put over your ear as
+you did in making the seed-pod earring.
+
+
+Birds of Maple-Tree Seed-Vessels
+
+You see it is not only the seed-vessels of flowers that can be turned
+into playthings. The trees also furnish abundant material for toys.
+
+[Illustration: Fig.119 - Maple seed vessel bird.]
+
+Gather the winged seed-vessels that fall from the maple-trees, Fig.
+118 is a maple seed-vessel, and let us sit on the dry, sun-warmed
+grass and turn them into odd little birds like Fig. 119. These birds
+are very near the size of our ruby-throated humming-birds, a trifle
+larger perhaps, but they do not in the least resemble the beautiful,
+jewel-colored, long-beaked wild bird, either in looks or habits.
+However, they are nice, tame, quiet little birds and never object
+to being handled, played with, and placed on any bush or low tree
+where you may happen to want to put them. You cannot say that of the
+humming-bird, can you?
+
+You will need two seed-vessels for each bird. Divide one through the
+centre, separating the two wings, and use one of these wings for the
+body of the bird, as you see in the diagram Fig. 120. Clip off the two
+corners of the square end where the arrows point to shape it like a
+bird's head, then carefully bend up the seed-vessel pair of wings, and
+fit the body down in between them, resting it on the centre part that
+holds the wings together. One or two stitches with needle and thread,
+passed through wings and body, will keep them close and secure.
+
+[Illustration: Fig.120 - Bird's body.]
+
+When your bird is finished (Fig. 119), thread a needle with black
+thread, tie a good-sized knot in the end of the thread, and push the
+needle from underneath up through the back of the bird where it will
+come out between the wings. Draw the knot up close to the body and tie
+the other end of the thread to a low branch of a tree. When you stand
+off a little distance you cannot see the thread and your bird will seem
+to be hovering in mid-air. A gentle breeze will stir the bird and make
+it look as if flying. If there is no breeze, you can blow on it, or fan
+it until the little thing flutters about almost as if alive.
+
+Be careful to string the thread through the bird at a place that will
+make it evenly balanced.
+
+
+
+
+CHAPTER XIX
+
+BUCKEYE HORSE AND BUCKEYE RIDER
+
+
+All children love the clean, glossy, brown horse-chestnuts or buckeyes.
+There are so many buckeye-trees in Ohio that it is called the Buckeye
+State, and many villages of Long Island are full of them. They are
+used for shade-trees and often line the streets, where they send
+down showers of their nuts, pretty but not good to eat. Everywhere
+the children gather basketfuls and take them home to play with, and
+in other Beard books we have told of some things that can be made of
+buckeyes, but the buckeye horse and rider which you see here have just
+arrived.
+
+He is a very remarkable-looking horse with his funny round head and
+stiff legs and tail, though not more remarkable than the little man
+who rides him. Both are made simply of buckeyes and slender twigs. The
+head and body of the horse and of the man are buckeyes. The neck, ears,
+tail, and legs of the horse are smooth, straight twigs; the neck, arms,
+and legs of the man are also twigs.
+
+
+The Buckeye Horse
+
+When you make a horse let the light-colored part of the buckeye be his
+face. This part usually has a dark spot on it which looks like an eye.
+You will see it in Fig. 121. He will have only one eye unless you put
+in another with lead-pencil or pen and ink, but very frequently horses
+are blind in one eye, so it will not matter whether he has two eyes or
+one.
+
+Stick two short pieces of twigs in the head for ears and a longer
+twig for the neck. You will have to sharpen the ends of the twigs
+to a point so that they will go in easily. The neck twig will need
+sharpening at both ends.
+
+Before putting the head on the body of the horse, which should be as
+large a buckeye as you can find, push in four twigs for the legs. The
+front legs must slant forward, the hind legs slant backward. This will
+make him stand firmly. Then choose a slender twig for the tail, and
+split it several times at one end to show that it has hair on it, as
+in Fig. 121. Fasten the tail on and then push in the neck twig. This
+finishes the horse.
+
+[Illustration: Fig.121 - He is a remarkable looking Horse.]
+
+
+The Buckeye Man
+
+For the body of the man who sits astride the horse, choose a buckeye
+which is rather flat on one side. A round buckeye will roll off. Find a
+small buckeye for the man's head and give him a twig neck (Fig. 122).
+Do not make his twig arms stand out straight at his sides; push them in
+slantingly so that he will hold them out in front. Put his twig legs in
+far apart and slant them a little forward.
+
+Now place the man on the horse, and if he does not fit, change the
+position of his legs until he sits securely. Your buckeye man and
+buckeye horse will then look like Fig. 122.
+
+
+Pine-Cones. Pine-Cone Forest
+
+Of course you like to gather the rich-brown pine-cones that lie
+scattered on the ground under the pine-trees; we all do. Collect
+a number of those which have loosened and opened out their little
+leaf-like scales, then stand them up like trees in an open space on the
+ground. They look so much like toy trees we immediately want to play we
+are foresters, way off in the wild western lands, planting forest-trees
+for Uncle Sam.
+
+[Illustration: Fig.122 - The Buckeye Horse and Rider.]
+
+We can make our forest as large as we want it and plant trees every day
+if we like, or we can gather up our nice, clean, dry cones and take
+them into the house to use in some other way. They make nice playthings.
+
+
+A Fruit-and-Vegetable Market
+
+If you find small, short cones, not fully opened out, notice how
+much they look like little pineapples; you must save these for
+our fruit-and-vegetable market, where we sell fat, short acorns
+as hazelnuts, the long acorns as pecans, and the buckeyes, or
+horse-chestnuts, all shiny, dark, and smooth, as eggplants, and
+rose-haws as apples.
+
+There are other things in our store, too. String-beans, which are
+really locust-pods, and heads of white cauliflower made of bunches of
+the wild carrot or Queen Anne's Lace blossoms, tied together so that
+the pretty white flowers of the wide-spreading clusters lie evenly with
+edges touching. A number of these clusters are used for one head of
+cauliflower, and around each head are arranged green leaves with their
+tops cut off just as you see them around the real vegetable.
+
+
+Cone Card-Rack
+
+Save one of your fine, large-sized, wide-open cones and make a
+card-rack of it like the one shown in the photograph Fig. 123.
+
+[Illustration: Fig.123 - Card rack and pin box combined.]
+
+You must have a small, round or square wooden box for the base and glue
+the flat bottom of the cone on the lid. The box can be filled with
+small brass clips for holding sheets of paper together, or with pins,
+and it will then make a fine birthday or Christmas present for some
+one. The cone card-rack is very useful on a writing-desk.
+
+If you make a number of these cone-racks they will be something new for
+your next fair. Remember to stick some pretty cards in each rack.
+
+
+Christmas-Tree Ornaments
+
+Perhaps you would like to keep some of your cones for Christmas-tree
+ornaments; they make very pretty ones.
+
+Gild several until they shine like gold, then silver others, and they
+will look as if covered with white frost. If you have collected any of
+the prickly sweet-gum balls that look as if they were carved in little
+starry patterns, gild and silver these, too, and let them dangle from
+the tree on long gilt or silver cords.
+
+These natural, outdoor ornaments are not easily broken, and may be kept
+from year to year for your Christmas tree.
+
+
+
+
+CHAPTER XX
+
+BURDOCK-BURRS
+
+
+The Little House of Burrs
+
+NOW let us build a little woodsy house of burrs (Fig. 124) and put
+it in a little garden. Gather two heaping handfuls of large-sized
+burdock-burrs, small ones are not strong enough, and begin building.
+These burrs grow on a bush; they are about the size of a marble, are
+almost round, are prickly, and are pinkish at the top.
+
+Make the roof first (Fig. 125). Stick ten or twelve burrs together in a
+row with pink heads all pointing in the same direction. Place this row
+on a flat, smooth surface, a board, flat stone, table, or, perhaps, the
+hard earth, and attach another row of burrs along the side edge of the
+first row. Continue to add more burrs until you have six or seven rows
+fastened into one flat piece.
+
+Be sure that this piece does not bulge out or sink down in places, for
+the roof must be perfectly flat. Make the two side walls (Figs. 126 and
+127) and the back wall of the house as you made the roof; the back wall
+must be the length of the roof and the height of the side walls (Fig.
+128). The side walls must each fit on the ends of the roof and be high
+enough to look well.
+
+The front wall of the house must have a doorway and a window (Fig.
+129). But first make it solid, exactly like the back wall and exactly
+the same size, then lay it down on the flat surface that you are using
+for a table, and open a hole for the doorway by taking out five or six
+burrs, counting from the bottom up, and two or three burrs, counting
+from side to side. That will make about ten or twelve burrs to be
+removed. Take out the burrs for the window and make the opening three
+or four burrs high and two burrs wide. (See Fig. 129).
+
+Use four burrs for each side of the hollow square chimney (Fig. 130),
+which is open at top and bottom.
+
+[Illustration: Fig.124 - The little woodsey house of Burdock-burrs with
+ornamental trees of grass.]
+
+To put the different parts of the house together lay the roof down flat
+and stick the edge of the back wall on top of the outer row of burrs
+which forms one of the long edges of the roof. Fasten one side wall on
+one short edge of the roof in the same way and press the edge of the
+back wall and the edge of the side wall together, making the corner
+firm and square. Next attach the second side wall, and lastly fit in
+the front wall.
+
+[Illustration: Fig.125 - Roof of house of Burs.]
+
+[Illustration: Fig.130 - Chimney of house of Burs.]
+
+[Illustration: Fig.126 - Side wall of house of Burs.]
+
+[Illustration: Fig.128 - Back wall of house of Burs.]
+
+[Illustration: Fig.127 - Side wall of house of Burs.]
+
+[Illustration: Fig.129 - Front wall of house of Burs.]
+
+Now lift the house carefully, place it right side up on the ground, and
+adjust the chimney to the roof. As you work keep the picture of the
+house in front of you so that you may see at a glance whether you are
+building it correctly or not. If you cannot find large burrs, let the
+sides and the roof of the house be two layers of burrs stuck firmly
+together. Make a path leading up to the door of very small shells,
+sand, or fresh earth.
+
+[Illustration: Fig.131 - Cat-tail for little pond made of
+Timothy-Grass.]
+
+[Illustration: Fig.132 - Cat-tail held upright by Burdock-burrs.]
+
+
+Pond, with Water-Lilies, in the Garden
+
+Would you like to have a little pond near the house, with white
+water-lilies floating on its surface and wee cattails growing here and
+there in and near the water's edge?
+
+You can easily make such a pond. Sink a shallow pan in the ground, a
+hole must be dug to fit it, you know, and fill the pan with water.
+Cover the edges with moss or earth and plant short-stemmed heads of
+timothy-grass (Fig. 131) and slender, stiff grass-blades in scattered
+groups near the water. It is timothy-grass that looks so much like
+cattails, and also the grass called foxtail.
+
+[Illustration: Fig.133 - The play Water-Lily made of a White Clover
+floating on water.]
+
+[Illustration: Fig.134 - Cut leaves for the water lilies from a Maple
+leaf as shown here.]
+
+Some of the cattails can be made to look as if they were growing in the
+pond if you make a flat-bottomed ball of burrs around the ends of the
+stems to hold them upright (Fig. 132), and put some small stones on top
+of the ball to weight it down in the water.
+
+For the little water-lilies select perfect white clover-blossoms (Fig.
+133), and for the leaves, or lily-pads, use any rather small, smooth,
+round leaves. The marsh-marigold leaf will answer, or you can cut out
+water-lily leaves from oak or maple. Make them the shape of the pattern
+Fig. 134. The pattern here is laid on a maple-leaf ready to cut out a
+leaf for the water-lily. Make a number of lilies and float them and the
+leaves on top of the water.
+
+[Illustration: Fig.135 - Pea-pod Canoe.]
+
+[Illustration: Fig.136 - Cut open the pea-pod along dotted line.]
+
+
+A Pea-Pod Canoe
+
+You might add a pea-pod canoe (Fig. 135), with a tiny American flag
+standing proudly erect at the bow.
+
+When you make the canoe, open the pod where you see the dotted line
+in Fig. 136. To keep the pod open make little braces of broom-straws,
+and put them in crosswise with one end against each side of the canoe.
+There are four braces in the canoe (Fig. 135), but you may not need
+that many.
+
+
+The Trees
+
+In the picture given here the tree on the left of the little house
+of burrs is just two stalks of the common grass called meadow
+muhlenbergia, which are held up as if really growing, by several green
+burrs left from building the house. The burrs are squeezed up tight to
+the grass-stems and then pressed down tight to the ground. You can find
+the grass for these trees almost any place; it is very social and loves
+to make its home with other grasses.
+
+[Illustration: Fig.137 - Burdock-burr target.]
+
+The graceful, drooping tree on the right of the house is made of the
+grass called brome-grass. Keep your eyes open and you will find it some
+time while playing out-of-doors. As soon as you see it, run to the
+brome-grass and whisper its name. You will be glad to discover it and
+will remember its name afterward whenever you see the grass.
+
+Look at the picture again and notice the odd plants near the
+brome-grass tree. Their name is Bermuda-grass. See how they spread out
+their long, slender fingers. They look very much like a grass named the
+small crab-grass, and another the large crab-grass, and like another
+still called the wire-grass; but if you put all these side by side and
+examine them closely you will see how they differ.
+
+
+Burdock-Burr Game
+
+Besides making things of burdock-burrs, you can play a game with them.
+The game is something like archery, only, instead of shooting arrows at
+a target, you throw burrs at it.
+
+Get a good-sized piece of woollen cloth or some kind of material with a
+rough surface to which the burrs will cling. Tack this up on the fence
+or on a board; then, with a large piece of chalk that will make a wide
+mark, draw four circles, one inside the other like Fig. 137. It doesn't
+matter if your circles are not perfect. Do the best you can and finish
+your target. Number the spaces between the circles 1, 2, 3, 10. The
+outer space is 1, the next, 2, next to the centre 3, and the centre 10.
+The centre, being the bull's-eye, counts most.
+
+[Illustration: Fig.138 - Hold the burr this way when you throw it at
+the target.]
+
+Have ready a lot of burrs for each player; mark a boundary-line on
+the ground, beyond which no one must step in throwing the burrs, and,
+standing at the boundary-line, let each player in turn throw three
+burrs at the target. The burrs that stick to the target make the score
+if they are in the numbered spaces. Fig. 138 shows how to hold the
+burr. Suppose one burr sticks to the space numbered 2, and the two
+others are in number 1, the player would then have two ones and one two
+which, added together, make four; her score then would be four.
+
+Always pull the burrs of one player off the target before the next
+player takes her turn, and there will be no question as to who should
+claim them. After each player has had three turns, let every one add up
+her scores. The player who has the highest wins the game. If divided
+into sides, the players on the side having the highest score are the
+winners and they should be given a hearty cheer by the losing side.
+Even very little girls and boys should learn to be good losers and to
+help celebrate the victory of others.
+
+
+
+
+CHAPTER XXI
+
+THINGS TO MAKE OF ENGLISH-WALNUT SHELLS
+
+
+NUTS are the seed-vessels of the nut-trees; did you ever think of that?
+They do not grow only that we may have something delicious to eat. They
+ripen and fall on the ground, where some of them take root and grow up
+into trees themselves. If you plant a hickory-nut a little hickory-tree
+should come up, and it will if the conditions are all right. If you
+plant a walnut it will be a walnut-tree that will appear; so you see a
+nutshell is the seed-vessel of the nut-tree.
+
+English walnuts do not grow wild in this country, but are cultivated
+here and you all know what the English walnut is like. Our American
+walnut is very hard to crack; its shell is rough and deeply grooved,
+but the English-walnut shell is smooth and without sharp edges, though
+its surface is uneven. There is a shallow groove running round the
+shell, like a seam, and the shell cracks open along this seam evenly
+and easily.
+
+
+To Open an English Walnut
+
+The easiest way to open an English walnut so that the shell will be
+in two perfect halves is to push the tip of a penknife-blade into the
+groove at the large end of the nut, and then slowly and carefully turn
+the knife to pry the halves apart. When opened this way the shell is
+never broken (Fig. 139).
+
+After you have opened several nuts and taken out the kernels, use the
+knife to cut away the thin, papery divisions inside the shells. You
+will then be ready to make
+
+
+The Professor
+
+and one half-shell is to be his head. Draw a face on the shell like
+the face of the professor (Fig. 140). The narrow part of the shell is
+his chin, the wide part, the top of his head. He has an intellectual
+forehead, high and broad, with furrows of thought showing plainly on it.
+
+[Illustration: Fig.139 - This is the way to open the shell.]
+
+
+The Professor's Robe
+
+As a rule professors wear black robes when they wear any, but our
+nutshell professor wears white because it is more becoming to his dark
+complexion, and because it is more effective and draws attention to
+him.
+
+[Illustration: Fig.140 - The English Walnutshell Professor.]
+
+[Illustration: Fig.141 - The Professor's Robe.]
+
+To make the robe, fold an oblong piece of white paper into a square,
+which makes the square double. The edges should measure about four
+inches. If you have a large white envelope cut off one end to make it
+square and use that. Fold the square diagonally across from point to
+point, as is shown by the dotted line in Fig. 141. Now turn back first
+one side point, then the other side point, and make them meet over the
+first fold to form a fanlike pleat, wider at the bottom than at the
+top. The dotted lines on either side of the middle one in Fig. 141 show
+where the folds should come. The middle fold is bent out, or toward
+you; the side folds are bent in, or away from you. The side points now
+extending toward you are the wide, flowing sleeves of the professor's
+gown.
+
+Take the robe in your hand at the bottom point, holding it from the
+back, and on the top point hang the professor's nutshell head (Fig.
+140).
+
+[Illustration: Fig.142 - The Nutshell Mouse.]
+
+[Illustration: Fig.143 - Ear for the mouse.]
+
+While the head balances quite securely on the point, you can make it
+wag from side to side, make it shake and tremble when the professor
+grows very earnest in his discourse, and make the chin thrust itself
+forward when he is emphatic. You do all this merely by shaking
+and tipping the paper robe. He is an amusing little lecturer, this
+English-walnut shell professor, and seems very much alive.
+
+
+English-Walnut Shell Mouse
+
+It is a far cry from a lecturer to a little mouse, yet one
+English-walnut shell will make both, half a shell for each.
+
+This is a nice, cosey-looking little mouse who crouches down
+comfortably and does not show his legs (Fig. 142).
+
+The point of the shell is the nose of the mouse; above it make two
+round, black eyes and then paste on two brown-paper ears. Cut the ears
+like Fig. 143, bend back the little stems at the bottom, put a touch
+of paste on each stem and stick the ears to the mouse's head in the
+position shown in Fig. 142. Cut a piece of string about three inches
+long for the tail and paste one end of it on the inside edge of the
+shell at the large end.
+
+[Illustration: Fig.144 - The Nutshell Thimble Box.]
+
+[Illustration: Fig.145 - Tie a ribbon around the nut.]
+
+If you make three of these mice and glue them to a piece of cardboard
+they will look very cunning. Or you can glue one mouse to a small card
+and use it for the top of a Christmas pen-wiper.
+
+
+English-Walnut Shell Thimble-Box
+
+A pretty way to give a small present at Christmas or on a birthday is
+to put it into an English-walnut shell box. A thimble fits in the box
+beautifully (see Fig. 144).
+
+Open the shell of an English walnut in the way described (Fig. 139).
+Cut away the inside partitions and, with jeweller's cotton, make a
+soft little bed in one-half of the shell. Press down the cotton in the
+middle to make a hollow, and in this hollow fit the new thimble. Put a
+layer of cotton over the top of the thimble and tuck in the edges. The
+way to close the box is to cover the edges of the other half-shell with
+glue and then fit it on the half that holds the thimble, just as it was
+before you opened it.
+
+Now you have a whole nut again, but the meat inside is very different
+from that which you took out. You can gild the nutshell after the
+glue has hardened or leave it as it is. Its own brown color is pretty
+enough. In either case you must have a piece of narrow ribbon to tie
+around the box and form a loop by which to hang it (Fig. 145).
+
+Pass the ribbon under the small end of the nutshell, then bring it up
+and tie it securely at the top of the large end. The ribbon should not
+be over the seam but should pass across the middle of each half-shell.
+It will then hold the two parts together and keep the glue from
+loosening. After the ribbon is tied at the top of the nut, make a long
+loop above it and tie again in a bow-knot.
+
+
+
+
+_PART VI_
+
+VEGETABLES
+
+
+
+
+CHAPTER XXII
+
+THINGS YOU CAN MAKE OF LIMA BEANS
+
+
+[Illustration: Fig.146 - The Lima Bean Fish will swim.]
+
+[Illustration: Fig.147 - The pod for the fish must be open at the
+bottom.]
+
+VEGETABLES are good to eat, certainly, and you know what they are like
+when cooked and on the dinner-table; but many are also good to play
+with. You can make fine toys of them, toys that are entirely different
+from any you have ever seen. Here is the
+
+
+Swimming Fish Made of a Lima-Bean Pod
+
+A fish that really swims, not on top of the water but in it, is the
+little fish (Fig. 146). You won't find that in a shop or anywhere
+else, for I have only just discovered how to make it myself.
+
+A paper tail and two paper fins must be added, but that won't take
+five minutes when you know how to do it. The tail and fins make it
+wonderfully lifelike, for when the fish swims around in a big basin
+or dish-pan, the tail sways this way and that, the fins move back and
+forth exactly as they do on a living fish in a real lake or in the
+great ocean.
+
+[Illustration: Fig.148 - The fin of Bean-pod Fish.]
+
+[Illustration: Fig.149 - Tail of Bean-pod Fish.]
+
+Choose a good, firm bean-pod, one as flat and even as you can find,
+open it carefully along the straight edge and take out the beans. Save
+the beans, for you can make something of them too. Do not let the pod
+close again after the beans are out. It must be open about half an
+inch, or maybe a little more, at the middle. You can widen the opening
+by pushing your finger in. Be careful not to split it along the upper
+edge. It should be like Fig. 147, which shows the opening at the bottom.
+
+With the small blade of a pocket-knife make a slit on each side of the
+pod at the large end where it is marked C in Fig. 147.
+
+[Illustration: Fig.150 - The Lima Bean Man will stand.]
+
+These slits are to hold the fins. Directly on the curved edge of the
+small end of the pod, at the place marked D, cut another short slit.
+Don't let it reach the lower edge. This is to hold the tail.
+
+From writing-paper, not the very heavy kind, cut two fins like Fig.
+148. Double the paper and cut out both at once so that they may be
+exactly alike. From the same kind of paper cut the tail like Fig. 149.
+All you have to do now is to push the sharp point of one paper fin into
+the slit on one side of the pod, the other fin into the slit on the
+other side of the pod, and the sharp point of the tail into the slit
+in the edge of the pod, and there is your fish. You see the fins and
+tail are not pasted on and they really seem a living part of the fish.
+Notice that the top of fins and tail are different from the bottom, and
+be sure to have the top edge up when you put them in the slits.
+
+[Illustration: Fig.151 - Parts of Lima Bean Man]
+
+The way to make the lima-bean fish swim is to place it, open edge down,
+in a large basin of water; then with a stick or spoon begin at the
+centre to stir the water gently and gradually round and round until
+it all moves faster and faster, and keeps on moving after you stop
+stirring. Then your little green fish will swim. Round and round the
+basin he will go, his tail waving and his fins moving so naturally you
+will shout with delight.
+
+If at first the fish insists upon turning over on his side and floating
+about like a dead fish, don't give him up. He is only playing 'possum.
+He _can_ swim and he _will_ if you are patient and keep setting him
+upright until he gains his balance and becomes used to the water.
+Remember to put the fish _in_ the water, not on top.
+
+Don't let the beans, that you have taken out of the pod when making the
+fish, get dry and hard. They can be turned into a
+
+
+Lima-Bean Man
+
+Three beans and several strong, straight broom-straws you will need for
+making this comical little fellow, who, upright and independent, stands
+squarely on his own feet. That is a good thing for any one to do, let
+alone a little bean man (Fig. 150).
+
+The beans should be of different sizes. A large one for the body, next
+in size for the feet and a smaller one for the head. Some beans have a
+little point that stands out on one edge and looks like a tiny nose,
+while below it there is a round hollow that looks like a little open
+mouth. That is the kind of bean to choose for the little man's head.
+
+The broom-straw for Mr. Bean's arms should be quite four inches long,
+if he is to be four inches tall. Cut one end of this broom-straw
+slanting to a point like E in Fig. 151, and push the point through the
+upper part of the body bean and out far enough on the other side to
+make the arms of equal length; then bend one arm up at the middle where
+the elbow should be, and the other arm down as you see them in the
+drawing of the man (Fig. 150).
+
+The broom-straws for the legs must be two and a half inches long and
+cut pointed at both ends, for one end of the leg is pushed into the
+lower part of the body bean and the other end into the half bean which
+is the foot. Split the foot bean in half to make two feet and push the
+leg straw into the rounded side. The flat side is the bottom of the
+foot.
+
+[Illustration: Fig.152 - The beans are not taken out of the pod for the
+Lima Bean Pig.]
+
+A short piece of broom-straw, hardly an inch long, is the neck. Cut
+this straw pointed at each end, push one end into the top of the body
+bean and the other end into the lower part of the head bean. Use
+one-half of the outer skin, that comes off the foot bean when you split
+it, for a hat. Being curved like a rose-petal, it fits the head very
+nicely, but a drop of paste on the little man's head will make it more
+secure.
+
+Your lima-bean man may be a farmer and own
+
+
+A Lima-Bean Pig
+
+--a funny pig with fat sides and a turned-up snout (Fig. 152).
+
+Look over all your bean-pods that still have beans in them, and select
+the one shaped most like Fig. 153. Do not take the beans out of the
+pod; they make the pig fat and solid. The stem end forms the snout and
+the head.
+
+[Illustration: Fig.153 - Choose a bean-pod shaped like this for your
+pig.]
+
+Cut four broom-straws about one and a half inches long for the legs.
+Sharpen each of these straws at one end and push the pointed end into
+the lower part of the body, two on each side, in the places shown by
+small rings on Fig. 153.
+
+From part of another bean-pod cut two ears like F, Fig. 154, and pin
+them on the pig's head with a short straw as they are shown in the
+picture of the pig. Run the straw through one ear near the bottom,
+through the head and then through the other ear on the other side of
+the head.
+
+[Illustration: Fig.154 - Make these of a bean-pod or of paper.]
+
+Pull a narrow strip from the edge of a bean-pod for the tail (G, Fig.
+154). Curl it by drawing it lightly over the blade of the scissors.
+Punch a small hole with the point of the scissors in the upper edge of
+the pig's back at the place marked by the arrow on Fig. 153, and push
+one end of the tail into the hole. Make small round dots with a pencil,
+or pen and ink, for the eyes. The ears and tail may be made of paper if
+you find that easier to use.
+
+
+
+
+CHAPTER XXIII
+
+SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH
+
+
+IF you have ever seen an alligator, a long-tailed sweet potato will
+make you think of one immediately.
+
+Fig. 155 is a baby alligator with a sweet-potato body and paper head
+and legs. It is just the size of the little alligators they sell for
+pets down in Florida. That is, the alligator from which the drawing was
+made is the size of the live ones; the drawing is, of course, smaller.
+
+[Illustration: Fig.155 - The Baby Alligator made of a Sweet Potato.]
+
+[Illustration: Fig.156 - Find a potato shaped like this for the
+alligator.]
+
+Find a potato shaped like Fig. 156. Cut a slit in the large end and
+two slits on each side where you see them in Fig. 156. When you make
+the side slits push your knife in with the blade slanting upward and
+backward for the front legs, and slanting downward and backward for
+the back legs. This will allow the paper legs to slide in without
+bending.
+
+[Illustration: Fig.157 - Make the alligator's head like this.]
+
+[Illustration: Fig.158 - Cut two front legs by this pattern.]
+
+[Illustration: Fig.159 - Make the two hind legs by this pattern.]
+
+Use brown paper, as near the color of the potato as you can get, for
+the alligator's head and legs. Make the head like Fig. 157, cutting
+along the heavy lines and bending along the dotted ones. Bend down the
+sides of the head and of the neck, then bend the head first up, then
+down, to lift it above the neck (Fig. 155.)
+
+The eyes of a baby alligator are large and prominent. Draw them on the
+head as you see them in Fig. 157. That is as near as we can come to the
+real eyes.
+
+[Illustration: Fig.160 - The Radish Imp is a decorative little fellow.]
+
+Cut out of the same paper used for the head two fore legs like Fig.
+158, and two hind legs like Fig. 159. Slide the fore legs into the
+slits nearest the large end of the potato and the hind legs into the
+slits near the tail. Push the point of the paper neck into the slit at
+the large end of the potato. That finishes the baby alligator, which is
+wonderfully true to life.
+
+
+What to Make of a Radish
+
+A crisp, fresh, clean radish is very tempting, but don't eat it this
+time; turn it into something else by the magic your ten fingers can
+work.
+
+
+The Radish Imp
+
+Fig. 160 shows a round white radish which, with its long, slender root
+and leaves still on it, has been changed into a queer little radish imp
+by using strong broom-straws to stiffen his leaf arms, his leaf legs,
+and his leaf body. His eyes are bits of broom-straw, his mouth is a
+slit with a broom-straw tongue, and his absurd, stand-out ears are also
+pieces of stout broom-straw.
+
+The root growing out of the top of his head is like a Chinaman's queue
+standing on end with little, crinkly separate hairs at its base.
+
+[Illustration: Fig.161 - Cut two broom-straws for the arms and two for
+the legs.]
+
+When you make your radish imp cut two broom-straws about four inches
+long for his arms; point these at the ends. Cut two more strong
+broom-straws a little longer than the distance between the radish and
+the tips of the two longest leaves. Point these at both ends (Fig.
+161). Now choose two leaves of even length, nearest the radish, for the
+arms. Don't take them off but push a broom-straw through each leaf,
+first in, then out, then push the other end of the straw into the thick
+part of the stems just under the radish. Look at Fig. 160 and see how
+this is done.
+
+[Illustration: Fig.162 - White Mouse.]
+
+[Illustration: Fig.163 - These belong to the mouse.]
+
+The leaves with the longest stems must be used for the legs. If there
+are more than two long-stemmed leaves, cut off all except those wanted
+for the legs. Bend the long, stout broom-straws at one end, as in Fig.
+161, and push the other end up through the thick part of the stems and
+into the radish; then with a piece of string or strong blade of grass
+tie the stems of the leaves to the straws, as shown in Fig. 160. This
+forms a little belt at the waist-line. Leave a large leaf with short
+stem loose at the back for a cape and run the bent ends of the long
+straws in and out of the leaves intended for the feet.
+
+Cut a curved slit in the radish for a mouth and push in a small piece
+of broom-straw for a tongue, then put in bits of straw for eyes, nose,
+and uplifted ears.
+
+
+A White Mouse
+
+You can make a most amusing little white mouse of a white radish; not
+a round one like that used for the imp, but egg-shaped, like Fig. 162.
+The long root is the tail of the mouse and the other end of the radish
+is his head. Cut two paper ears like H, Fig. 163. Make two slits in the
+head and slip the pointed ends of the ears into the slits.
+
+For whiskers (all mice have whiskers) find two sprays of fine branching
+broom-straws (I, Fig. 163), cut them the proper length, and push a
+spray into the head on each side of the nose. Put bits of broom-straw
+in for eyes and then cut four thick straws like J, Fig. 163, and push
+the pointed ends slantingly in the lower part of the radish for the
+feet of the mouse. His legs are not seen because he is crouching. The
+drawing of the mouse shows where to put the feet.
+
+
+
+
+CHAPTER XXIV
+
+GREEN-PEA TOYS AND A GREEN-PEA DESIGN
+
+
+PRESS your thumb on the rounded edge of a fresh, fat green pea-pod,
+and, pop! it goes splitting open at the top. Then push your thumb into
+the opening, run it down the pod and the two halves separate, showing
+a row of fine, large peas that look like great green pearls in a soft,
+silk-lined case made expressly for them.
+
+[Illustration: Fig.164 - The Green Pea Greenies, cousins of the
+Brownies.]
+
+You have done this ever so many times when helping mother, haven't you?
+And you know that the next thing to do when the pod is open is to run
+that same little thumb down again and scoop out all those round green
+peas, letting them fall with a patter into the pan in your lap.
+
+Now as a reward for such helpfulness suppose you ask mother or the cook
+to give you a good big handful of peas which have not been shelled, and
+ask also for some wooden toothpicks such as are used in the kitchen
+for fastening meat together; or a number of nice, straight, strong
+broom-straws if there are no wooden toothpicks. Take all these out
+on the porch if the day is fine and sit down comfortably to make the
+remarkable things which I am going to tell you how to make. It is a
+good plan to have a box and its cover to hold the shelled peas and
+their pods, but it does not really matter except that the round peas
+are apt to roll away and get lost if you put them in your lap.
+
+[Illustration: Fig.165 - Parts of the Greeny Girl and how to put them
+together.]
+
+
+The Greeny Girl
+
+The little green-pea greenies, cousins of the brownies, shown in the
+illustration are funny, aren't they? But the drawing is not as funny
+as the real greenies, and you can make them in all sorts of absurd
+positions.
+
+Two little men and a widely smiling greeny girl are given here (Fig.
+164). The large green peas that come late in the season are used to
+make these little people. In fact, it is only the large peas that
+can be used for any of the things described. Fig. 165 shows how the
+greeny girl is put together. Her arms, legs, and neck are made of
+broom-straws. Her body and head are green peas. Her dress is one end of
+a pea-pod and her feet are bits of a pea-pod cut the shape you see in
+Fig. 165.
+
+First cut short pieces of broom-straws for the legs and point them at
+both ends so that they will be easy to push into the peas and pods. Cut
+another piece the same length, pointed at the top end for the support.
+Push the legs and support into the large pea used for the body as you
+see them in Fig. 165. Now cut another piece of broom-straw pointed at
+both ends for the neck and push one end into the pea you have selected
+for the head.
+
+[Illustration: Fig.166 - Begin the tent in this way.]
+
+[Illustration: Fig.167 - The Greenies' Pea-pod tent.]
+
+Cut off the stem of a large pea-pod, leaving the little leaves at the
+top, which were the calyx of the pea-blossom, for a collar, and then
+cut the pea-pod dress the proper length to fit the little woman. When
+that is done put the dress on over the headless body and push the lower
+end of the broom-straw neck in at the top, down through the collar,
+and into the pea which forms the body. With a pin make a hole on each
+side just under the collar and push a broom-straw arm in each of the
+armholes you have made. Bend one straw in the middle, as in Fig. 165,
+to give the bent elbow.
+
+Last of all cut two three-cornered feet like the one in Fig. 165 from
+a pea-pod and push a foot on the end of each leg. Turn the toes in and
+the little figure will look very comical. To give her a face, dip a pen
+in black ink and make two round eyes in the head, a round nose, and a
+wide mouth turned up at the corners. The pen must be pushed through the
+skin of the pea to do this. When the greeny girl stands up, her dress
+hides the support at the back so that it cannot always be seen, and she
+looks as if she stood on her two feet just as you stand on yours.
+
+
+The Greeny Men
+
+The illustration (Fig. 164) shows how the greeny men are put together.
+The little dancing fellow must have two supports because one foot is
+lifted. The tiny ridiculous cap on the head of the other man is the
+little cap that holds the pea to the pod and sometimes clings to the
+pea after it is shelled.
+
+
+Pea-Pod Tents
+
+The greenies' little tents are made of pea-pods and it takes three pods
+for each tent. After you have taken out the peas split the pods up
+along the back edge, but leave the two halves fastened together at the
+stem. Stand up two pods by pushing the stem end of one pod between the
+two halves at the top of the other, as they are shown in Fig. 166. Then
+separate the halves of the third and longest pod and place it astride
+the first two (Fig. 167). This will make quite a strong tent, and, if
+you like, you can have a whole camp of them.
+
+
+The Green-Pea House
+
+The greenies need not always live in tents. Like other people, they can
+have houses as well.
+
+It is best to use the wooden toothpicks in making the house. They are
+stronger than broom-straws and all the same length. Begin by putting
+the front of the house together. Make the peak first. Choose a large
+pea, push the end of a toothpick into it, then not far from that push
+in the end of another toothpick slantingly so that the lower ends will
+be separated as you see them in Fig. 168. On each of these lower ends
+stick a pea like Fig. 169. That is the peak for the roof. Now make a
+long upright for each side by using a pea to join two sticks (Fig.
+170), and push the upper end of each upright into the peas at the lower
+ends of the peak (Fig. 171).
+
+[Illustration: Fig.168 - Begin the peak in this way.]
+
+[Illustration: Fig.169 - Stick a pea on the lower ends of each
+toothpick to finish the peak.]
+
+Shorten two toothpicks by breaking half an inch off each of them, then
+join them as you did the uprights by pushing one end of each stick
+into a large pea (Fig. 172). This is the front joist or crosspiece of
+the upper floor of the house, and you must fit it in between the two
+uprights of the front by pushing the ends of the crosspiece into the
+peas at the middle of the uprights (Fig. 173).
+
+[Illustration: Fig.170 - The long upright.]
+
+[Illustration: Fig.171 - Add the uprights to the peak.]
+
+[Illustration: Fig.172 - This is the front joist.]
+
+[Illustration: Fig.173 - Fit the joist in between the two uprights.]
+
+[Illustration: Fig.174 - The back of the house.]
+
+The back of the house is made in the same way with a third upright
+added which runs down through the middle from the point of the peak
+to the bottom of the house. This third upright is made by shortening
+two toothpicks and joining them with a pea, then fitting them in
+between the pea at the top of the peak and the pea at the middle of
+the crosspiece. A whole toothpick with the upper end pushed into the
+lower part of the pea at the middle of the crosspiece finishes the long
+upright (Fig. 174).
+
+[Illustration: Fig.176 - The Greenies' little house.]
+
+When the front and back are made all there is to do to finish the frame
+of the house is to put in the crosspieces to hold them together. Fig.
+175 shows all these crosspieces or joists. One crosspiece between the
+two peas at the top of the front and back peaks for the ridge-pole (K,
+Fig. 175), one on each side between the peas at the bottom of the peaks
+(L and M), one at each side between the peas at the ends of the front
+and back crosspieces (N, O), and one between the two peas at the middle
+of the front and back crosspieces (P).
+
+[Illustration: Fig.177 - The first bar of the fence.]
+
+[Illustration: Fig.175 - This is the frame of the house.]
+
+
+Now you have the frame of a two-storied house or a house with only
+an upper story, but it needs a roof and a floor. Split some of your
+pea-pods in half and lay one at a time across the ridge-pole at the
+top and the crosspiece at the bottom of the peak. Put half of a pod on
+one side of the peak, half a pod on the other side of the peak, then
+another half pod on the first side, and the next one on the second
+side, and so on until the space is covered and the house is roofed in.
+The stem ends of the pods must be up. The stems lock together and hold
+the roof in place.
+
+Make the loosely laid floor also of the split pea-pods, putting them
+across from front to back.
+
+[Illustration: Fig.178 - Push in two uprights.]
+
+Your little house (Fig. 176) now looks like those which strange people
+in far-away, hot countries build for themselves. They have no lower
+story or what we call a first floor, but are lifted on posts far above
+the sometimes very damp ground, and out of reach of any wild animals
+that may be prowling around.
+
+
+The Fence
+
+You can make a fence to put around the house in this way: Push a large
+pea on each end of a whole toothpick like Fig. 177, then break a
+toothpick exactly in half, stick one end of each half into the lower
+parts of the peas to form uprights, and push the lower end of each of
+these uprights into another pea as shown in Fig. 178. For the slanting
+crosspiece stick one end of another toothpick into the upper pea at the
+left-hand side, and the other end into the lower pea at the right-hand
+side (Fig. 179). Add a toothpick between the two lower peas, and one
+section of the fence is finished (Fig. 180).
+
+[Illustration: Fig.179 - Put in a slanting crosspiece.]
+
+[Illustration: Fig.180 - The finished section and the way to begin a
+new section of the fence.]
+
+Begin another section by sticking one end of a toothpick into a new pea
+and the other end into the upper pea at the left side of the section
+you have just finished (Fig. 180), then put in half a toothpick for
+the upright, a pea on the bottom of that, a whole toothpick for the
+slanting crosspiece, and another whole toothpick for the bottom.
+
+In this way you can keep on adding section after section and make your
+fence any length. To turn a corner all you have to do is to push the
+toothpicks which form the upper and lower crosspieces of a new section
+in at the back of the top and bottom peas of an end section of the
+fence.
+
+
+The Tropical Plant
+
+You will notice that in the illustration there is a plant growing at
+the side of the house which looks something like a cactus and adds to
+the tropical, or hot-country look of the little greeny people's home.
+
+[Illustration: Fig.181 - Draw curves like these for the design.]
+
+[Illustration: Fig.182 - The Green Pea design.]
+
+Seven half pea-pods are used to make this plant, four to stand up and
+three to lie down flat. Wrap and tie the stem ends of the four half
+pods together with a bit of string. Push a toothpick for a flower-stem
+through the middle of the bunch. Cut away the stem of a pea-pod, then
+cut off the calyx, or circle of little leaves, with the knob below
+attached. This is to be the blossom of the strange plant. Stick the
+flower on its toothpick stem, knob down, as you see it in the picture.
+
+To make the plant stand firmly lay the three extra half pods down flat
+with the stem ends one on top of the other and the outer ends at equal
+distances apart, and force the toothpick flower-stem through the pods
+where they cross. These three flat pods make a base which holds the
+rest of the plant upright, while they look as if they were a part of it.
+
+
+A Pretty Design of Green Peas
+
+This is not a toy, but you will like to make it just the same, and
+afterward, perhaps, you will want to try another design all by
+yourself. If you can draw at all, with a soft pencil make some curves
+on a piece of white paper like Fig. 181, only ever so much larger,
+then a straight line up from the centre. The distance between the two
+largest curves at their widest part should be about eight inches. If
+you cannot draw these curves, ask some older person to do it for you.
+
+[Illustration: Fig.183 - Do not open the pods wide.]
+
+Lay your paper with the pattern drawn on it flat on the table before
+you, shell some peas and carefully place them on the pencil lines of
+the curves. Begin with the largest peas at the centre of the design and
+finish with the smallest at the ends of the curves. Fig. 182 shows how
+this is done. Put the first pea on the curve at the place shown by the
+arrow in Fig. 181.
+
+You won't be able to keep the peas in place unless you stick them to
+the paper with paste. Hold the tube of paste in your left hand, squeeze
+out a very little, take it off the tube with one of the peas and push
+the pea, paste side down, onto the paper where it belongs.
+
+When the peas are all placed on the curves open two pea-pods as you
+did for the greenies' tent, slide one pod between the two halves of the
+other, and with a little paste on the stem ends and the tips, fasten
+them in the middle above the curves of peas as they are shown in Fig.
+182. The two halves of each pod are not opened wide but are like Fig.
+183. Above the pods, on the straight, upright line, place four more
+peas, beginning at the bottom with a large pea and ending with one much
+smaller.
+
+The success of this design will depend upon making one side just like
+the other and in keeping it equally balanced. That is, one side must
+not sag down below the other and the pods at the top must fit exactly
+on the line, half on one side, half on the other.
+
+The peas, you see, do not touch each other, but are separated by little
+spaces, and the spaces are all of the same length.
+
+
+
+
+CHAPTER XXV
+
+CORN-HUSKS AND CORN-COBS
+
+
+How to Make American History Seem Real--Our First Thanksgiving
+
+LET us play that we are really celebrating America's first Thanksgiving!
+
+You can see one of our long, rude puncheon tables spread out in the
+mild, sweet air of Indian summer, laden with delectable dishes of clam
+chowder, oysters, fish, turkey, duck, goose, venison pasties, turnips,
+dumplings of barley flour, corn bread, wheat cakes, pumpkin pies,
+grapes, plums, great flagons of cider, and "all manner of tasty eats."
+
+William Bradford, our good governor, with his old flintlock in hand,
+is just returning from a successful hunt for additional wild turkey.
+We shall need these, as ninety friendly Indians are to be our guests
+for three days and nights. Later they, too, will hunt and bring us wild
+deer.
+
+Elder Brewster, in his festive doublet and hose, has stopped a moment
+to speak to Master Bradford. Sitting at table, you can see Captain
+Miles Standish with arms outstretched in glad welcome as he calls more
+Indians to join the feast, while Massasoit, the mighty chief, stands at
+the table signalling with his arrow for the braves to approach.
+
+Already Quadquina and Hobomok are at the festive board, seated between
+Captain Miles Standish and John Alden. Squanto, who tells the boys how
+to trap game and teaches settlers how to plant corn, is resting on the
+ground with his feather-bedecked shield in one hand, and the calumet,
+or pipe of peace, in the other.
+
+[Illustration: The First American Thanksgiving Dinner in the year
+1621.]
+
+Now winsome Priscilla Alden comes, bearing on a pewter platter one of
+her savory hot baked turkeys, and her friend, Mary Chilton, is watching
+the delicious stew which simmers in the big iron pot over the outdoor
+fire.
+
+[Illustration: Fig.184 - Begin to make the pioneer in this way.]
+
+Mistress Brewster, on her way to cut pumpkin pie, must needs stay her
+steps a moment to give ear to Governor Bradford's remarks, and Desire
+Minter is hurrying forward, ahead of the other young women, to serve
+the men at the feast.
+
+All this would be told you by one of the little corn-husk pioneers
+shown in the photograph if only they could speak.
+
+[Illustration: Fig.185 - Fold the husks across the centre.]
+
+At all events, they can stand alone. They can be made to sit down, too,
+and their arms can be bent in any position. You may lift and place them
+in various parts of the grounds at pleasure. You might even imagine
+them to be the real characters they represent, and so live over again
+that Thanksgiving of 1621.
+
+The making of these little people is most interesting. Use the rather
+soft between-layers of corn-husks; about two husks for each pioneer.
+If the husks seem brittle, soak them in water and make them pliable.
+Lay one husk partially over the top of the other (Fig. 184), bend them
+across the centre (Fig. 185), and let the smoothest side be the front
+of the doll. Fold each side of the front to the back until the front
+somewhat resembles Fig. 186; then wind slender, soft string around to
+form the neck and head of the doll. Wind another soft string around
+lower down for the belt-line (Fig. 187).
+
+[Illustration: Fig.186 - The head and neck are made.]
+
+[Illustration: Fig.187 - Wind the waist with string.]
+
+[Illustration: Fig.188 - Arms for the pioneer.]
+
+Make the arms of soft corn-husk (Fig. 188) by turning the lengthwise
+edges of the husk inward again and again, until the roll is of the
+desired size. Cut off the ends evenly and wind the arms with string at
+the centre and near each end.
+
+Run the small blade of a penknife through the shoulders of the doll
+from side to side. Turn the blade flat side uppermost and allow it to
+remain in this position while you slide in the arms and screw them
+through the opening, pushing them along on top of the flat side of the
+blade. When in place, withdraw the knife and your little woman will be
+ready for her costume.
+
+[Illustration: Fig.189 - The pioneer is ready for his costume.]
+
+To make the man, cut Fig. 187 up from the bottom to within a short
+distance of the belt, thus dividing the husk skirts into two equal
+parts. Wind each half with string at the top, middle, and near the end
+to form the legs (Fig. 189).
+
+Use black tissue-paper for the loose knee-trousers. Cut
+
+[Illustration: Fig.190 - First leg of the trousers.]
+
+[Illustration: Fig.191 - The trousers are pushed into shape and coat
+is ready for its belt.] two strips of the paper, fit one strip over a
+leg (Fig. 190), push the paper up on the inside until it resembles Fig.
+191, then fasten in place with strong paste. Make the other trouser leg
+in the same way (Fig. 191).
+
+[Illustration: Fig.192 - Pattern of pioneer's collar.]
+
+[Illustration: Fig.193 - Make the hair of paper fringe.]
+
+[Illustration: Fig.194 - Crown of pioneer hat.]
+
+[Illustration: Fig.195 - Glue the hat crown on the man's head.]
+
+[Illustration: Fig.196 - How to slash the hat brim.]
+
+Cut the coat from a folded piece of dull-green tissue-paper, and
+just at the neck make a hole large enough for the man's head to slip
+through (Fig. 191). Paste the front edges of the sleeves over the back
+edges and lay the front edges of the coat over those of the back. Fit
+the coat in at the belt-line with your fingers. Cut a black belt of
+tissue-paper, fold it lengthwise, and belt in the fulness of the coat,
+then paste the belt ends together. Be careful to make the belt loose,
+for men's waists are large. Make the collar (Fig. 192) of white paper
+and fasten it around the man's neck with a drop of paste in front.
+
+From black, brown, or drab-yellow tissue-paper cut a strip of fine
+fringe and paste it on the man's head for hair (Fig. 193). Then make
+his hat. To do this, roll a small square of stiff black paper into a
+cornucopia to fit the man's head, paste the edges together, and trim
+off the corner which hangs down at the bottom (Fig. 194). Glue the
+hat-crown on the man's head, cut off the sharp top peak, and tilt the
+crown back a little (Fig. 195).
+
+Now cut a disk of the black paper for the hat-brim, slash it across
+the centre into four points (Fig. 196), but only just far enough to
+make the opening fit over the hat-crown. Slide the brim on the crown,
+allowing the slashed central points to lie up against it, and fasten
+them there with paste (Fig. 197). Glue the pioneer's feet into holes
+cut part-way through a small piece of the corrugated flat pasteboard
+used for packing purposes. In this way the little man becomes
+independent and able to stand alone (Fig. 197).
+
+[Illustration: Fig.197 - The pioneer is fully dressed and wearing his
+hat.]
+
+The corn-husk women also wear tissue-paper clothes. The waists are
+made in the same manner as the men's coats, only shorter and confined
+at the belt-line with paste. Straight dress skirts are slipped over
+the waists, and held in place at the belt by winding string around the
+pinched-up gathers. Long, severely plain white aprons, minus strings,
+are pasted to the waist-line, and white-bordered black caps and large
+white three-cornered neckerchiefs complete the costume.
+
+The cap is a straight piece of black tissue-paper with a narrow strip
+of white folded over the front edge. When ready, the white-bordered
+black strip is laid over the head, smoothly brought down on the sides,
+puckered together at the back and tied around the neck with a string.
+You have only to clip loose the outside layer of white close to the
+string at the neck-line to give the flare to the cap's white border.
+
+The crisp dress skirt forms sufficient support to enable the little
+women to stand alone.
+
+With the exception of Squanto, whose manly chest, back, and arms
+have no covering, the Indians wear suits of tan tissue-paper made on
+the same principle as the white men's costume, only the trouser-legs
+are narrow, long, and have the seam cut in fringe and run up on the
+outside. The bottom edge of the coat and the sleeve seams are also
+fringed. The coat is not wide and no belt is worn.
+
+Pieces of colored tissue-paper adjusted blanket fashion over the
+Indians, and fastened here and there with bits of paste to hold them in
+place, form the Indian blankets.
+
+The Indians' hair is merely a strip of black tissue-paper pasted over
+the top, back, and sides of the head with the ends loosely twisted and
+allowed to hang down in front on either side.
+
+[Illustration: Governor Bradford, Priscilla, Chief Massasoit and Elder
+Brewster. Made of corn-husks.]
+
+The war-bonnet is cut from a strip of white writing-paper, the tips
+of the feathers are inked, and one end of the strip is then pasted
+around Massasoit's head, as shown in the picture.
+
+It is best to make a number of corn-husk people at one time. Put the
+two husks together for each pioneer and Indian, then wind a string
+around the neck of each to form the head (Fig. 186). Again tie a string
+around each at the belt-line (Fig. 187). Continue making the people in
+this way, step by step, until all are finished at the same time. Have
+ready as many arms as you have people, and run the arms through each,
+one after another.
+
+When bending the arms or legs of the little people do it slowly and
+gently. If they are inclined to spring back, tie them in position
+overnight and they will stay bent.
+
+When dressing the dolls, cut out all the men's collars at one time. You
+can do this by cutting through as many layers of paper as there are
+men. Adopt the same plan with the other parts of clothing for the men,
+women, and Indians, and your work will be rapid.
+
+With ink draw features on all. The women must have ink hair, parted in
+the middle.
+
+Remember when making Miles Standish to cut his hair of red paper, for
+he had auburn hair.
+
+The "sad" colors worn by the pioneers were really the cheerful autumn
+hues, rich, dull reds, greens, browns, and yellows. These will give you
+quite a variety of colors for the costumes of both men and women.
+
+Make the puncheon table of a flat, narrow piece of wood. With a gimlet
+bore holes through the board, slanting them toward the centre, one hole
+near each corner. Any kind of round sticks will do for the legs. Cut
+them all of the same length and glue one in each hole.
+
+[Illustration: Pioneer puncheon table spread for America's First
+Thanksgiving Dinner.]
+
+The pewter dishes are made from one of the collapsible lead tubes
+used for oil-paints and various other things. Cut open the empty tube
+and smooth it out flat, then cut out round pieces for plates, mould
+the plates over the tops of wooden spools, and the flagons over a
+pen-handle or other round stick. Make the flagon-handles of slender
+strips of the tube bent into rings, and slip one end of the strip over
+the edge of the flagon.
+
+A piece of yellow paper pasted over the cover of a very small
+baking-powder can makes a pumpkin pie. The turkey is merely pinched-up
+paper with brown tissue-paper laid smoothly over the breast. Its wings
+and legs are of bits of lighter-colored paper rolled and bent into
+shape, then pasted on the turkey.
+
+[Illustration: Fig.198 - Corn-cob log for pioneer log cabin with
+notches cut and marked.]
+
+Fresh, green, uncooked corn-cobs from which the corn has been cut and
+scraped make delightful pioneer log-houses. Cooked cobs are too hard
+to cut. Choose slender cobs, long ones for the front and back of the
+house, shorter ones for the sides. Cut a notch, or saw it, if the cobs
+are dry and hard, on the tops of the ends of each of the two foundation
+logs (Fig. 198). Cut a notch on both top and bottom of each remaining
+log as indicated by the black lines in Fig. 198.
+
+Always make a larger notch in the small end of the cob than in the
+large end, so that the large end of another cob may fit in it; for,
+when building, it is necessary to place small ends and large ends
+together, and never two large ends or two small ends, or the house will
+be unevenly balanced.
+
+Lay the two foundation cobs down parallel to each other and a short
+distance apart; then bridge across the ends with shorter cobs, fitting
+the notches into each other. Continue building in this log-cabin
+fashion until the house is of sufficient height.
+
+On the front of the house draw two straight lines down across the cobs,
+one for each side of the doorway. Then take your house apart and cut
+the doorway out from the marked cobs. Rebuild the house, gluing layer
+upon layer. Make the doorway jambs of straight pieces of corn-stalk,
+and glue them on each side of the open doorway.
+
+[Illustration: Pioneer log cabin made of corn-cobs.]
+
+Before the roof can be added, corn-cobs, graduated in length and
+without notches, must be laid at each end of the house to support
+the roof and give it its gable ends. These graduated cobs are the
+"trap-logs." They rest upon long strips of corn-stalk, called "ribs,"
+which are placed across from one end of the house to the other. Build
+the roof log-cabin fashion as you built the body of the house, laying a
+rib between the ends of each layer of graduated cobs, and as you build,
+fasten the parts together with glue.
+
+Cut enough clapboards of corn-stalk to cover both sides of the roof.
+Make them all of the same length and long enough to reach from the top
+of the roof to a trifle beyond its lower edge.
+
+The clapboards must be held down by means of "weight-poles" laid
+across, and to keep the weight-poles from rolling off use pegs called
+"knees."
+
+Make the knee-pegs of corn-stalk. Cut a hole near both ends of four of
+the clapboards and glue in pegs, slanting them upward. You will then
+have two pegged clapboards for the front of the roof and two for the
+back. Place them near the ends of the roof and glue all the clapboards
+in place. Cut four slender lengths of corn-stalk for weight-poles, and
+lay them across the roof, resting against the knee-pegs. Glue them to
+the roof only where they buck the knee-pegs. When finished, set the
+house aside until the glue is entirely dry. It may then be moved.
+
+Corn-tassels standing in empty spools make fine trees.
+
+It is fitting that the story of our country's first Thanksgiving should
+be retold this year by means of corn. You remember, of course, that
+friendly Indians showed the pioneers how to plant and cultivate corn,
+which, to them, was a new grain. Later, when a wonderful harvest had
+been gathered, our forefathers decided to set aside a day to thank God
+for His goodness. That was the first Thanksgiving.
+
+
+
+
+PART VII
+
+FRUIT
+
+
+
+
+CHAPTER XXVI
+
+THE FUNNY ORANGE HEAD
+
+
+YOU will hardly believe it is only an ordinary, everyday orange when
+you have made it into the head that I am going to tell you about.
+
+Select a small, firm, perfect orange and with a pencil mark features on
+it, first the eyes like Fig. 199. Carefully cut out the little spaces
+of skin between the lines, then mark the nose (Fig. 200); cut this and
+mark the mouth (Fig. 201); cut this and at each side of the head draw
+the ears like Fig. 202. You will see that the line of the ear does not
+continue all the way around; that means that you are simply to run your
+knife along the line, cutting through the skin so that the ears may be
+lifted up and peeled forward to stand out from the head; the front part
+remains attached (Fig. 203).
+
+Make the neck of a slender, strong, round stick sharpened to a point at
+one end. Push the point up into the under part of the orange, where the
+neck should be, by twisting the stick around as it goes in (Fig. 204).
+
+The orange is the head, but your hand and fingers are to be the body
+and arms to go with it. Look at Fig. 204. That will show you how to
+hold the stick firmly and at the same time leave your first finger and
+thumb free to use as arms.
+
+[Illustration: Fig.199 - Eyes marked on orange head.]
+
+[Illustration: Fig.200 - Eyes cut, nose marked.]
+
+[Illustration: Fig.202 - Ear marked, ready to cut and peel forward.]
+
+[Illustration: Fig.201 - Nose cut, mouth marked.]
+
+[Illustration: Fig.203 - Mouth cut, ears cut and peeled forward.]
+
+Pin a handkerchief, or other soft cloth, around Mr. Orange's neck,
+bring it around to cover your hand and then pretend he is talking while
+you move his arms and say as many funny things as you can think of.
+By moving the stick while you hold it in your hand, you can make the
+orange head turn in various ways (Figs. 205 and 206), and a little
+paper hat fitted on it will make it still funnier (Fig. 207).
+
+[Illustration: Fig.204 - Hold the orange this way.]
+
+The orange need not always be a man. You can play it is a little girl
+and make a cunning little wreath of flowers for her small head; or
+pretend it is a baby and have it wear a baby's cap made of paper.
+If you want to turn it into a young lady, pierce the ears and fit
+in earrings made of violets. You do this simply by threading the
+flower-stems through the holes you have pierced, and drawing the
+blossoms up close to them. Then, you can make believe the orange is an
+old man and put a pipe in his mouth. Make the pipe of an acorn with a
+twig for the stem. If you want the baby to cry, squeeze the orange a
+little and tears of orange-juice will roll from its eyes and stream
+down its face. Little holes must first be punctured in the eyes to let
+the tears run out.
+
+[Illustration: Fig.205 - "Now I'll tell you a funny story."]
+
+
+Things You Can Make of Orange-Skins
+
+A TOY JAPANESE STOOL
+
+The soft, golden orange-skin, lined with silvery white, is fine
+material for moulding and making into different kinds of things to play
+with. Bring your orange and we will begin by making a toy stool for
+your doll-house (Fig. 208). It will look very much like the real stools
+which the Japanese make for real people to sit on, though nothing is
+used for it but the orange-skin.
+
+[Illustration: Fig.206 - "Can't remember what I was going to say."]
+
+First cut the orange across from side to side, making two halves, and
+after you have taken out the pieces of juicy fruit and enjoyed eating
+them, examine the two pretty yellow orange-skin bowls that are left.
+See how soft and pliable they are. Now take one of the bowls and pinch
+the edges of two opposite sides toward each other; hold them steady
+while, with your other hand, you pinch the other two sides toward each
+other. Hold all four sides bent inward for a moment, then let go of
+them and the sides will stay bent while you wind string across, first
+one way then the other, between the curved stool legs you have just
+made by bending the sides of the bowl inward.
+
+[Illustration: Fig.207 - "What a joke."]
+
+[Illustration: Fig.208 - Japanese stool made of half an Orange peel.]
+
+Set the stool away to dry and stiffen into shape; then, when it has
+become hard, take off the string and you will have a little Japanese
+stool quite as strong as if made of wood.
+
+
+A CANDY-BOX
+
+A candy-box can be made in the same way of the other half of the
+orange-skin, but you must curve the sides in only a little for this;
+not nearly as much as for the stool. Stand the candy-box, with open
+part up, ready to be filled with candy.
+
+
+A BASKET
+
+An orange-skin basket is a substantial little affair when finished, and
+will hold almost anything you want to put in it. It looks like Fig.
+209. For this you will again need half of an orange-skin. Bend in two
+opposite sides after first cutting a short slit in each side near the
+edge. Make the handle of strong paper, cutting it like Fig. 210, with a
+tongue at each end. Bend over the two side points of each tongue, and
+slide one tongue through the slit in one side of the basket, the other
+tongue through the slit in the other side, then open out the points
+again and they will make secure fastenings for the handle. You will see
+from the illustration that the tongues are put through the basket from
+the inside and show on the outside.
+
+Before setting away to dry, tie a string around the bent-in sides of
+the basket, and stuff the open part with crushed paper to keep it in
+shape.
+
+[Illustration: Fig.209 - Half of Orange skin used for a basket.]
+
+[Illustration: Fig.210 - Make the handle of paper.]
+
+
+ORANGE-SKIN BOWLS
+
+When you have another orange save the two halves of the skin, pack each
+full of crumpled, clean, blank paper, flatten the bottom of the bowls
+so that they will stand firmly, then set them away to dry.
+
+If you do all this carefully the bowls will harden in good shape and
+you can use them to eat and to drink from.
+
+[Illustration: Fig.211 - A little summer house made of half of an
+Orange skin.]
+
+
+Other Things Made of Orange-Skins
+
+Cunning little toy summer-houses may be made from an orange-skin in a
+moment's time (Fig. 211). Take half of an orange-skin and stick the
+sharp ends of four wooden toothpicks into the edge of its rim. Place
+the toothpicks upright, at equal distances apart, and they will form
+the pillars to support the golden, dome-shaped roof. Stand the little
+summer-house on the table, and you will think it charming.
+
+By slicing an orange you can have a number of little, yellow hoops for
+your dolls, made of the rind around each slice. When the hoops are
+carefully dried in perfect circles, you can roll them on top of a table
+or on the floor, and play the dolls are having great fun racing with
+their orange-skin hoops.
+
+
+
+
+CHAPTER XXVII
+
+APPLES AND APPLE FUN
+
+
+WHEN the apple-trees are in bloom, stand under one and look up through
+the wonderful tent of flowers at the little bits of blue sky peeping
+down at you between the blossoms. Isn't it delightful to see so many,
+many apple-blossoms all at once? How beautiful they are and how sweet
+they smell!
+
+Now, pick one little blossom and examine it carefully. Count the pretty
+pink-and-white petals. Five petals? Yes. Look again, see how they grow
+from the centre and notice their shape. Be very particular, so that you
+will remember exactly how the blossom looks; make sure you know, for I
+am going to tell you about the flower you can find inside the big, ripe
+apple after all the other apple-blossoms are gone.
+
+
+Apple-Blossom in Apple
+
+Cut the apple into thin slices from side to side through the core. Take
+one of the slices from near the middle of the apple and hold it up to
+the light, so that the light will shine through it, then look carefully
+and you will see in the centre a perfect pattern of the apple-blossom
+you gathered from the tree (Fig. 212). Apple-seeds form the centre of
+the flower. The petals, five in number, are of the flesh of the fruit.
+They are of the same shape and size as the real blossom. Isn't it
+wonderful?
+
+[Illustration: Fig.212 - Apple blossom inside of the fruit.]
+
+[Illustration: Fig.213 - Design begun on apple slice.]
+
+[Illustration: Fig.214 - Design pierced through apple slice.]
+
+Now, take the seeds from their hard, glossy cases, again hold the slice
+up to the light and lo, in the centre of the slice, you will find a
+five-pointed star which twinkles as the light shines through.
+
+You can add to this and make a pretty, shining pattern in this way:
+Take a wooden toothpick, and with its pointed end pierce little holes
+all along the edge of the flower pattern; then make a loop of little
+holes above one of the petals (Q, Fig. 213), and still another above
+that one (R, Fig. 213). Pierce the edges of all the petals and make the
+same kind of double loops above them also, then the design will be like
+Fig. 214. Hold it up to the light, turn it this way and that and your
+slice of apple will look as if spangled with glittering diamonds. Fig.
+215 shows a wheel design which you can make of another slice.
+
+[Illustration: Fig.215 - Another design on apple slice.]
+
+
+Apple Candle in its Candlestick
+
+When I was a little girl I used to make apple candles that stood up in
+their own candlesticks. I always ate the fresh, juicy slices as I cut
+them off. Fig. 216 shows how the candles look when finished. The stem
+is the wick, and as it is usually dark at the end, it is a very good
+imitation of a candlewick that is partially burnt. The dotted lines on
+Fig. 217 show how to cut away the apple to leave the candle and its
+holder.
+
+[Illustration: Fig.216 - Apple candle ready for table.]
+
+[Illustration: Fig.217 - Cut away apple leaving candle in candle-stick.]
+
+First cut off a slice at the blossom end, so that the candle-stick
+will stand without tipping. The dotted line at the bottom of Fig. 217
+indicates where this cut is to be made. Then run your knife around the
+apple without cutting all the way through to the core, where you see
+the middle dotted line on Fig. 217. After that, begin at the sides and
+gradually shave down the upper part little by little, being careful not
+to cut below the slit you have made around the apple. When the middle
+part standing up around the core is the size of a real candle it is
+time to stop cutting. Because of the core inside you cannot make your
+candle very slender, but you can cut off the sharp edges and make it
+round.
+
+
+A Roasted Apple
+
+Another thing I used to love to do with my apple when I was a little
+girl was to tie a long string to the stem and hang it before an open
+fire to roast. I think you will enjoy it too.
+
+Tie one end of the string securely to the stem of your apple, and don't
+break the stem off in doing it (Fig. 218); then tie the other end to
+something heavy on the mantel-shelf that will hold it securely. The
+apple should hang in front of a grate of glowing coals, or near the
+red-hot coals of a wood-fire.
+
+[Illustration: Fig.218 - Roast your apple this way.]
+
+As soon as cooking begins, twist the string and make the apple spin
+round and round so that it may be roasted evenly on all sides; it is
+fun to do that. When the juice begins to run and drop from the apple,
+set a saucer under to catch the hot, sweet syrup. It is good poured
+over the apple when that is thoroughly cooked. Add sugar to the juice
+while it is hot if it is not sweet enough.
+
+
+The Spice Apple
+
+In New England, many years ago, there was always to be found in every
+household at least one spice apple. It sounds good to eat, doesn't it?
+But they were not made for eating, they were used for sweet-smelling
+ornaments, and for keeping away moths and other troublesome insects.
+Perhaps you will like to make a spice apple to give away; it will be a
+pretty and very sweet gift and will last for years.
+
+Choose a small, perfectly sound apple and have ready a lot of cloves.
+Stick the cloves into the apple as you would stick pins into a cushion,
+only the cloves must be put in very close together, touching each other
+and making the apple look like a large, prickly, brown nut. That is
+all, unless you want to hang the apple up. In that case run a wooden
+toothpick through one raised side at the top, across the little hollow
+where the stem grows, and out through the raised side opposite, after
+first breaking off the stem. Cross this toothpick with another pushed
+through the apple and also bridging the hollow. This will make a low
+handle in the form of a cross. At the middle, where the toothpicks
+touch, tie a bright ribbon, leaving a loop by which to hang it.
+
+
+Other Things to Make of an Apple
+
+When an apple is cut across into round slices, you can make a doll's
+table of the largest slice by using four wooden toothpicks for legs,
+pushing them into the apple at equal distances apart. Half of a slice,
+with halves of toothpicks for legs, makes a very suitable seat for this
+remarkable table.
+
+If you cut a thick flat slice from a small apple you can make it into a
+top that will spin by pushing a toothpick through the centre, leaving
+a long end on one side and a shorter end on the other. The short end
+is the peg upon which the top spins. Take the long, upper end of the
+toothpick between your thumb and first finger, give it a hard, quick
+twist and drop the top on a table having a hard, smooth finish, where
+it will spin merrily. The little fruit-top will not spin on a carpet or
+any rough, uneven surface.
+
+
+
+
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+
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+
+    CHARLES SCRIBNER'S SONS
+
+
+       *       *       *       *       *
+
+Transcriber's Notes: Obvious punctuation errors repaired.
+
+Page 109, caption Fig.124, "Burdock-burs" changed to "Burdock-burrs"
+(house of Burdock-burrs)
+
+Page 111, caption Fig.132, "Burdock-burs" changed to "Burdock-burrs"
+(by Burdock-burrs)
+
+Page 114, caption Fig.137, same as above (Burdock-burr target.)
+
+Page 114, caption Fig.138, "bur" changed to "burr" (Hold the burr)
+
+Page 143, caption Fig.177, "ig" changed to "Fig" (Fig.177)
+
+Page 164, caption Fig.203, "pealed" changed to "peeled" (peeled forward)
+
+
+
+
+
+End of the Project Gutenberg EBook of Mother Nature's Toy-Shop, by 
+Lina Beard and Adelia B. Beard
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44440 ***
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+                  padding-left: .5em; padding-right: .5em;}
+
+.center   {text-align: center;}
+
+
+.smcap    {font-variant: small-caps;}
+
+.caption  {font-weight: bold; font-size: 90%;}
+
+/* Images */
+.figcenter   {
+    margin: auto;
+    text-align: center;
+}
+
+.figleft {
+    float: left;
+    clear: left;
+    margin-left: 0;
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+
+
+
+    </style>
+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 44440 ***</div>
+
+<div class='tnote2'><b>Transcriber's Note:</b> This book was written in a time in which
+we didn't know what we know now. For example, we now know foxglove to
+be very poisonous and would not suggest children use the blossoms for
+fairy caps. Please use caution if attempting any of these crafts. And
+don't play with foxglove.</div>
+<hr class="chap" />
+<div class="figcenter" style="width: 495px;">
+<img src="images/cover.jpg" width="495" height="800" alt="cover" />
+</div>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p>
+
+
+<div class='maintitle'>Mother Nature's<br />
+Toy-Shop</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a><br /><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
+
+
+
+<div class='bbox2'>
+<h1>Mother Nature's<br />
+Toy-Shop</h1>
+
+<div class='center'><br /><br />By<br />
+
+<span class='author'>LINA BEARD AND ADELIA B. BEARD</span><br />
+<br /><br /><br /><br />
+
+With Many Illustrations<br />
+by the Authors<br />
+<br /><br /><br /><br />
+Charles Scribner's Sons<br />
+<small>New York   &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;   Chicago   &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;   Boston</small><br />
+</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p>
+
+
+
+
+<div class='copyright'>
+<span class="smcap">Copyright, 1918, by</span><br />
+CHARLES SCRIBNER'S SONS<br />
+<br /><br />
+
+
+
+SPECIAL NOTICE</div>
+<div class='blockquot'>
+All the material in this book, both text and cuts, is original with the
+authors and invented by them; and warning is hereby given that the
+unauthorized printing of any portion of the text and the reproduction
+of any of the illustrations or diagrams are expressly forbidden.<br /><br /><br /></div>
+
+
+<div class="figcenter" style="width: 106px;">
+<img src="images/i_004.png" width="106" height="118" alt="emblem" />
+</div>
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>
+
+
+
+
+<h2>PRESENTATION</h2>
+
+
+<p><span class="smcap">Mother Nature</span> is every bit as fond of the little folks
+in her human family as of the grown-ups, and while she
+prepares untold joys for lovers of the outdoors among men
+and women and larger boys and girls, she never forgets
+the little ones.</p>
+
+<p>For their benefit she keeps an open toy-shop full of marvellous
+playthings, all free to any child who wants them,
+and instead of the children paying her for what they take
+she pays them for coming to her by giving them rosier
+cheeks, brighter eyes, and stronger bodies. She puts more
+glee into their laughter and greater happiness into their
+trustful little hearts.</p>
+
+<p>As in the large department stores in big cities, the goods
+in Mother Nature's shop are changed for each season of
+the year; so the little shoppers have constant variety and
+hail every new season with fresh delight. This book is
+written to call attention to the beautiful and wonderful
+things to be found in Mother Nature's toy-shop and to
+tell what to do with them, for one must know how to use
+the amusing material that is furnished.</p>
+
+<p>After really getting into this most enchanting of all toy-shops
+with eyes open to see its wonders, we found that the
+difficulty to be met was not how to write about them, but
+how to stop writing. The display was so varied and so
+inviting, it seemed that we must tell the children about
+everything we saw, but if we had gone on seeing more and
+telling more there is no saying what size this book would
+have been.</p>
+
+<div class='sig'>
+<span class="smcap">Lina Beard,<br />
+Adelia Belle Beard.</span><br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a><br /><a name="Page_vii" id="Page_vii">[vii]</a></span></p>
+
+
+
+
+<h2>CONTENTS</h2>
+
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="1" cellspacing="0" summary="Contents">
+<tr><td align="center" colspan='3'>PART I&mdash;WILD FLOWERS</td></tr>
+<tr><td align="left" colspan='2'><small>CHAPTER</small></td><td align="left"><small>PAGE</small></td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Daisies</span></td><td align='right'><a href="#Page_1">1</a></td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">Jack-in-the-Pulpit</span></td><td align='right'><a href="#Page_5">5</a></td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Red and White Clovers</span></td><td align='right'><a href="#Page_8">8</a></td></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Clover Designs</span></td><td align='right'><a href="#Page_12">12</a></td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Other Wild-Flower Designs</span></td><td align='right'><a href="#Page_19">19</a></td></tr>
+<tr><td align="right">VI.</td><td align="left"><span class="smcap">Pussy-Willows</span></td><td align='right'><a href="#Page_24">24</a></td></tr>
+<tr><td align="right">VII.</td><td align="left"><span class="smcap">Arrangement of Flowers</span></td><td align='right'><a href="#Page_33">33</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART II&mdash;GRASSES</td></tr>
+<tr><td align="right">VIII.</td><td align="left"><span class="smcap">Fairy-Trees Made of Grasses</span></td><td align='right'><a href="#Page_40">40</a></td></tr>
+<tr><td align="right">IX.</td><td align="left"><span class="smcap">A House Made of Grass</span></td><td align='right'><a href="#Page_45">45</a></td></tr>
+<tr><td align="right">X.</td><td align="left"><span class="smcap">Grass Dress and Grass Head-Dress</span></td><td align='right'><a href="#Page_56">56</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART III&mdash;GREEN LEAVES</td></tr>
+<tr><td align="right">XI.</td><td align="left"><span class="smcap">Oak-Leaves</span></td><td align='right'><a href="#Page_61">61</a></td></tr>
+<tr><td align="right">XII.</td><td align="left"><span class="smcap">Grape-Leaf Drinking-Cup</span></td><td align='right'><a href="#Page_68">68</a></td></tr>
+<tr><td align="right">XIII.</td><td align="left"><span class="smcap">Green-Leaf Designs</span></td><td align='right'><a href="#Page_71">71</a></td></tr>
+<tr><td align="right"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span></td></tr>
+<tr><td align="center" colspan='3'><br />PART IV&mdash;CULTIVATED FLOWERS</td></tr>
+<tr><td align="right">XIV.</td><td align="left"><span class="smcap">Phlox</span></td><td align='right'><a href="#Page_76">76</a></td></tr>
+<tr><td align="right">XV.</td><td align="left"><span class="smcap">Cultivated Foxglove</span></td><td align='right'><a href="#Page_81">81</a></td></tr>
+<tr><td align="right">XVI.</td><td align="left"><span class="smcap">Miss Hollyhock's Garden-Party</span></td><td align='right'><a href="#Page_88">88</a></td></tr>
+<tr><td align="right">XVII.</td><td align="left"><span class="smcap">Daffodils</span></td><td align='right'><a href="#Page_92">92</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART V&mdash;SEED-VESSELS</td></tr>
+<tr><td align="right">XVIII.</td><td align="left"><span class="smcap">Seed-Vessel Playthings</span></td><td align='right'><a href="#Page_96">96</a></td></tr>
+<tr><td align="right">XIX.</td><td align="left"><span class="smcap">Buckeye Horse and Buckeye Rider</span></td><td align='right'><a href="#Page_103">103</a></td></tr>
+<tr><td align="right">XX.</td><td align="left"><span class="smcap">Burdock-Burrs</span></td><td align='right'><a href="#Page_108">108</a></td></tr>
+<tr><td align="right">XXI.</td><td align="left"><span class="smcap">Things to Make of English-Walnut Shells</span></td><td align='right'><a href="#Page_117">117</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART VI&mdash;VEGETABLES</td></tr>
+<tr><td align="right">XXII.</td><td align="left"><span class="smcap">Things You can Make of Lima Beans</span></td><td align='right'><a href="#Page_123">123</a></td></tr>
+<tr><td align="right">XXIII.</td><td align="left"><span class="smcap">Sweet-Potato Alligator and What to Make of a Radish</span></td><td align='right'><a href="#Page_130">130</a></td></tr>
+<tr><td align="right">XXIV.</td><td align="left"><span class="smcap">Green-Pea Toys and a Green-Pea Design</span></td><td align='right'><a href="#Page_136">136</a></td></tr>
+<tr><td align="right">XXV.</td><td align="left"><span class="smcap">Corn-Husks and Corn-Cobs</span></td><td align='right'><a href="#Page_148">148</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART VII&mdash;FRUIT</td></tr>
+<tr><td align="right">XXVI.</td><td align="left"><span class="smcap">The Funny Orange-Head</span></td><td align='right'><a href="#Page_163">163</a></td></tr>
+<tr><td align="right">XXVII.</td><td align="left"><span class="smcap">Apples and Apple Fun</span></td><td align='right'><a href="#Page_171">171</a></td></tr>
+</table></div>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p>
+
+
+
+<div class='adtitle1'>
+Mother Nature's<br />
+Toy-Shop<br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a><br /><a name="Page_1" id="Page_1">[1]</a></span></p>
+
+
+
+
+<h2><i>PART I</i><br />
+<br />
+WILD FLOWERS</h2>
+
+<hr class="chap" />
+
+<h2>CHAPTER I<br />
+
+<small>DAISIES</small></h2>
+
+
+<h3>What You Can Do with Them</h3>
+
+<p><span class="smcap">Wild</span> flowers, like children, are up early. <i>They</i> don't
+want to lie abed after their long winter's sleep; they want
+to be awake and see what is going on in the world. While
+you think it is still winter there is a stirring going on
+under the blankets of brown earth, and sometimes before
+the snow is off the ground you may find the little things
+working up through the stiff soil and opening their eyes
+to the gentle spring sunshine.</p>
+
+<p>It is remarkable the way the soft, tender sprouts force
+their way through hard ground that we would have to
+take a knife or trowel to dig into. But they do it. Not
+all at once with a great, blustering rush, but gently, steadily,
+and quietly they push and keep on pushing until
+their heads are above ground; then they begin to grow in
+good earnest, and pretty soon they laugh right out into
+blossom.</p>
+
+<p>The pleasure these earliest wild flowers give us is in
+going out to look for them and in gathering handfuls to
+carry home and put into little glass bowls to be "Oh'd"
+over and wondered at, to be admired and loved because
+they are lovely, and because they bring some of the sweet
+outdoors of spring into the furnace-heated house.</p>
+
+<p>They are too delicate and fragile, these anemones,<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
+hepaticas, and bloodroots, to be handled and played
+with, but later come the stronger, sturdier flowers and with
+many of these you can do all sorts of entertaining things.
+You don't have to look very far for them either. They
+are in the fields, by the roadsides, and even along the edges
+of the streets of a village or small town. You won't find
+them in the city.</p>
+
+<p>To begin with, there are the daisies. How white the
+fields are with them! If they are fine, large daisies on
+tall, strong stems they will reach up to your waist&mdash;that
+is, if you are a little girl. If you are bigger they will come
+well above your knees. There are a number of things
+that you can do with them. First, you can make a really
+beautiful</p>
+
+
+<h3>Daisy Crown</h3>
+
+<div class='unindent'>for a May queen, or to wear yourself just for the fun of it.</div>
+
+<div class="figcenter" style="width: 334px;"><a id="Fig_1"></a>
+<img src="images/i_012a.png" width="334" height="260" alt="two flowers with stems crossed" />
+<div class="caption">Fig.1 - Begin the wreath in this way.</div>
+</div>
+
+<div class="figcenter" style="width: 326px;"><a id="Fig_2"></a>
+<img src="images/i_012b.png" width="326" height="169" alt="diagram" />
+<div class="caption">Fig.2 - Turn the stem of B under
+the stem of A</div>
+</div>
+
+<p>Gather a whole lot of daisies with rather long stems.
+They will stay fresh longer if you put them into a pail of
+cool water and let them drink a little before using them;<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
+and if they have wilted while you carried them, the water
+will bring them up again as fresh as&mdash;why, as fresh as a
+daisy to be sure. This
+is the way to make the
+crown. It is a new
+way and a good way.</p>
+
+<div class="figcenter" style="width: 369px;"><a id="Fig_3"></a>
+<img src="images/i_013a.png" width="369" height="166" alt="diagram" />
+<div class="caption">Fig.3 - Bring B around and in front
+of it's own upright.</div>
+</div>
+
+<p>Take one daisy in
+your left hand and
+hold it, not upright
+but in what is called
+a horizontal position
+like the one marked A in <a href="#Fig_1">Fig. 1</a>, then with your right
+hand hold another daisy upright and place its stem in
+front of and across
+the stem of the first,
+as you see it in <a href="#Fig_1">Fig. 1</a>.</p>
+
+<div class="figcenter" style="width: 380px;"><a id="Fig_4"></a>
+<img src="images/i_013b.png" width="380" height="170" alt="diagram" />
+<div class="caption">Fig.4 - Let the stem of B rest on
+the stem of A</div>
+</div>
+
+<p>This second daisy
+we will call B. Now
+turn the stem of B
+under the stem of A
+and up at the back as
+it is in <a href="#Fig_2">Fig. 2</a>. Bring
+this same stem, B,
+around and in
+front of its own
+upright part like
+<a href="#Fig_3">Fig. 3</a>. Turn it
+all the way around
+the upright part
+and let the stem of
+B rest on top of
+the stem of A. <a href="#Fig_4">Fig. 4</a> shows this, but in the drawing the
+stems are separated a little so that you may see each one
+plainly. It is something like weaving, you see. And it
+is weaving of a sort.</p>
+
+<div class="figcenter" style="width: 411px;"><a id="Fig_5"></a>
+<img src="images/i_013c.png" width="411" height="165" alt="diagram" />
+<div class="caption">Fig.5 - Weave another daisy, C, on
+the first two stems.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p>
+
+<p>Across the stems of the daisies A and B, two stems
+this time, place the stem of another daisy that we will
+call C, and weave it on the first two stems exactly as you
+wove B onto A (<a href="#Fig_5">Fig. 5</a>). The stem of the fourth daisy
+will have to cross three stems, A, B, and C. The fifth
+daisy-stem will cross four stems, but after that the end
+of the daisy-stem A will probably have been passed and
+you will be weaving on the others. It depends upon the
+length of the stems how many are woven over; sometimes
+there may be five. It is not well to have more than that
+number. You can cut a stem off when it seems to be going
+too far around the crown.</p>
+
+<div class="figcenter" style="width: 464px;"><a id="Fig_6"></a>
+<img src="images/i_014.png" width="464" height="291" alt="wreath" />
+<div class="caption">Fig.6 - A new way to make a Daisy Wreath.</div>
+</div>
+
+<p>Place the daisies close enough together to have their
+petals touch, or even crowd a trifle, because when the
+crown is curved and the ends brought together the flowers
+will separate and leave wider spaces. When you have
+woven enough daisies to make your crown the proper size
+to fit your head, cut the last stems off about two inches
+from the last flower and, with a strong blade of grass or
+piece of string, tie them to the stem of the daisy A, just
+back of the flower. <a href="#Fig_6">Fig. 6</a> shows what the daisy crown
+looks like when finished.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p>
+
+
+
+
+<h2>CHAPTER II<br />
+<small>JACK-IN-THE-PULPIT</small></h2>
+
+
+<p><span class="smcap">One</span> of the earliest wild flowers to show its head above
+ground is Jack-in-the-pulpit. It is an odd plant and what
+we call the flower is not the blossom at all, but a protecting
+leaf called a spathe which surrounds the tiny flowers
+growing on the club-shaped spike (or spadix) standing upright
+inside.</p>
+
+<p>That is a good thing to know and remember, but what
+concerns us now is that there is a pulpit with its curved
+sounding-board&mdash;or perhaps it is a striped awning&mdash;overhead,
+and that in the pulpit is Jack.</p>
+
+<p>He is a cheerful little preacher and his pulpit is somewhat
+gayer than we usually see, but no one ever told Jack
+that to be good he must be solemn and that to preach he
+must have a pulpit rich and sombre. The good God who
+made him gave him his pretty, striped pulpit with its
+striped awning to shelter it, and Jack goes on preaching
+his cheerful sermons from this as long as he lives. Hear
+what some one has said of him:</p>
+
+<div class='poem'>
+"Jack-in-the-Pulpit preaches to-day,<br />
+<span style="margin-left: 0.5em;">Under the green trees, just over the way;</span><br />
+<span style="margin-left: 0.5em;">Squirrel and Song-Sparrow high on their perch,</span><br />
+<span style="margin-left: 0.5em;">Hear the sweet lily-bells ringing to church.</span><br />
+<br />
+"Come, hear what his reverence rises to say,<br />
+<span style="margin-left: 0.5em;">In his low, painted pulpit, this calm Sabbath day.</span><br />
+<span style="margin-left: 0.5em;">Fair is the canopy over him seen</span><br />
+<span style="margin-left: 0.5em;">Pencilled by Nature's hand, black, brown, and green."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p>
+
+<div class="figleft" style="width: 302px;"><a id="Fig_7"></a>
+<img src="images/i_016.png" width="302" height="555" alt="diagram" />
+<div class="caption">Fig.7 - Cut a hole at the back
+of the Pulpit.</div>
+</div>
+<p>Some people who love the woods and the wild flowers
+can understand Jack's wild-wood language. They will
+tell you that over and over again he is saying: "Come into
+the clean, shady woods and learn to love all the wonderful
+living, growing things to be found here. Come into the
+green woods and hear what we
+can tell you of beauty and
+love and kindness; of courage
+and perseverance and strength,
+for plants must have courage
+and perseverance as well as
+strength in order to live."</p>
+
+<p>All the time these plants are
+working in the ground and
+above it to make their flowers
+perfect and their seeds fruitful.
+Sometimes it is difficult work,
+too, if the soil does not give
+them enough food, or a dry
+summer chokes them with
+thirst. Sometimes they must
+struggle hard to gain a footing
+between the rocks where they
+were told to grow, or to keep
+from being crowded out by
+stronger, coarser plants that
+are called weeds.</p>
+
+<p>But they keep on trying to
+do their part and to do it
+well; they work and love, and their children, the blossoms,
+laugh, laugh, laugh with the happiness of it all.</p>
+
+<p>Now if Jack seems to you to stand too still in his pulpit
+while he preaches all this, why you can make him
+move around. He can turn first to one side then to the
+other, and he can lean forward over the front with extended<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+arms as some preachers do when they are very
+much in earnest.</p>
+
+<p>For this you will first have to cut a hole at the back of
+the pulpit near the bottom, as is shown
+in <a href="#Fig_7">Fig. 7</a>, then, slipping your knife inside,
+cut Jack loose from the flower and drop
+him out from the top by turning the
+pulpit upside down.</p>
+
+<p>Cut off the lower, thin part of the
+spike to which the arrow points in <a href="#Fig_8">Fig. 8</a>
+and, after puncturing a deep hole in the
+end, push in a very slender twig or grass-stem.
+<a href="#Fig_9">Fig. 9</a> shows how this is done.
+For arms that will make Jack seem more
+like a little man, push a short piece of
+grass-stem through the spike near the
+top where you see it in <a href="#Fig_9">Fig. 9</a>. Make
+a hole all the way through the spike
+with a pin so that the arms will slip
+in easily.</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tr><td align="left"><div class="figcenter" style="width: 122px;"><a id="Fig_8"></a>
+<img src="images/i_017a.png" width="122" height="265" alt="diagram" />
+<div class="caption">Fig.8 - The Spike.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 141px;"><a id="Fig_9"></a>
+<img src="images/i_017b.png" width="141" height="433" alt="diagram" />
+<div class="caption">Fig.9 - This is Jack.</div>
+</div></td></tr>
+</table></div>
+
+<p>When you are ready for Jack to
+preach put him in his pulpit, sliding
+the grass-stem through the hole at
+the back. While you hold the stem
+of the pulpit in one hand take the
+grass-stem in the other and, by moving
+it up and down, twisting it one
+way, then the other, and tipping it
+up, you can make him rise up tall
+and straight, then sink down; you
+can make him turn to the right and
+to the left and lean forward. That
+is being active enough in such a
+small pulpit, isn't it?</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p>
+
+
+
+
+<h2>CHAPTER III<br />
+<small>RED AND WHITE CLOVERS</small></h2>
+
+
+<p><span class="smcap">By</span> the roadside, through the meadows, on the farm, at
+the cottage door, and in your own yard those dear, familiar
+little friends, the clover-blossoms, come to greet you.
+Even in city parks you may find them, and always they
+are ready and glad to help you have a good time. Gather
+a lot of these flowers and sit in the shade under a tree
+with your lap filled with them while I tell you how to
+make a</p>
+
+
+<h3>Clover Wreath</h3>
+
+<p>Select some long-stemmed blossoms and leaves, bunch
+them and bind their stems together their full length with
+strong grass or string. Wind the grass around and around
+the stems, tucking the ends securely in under the last
+wind. You may need several long blades of grass for
+binding one bunch.</p>
+
+<p>In the same way make a second bunch and fit the flowers
+up close against the first bunch of blossoms, with their
+stems lying along the side of the first stems. Do not lap
+the flowers of one bunch over the flowers of another.
+Fasten the second bunch in place by binding the stems to
+those of the first bunch; then make a third bunch and bind
+it on next to the second bunch. Continue making these
+clover bunches and binding their stems to the stems of
+those already a part of the wreath until the strip is long
+enough to fit around your head. Try it on and, if it is
+the proper length, join the two ends by binding the last<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+stems to the stems of the first bunches. <a href="#Fig_10">Fig. 10</a> shows the
+clover wreath complete.</p>
+
+<div class="figcenter" style="width: 554px;"><a id="Fig_10"></a>
+<img src="images/i_019.png" width="554" height="434" alt="clover wreath" />
+<div class="caption">Fig.10 - Wreath of freshly picked Clover.</div>
+</div>
+
+<p>You should also have a</p>
+
+
+<h3>Clover Bracelet</h3>
+
+<div class='unindent'>to wear with the wreath. Make this as you did the
+wreath but with much smaller bunches. Keep binding
+the bunches together until the strip for the bracelet fits
+your arm (<a href="#Fig_11">Fig. 11</a>), then join the two ends, and slip the
+pretty thing on your wrist. Of course, you will want</div>
+
+
+<h3>Clover Earrings</h3>
+
+<div class='unindent'>to match, and those two plump, full, fresh blossoms lying
+at the top of the others on your lap are exactly what you
+need.</div>
+<div class="figcenter" style="width: 249px;"><a id="Fig_11"></a>
+<img src="images/i_020a.png" width="249" height="300" alt="bracelet" />
+<div class="caption">Fig.11 - Clover bracelet.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 139px;">
+<a id="Fig_12"></a>
+<img src="images/i_020b.png" width="139" height="212" alt="drawings" />
+<div class="caption">Fig.12 - Clover earring.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 116px;">
+<a id="Fig_13"></a>
+<img src="images/i_020c.png" width="116" height="204" alt="drawings" />
+<div class="caption">Fig.13 - Clover Blossom ring.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 289px;">
+<a id="Fig_14"></a>
+<img src="images/i_020d.png" width="289" height="279" alt="drawings" />
+<div class="caption">Fig.14 - Clover Blossom pendant
+on Clover necklace.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+
+<p>Take one of these clovers and fit it in tight between
+your cheek and the lobe of your ear (<a href="#Fig_12">Fig. 12</a>). Be careful
+not to break the long stem, for you must bring it up snugly
+just back of your ear along the line where the ear joins
+your head, and when this is done, bend the end of the stem
+down gently over the top of your ear. The stem will hold
+your earring in place. Make the other earring in the same
+way. The two clover-blossoms used for the earrings should
+be as much alike as possible both in size and shape. They<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+should be matched carefully, as pearls and diamonds are
+matched in a pair of real earrings.</p>
+
+<p>Now for a "solitaire"</p>
+
+
+<h3>Clover Ring</h3>
+
+<div class='unindent'>Choose the finest clover for the jewel, and hold it against
+the back of your left forefinger while you wrap the stem
+once around the finger, loop it over the blossom and draw
+the loop tight. Fasten the end by tucking it under and
+over, and again under the stem ring on your finger. This
+clover ring is really very effective, and can be made of any
+colored clover. <a href="#Fig_13">Fig. 13</a> gives an idea of how it looks.</div>
+
+
+<h3>A Necklace of Clover</h3>
+
+<div class='unindent'>will complete your beautiful set of flower jewelry. Make
+the necklace as you made the bracelet and fasten three
+pendant blossoms at the centre, allowing the middle clover
+to hang down a little below those on either side (<a href="#Fig_14">Fig. 14</a>).</div>
+
+<p>Now you are ready, with the addition of a long, straight
+twig, at the top of which you have fastened a bouquet of
+clover, to play that you are queen of all the clover fairies,
+and that your clover-tipped twig is your magic wand.</p>
+
+
+<h3>Other Things of Clover</h3>
+
+<p>The running, vinelike clovers are fine to use for climbing-roses
+on outdoor doll-houses. They can also be trained
+over the doll garden-frames and arches.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
+
+
+
+
+<h2>CHAPTER IV<br />
+<small>CLOVER DESIGNS</small></h2>
+
+
+<p><span class="smcap">Have</span> you ever admired the pretty patterns on wallpaper
+of flowers and green leaves? Have you ever embroidered
+dainty designs in colors on white linen, and do
+you love it all? If you do, you will like to make some designs
+yourself in a new way, and with real flowers and real
+leaves.</p>
+
+<p>You don't have to know how to draw or to paint
+in this designing, for the flowers are there ready for you
+to use, more exquisitely drawn and colored than the
+greatest artist could do them. Your part is to group and
+arrange them on a sheet of paper so that they will form
+beautiful designs; designs that will not only delight you,
+but that may be copied in embroidery or in other ways.</p>
+
+<p>Merely to place the flowers on the paper in some sort
+of a pattern is interesting, but the design won't last because
+the flowers won't stay in place. Your sleeve may
+wipe them all off, or a puff of air blow them away, so a
+method has been invented especially for you that will keep
+them where you want them to stay, and that method is
+simply to <i>paste</i> them there.</p>
+
+<p>You can make designs of almost any kind of flowers,
+the common pink-and-white clover that grows underfoot
+nearly everywhere makes a particularly pretty one. This
+is the long-stemmed, viny kind, and its name is alsike
+clover. <a href="#Fig_15">Fig. 15</a> shows what the alsike clover looks like,
+and you will see that its leaves are rather pointed at the
+tip, and shaped more like the leaves of the large red clover
+than like the almost round ones of the little white clover.</p>
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>
+
+<div class="figcenter" style="width: 330px;"><a id="Fig_15"></a>
+<img src="images/i_023a.png" width="330" height="600" alt="drawing" />
+<div class="caption">Fig.15 - The Alsike Clover. Deep rose
+color. The way it grows.</div></div>
+
+
+<div class="figcenter" style="width: 483px;"><a id="Fig_16"></a>
+<img src="images/i_023b.png" width="483" height="539" alt="drawings" />
+<div class="caption">Fig.16 - Upright design of Alsike Clover.</div>
+</div>
+
+
+
+
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p>
+
+<p>The graceful, upright design (<a href="#Fig_16">Fig. 16</a>) was made of the
+alsike clover, the blossom of which was a deep-rose color,
+and the original design when finished looked like a piece
+of embroidery done in silks. It was so lovely I wish that
+it could be given in its natural colors here.</p>
+
+<div class="figcenter" style="width: 617px;"><a id="Fig_17"></a>
+<img src="images/i_024.png" width="617" height="386" alt="drawings" />
+<div class="caption">Fig.17 - Parts of upright Clover design.</div>
+</div>
+
+<p>Look at <a href="#Fig_16">Fig. 16</a> carefully and see that while the sprays
+of clover at the right and left appear to be exactly alike,
+though turned in opposite directions, they are not really
+so, and the little differences help to make the design interesting.
+They keep it from being what we call monotonous.
+Now look at D, E, and F, <a href="#Fig_17">Fig. 17</a>. These are tracings
+of the sprays of clover before they were grouped
+together to form the design <a href="#Fig_16">Fig. 16</a>. The spray on the left,
+marked D, is just as it grew and as it was used in the
+finished design; but F, on the right, had to have the little
+budded spray added at the place on the stem shown by<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+the arrows to make it resemble and balance the other.
+This bud with its leaves was clipped from another clover-vine.</p>
+
+<div class="figcenter" style="width: 595px;">
+<a id="Fig_18"></a>
+<img src="images/i_025a.png" width="595" height="228" alt="drawings" />
+<div class="caption">Fig.18 - Running design of Clover.</div>
+</div>
+
+<p>The spray in the centre of the design was like E, <a href="#Fig_17">Fig.
+17</a>, and it was necessary to give it the extra leaves shown at
+its right because, without them, it was not symmetrical,
+which means evenly balanced, and it would not have
+looked well in the design.</p>
+
+<div class="figcenter" style="width: 555px;"><a id="Fig_19"></a>
+<img src="images/i_025b.png" width="555" height="274" alt="outline drawing" />
+<div class="caption">Fig.19 - Parts of running design.</div>
+</div>
+
+<p>When all of the material was collected and ready to be<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+put together, the central spray, E, was laid in the middle
+of a sheet of unruled, white paper with the lower end of
+the stem near the bottom edge, then the sprays D and F
+were placed on the right and left of the centre one and tried
+first in one position, then in another, until it was decided
+that they looked best arranged as in <a href="#Fig_16">Fig. 16</a>. After that
+the extra leaves for the middle spray, and the bud and its
+leaves for the right-hand spray, were put in place.</p>
+
+<div class="figcenter" style="width: 426px;"><a id="Fig_20"></a>
+<img src="images/i_026.png" width="426" height="390" alt="drawings" />
+<div class="caption">Fig.20 - Large Red Clover design.</div>
+</div>
+
+<p>It all seemed charmingly satisfactory, so the design was
+taken apart that it might be fastened permanently in place.
+The middle spray had to be adjusted first, and a drop of
+good library paste was put on the under-side of the clover-blossom,
+a drop on the under part of each leaf, and on the
+under part of the stem at the lower end. Then the spray
+was laid in the middle of the paper just where it was at
+first, and pressed down to make it stick. Paste was put<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a><br /><a name="Page_18" id="Page_18">[18]</a></span>
+on the under part of each of the three leaves to be added
+and on the under part of their stem at the end, and they
+were pasted down to look as if growing on the main stem,
+opposite the other leaves.</p>
+
+<div class="figcenter" style="width: 554px;">
+<a id="Fig_21"></a>
+<img src="images/i_027a.png" width="554" height="353" alt="drawings" />
+<div class="caption">Fig.21 - Design of leaves and buds of Red Clover.</div>
+</div>
+
+<div class="figcenter" style="width: 569px;"><a id="Fig_22"></a>
+<img src="images/i_027b.png" width="569" height="441" alt="outline drawing" />
+<div class="caption">Fig.22 - Parts of leaf and bud design.</div>
+</div>
+
+<p>Next the left-hand spray was pasted in place in the
+same way, then the right-hand spray, to which was given
+its bud that curves in to almost touch the bud on the other
+spray. Paste was also put half-way down on the under
+part of the long stems of each of the side sprays.</p>
+
+<p>This completed the clover design and it was exceedingly
+pretty, but after it had been sufficiently admired it was
+placed between papers under several heavy books to press,
+that it might be more durable. It was after it had been
+pressed that it looked like a piece of silk embroidery.</p>
+
+<p>Pasted designs can be made without pressing; but while
+they are more beautiful they will not last as long as the
+others. You can enjoy your fresh designs for a while and
+then press them. Do not make the mistake of covering
+the entire under part of a flower or leaf with paste as if
+it were made of paper; a drop is all that is needed, more
+will spoil it.</p>
+
+<p>Flowers do not always grow exactly as you want them
+for your designs, but a too straight stem can be coaxed
+to curve by drawing it between your fingers, and leaves
+and sprays can be cut away or added as has been shown.
+All this changing about only makes it more fun to work
+out the design.</p>
+
+<p><a href="#Fig_18">Fig. 18</a> is a running design of clovers which can be used
+for a border. The little arrows on <a href="#Fig_19">Fig. 19</a> show where the
+different parts are joined.</p>
+
+<p>The large red clover was used for the design <a href="#Fig_20">Fig. 20</a> and
+the leaves and buds of the red clover for <a href="#Fig_21">Fig. 21</a>. <a href="#Fig_22">Fig.
+22</a> shows how the parts of <a href="#Fig_21">Fig. 21</a> are put together. These
+drawings are all original from designs actually made of
+fresh clover-blossoms and their foliage.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p>
+
+
+
+
+<h2>CHAPTER V<br />
+<small>OTHER WILD-FLOWER DESIGNS</small></h2>
+
+
+<h3>Daisy Fleabane Design</h3>
+
+<p><span class="smcap">Isn't</span> the design <a href="#Fig_23">Fig. 23</a> what grown-ups call Japanesque?
+Doesn't it look as if it had been copied from a printed
+pattern on a piece of Japanese cotton cloth?</p>
+
+<div class="figcenter" style="width: 479px;">
+<a id="Fig_23"></a>
+<img src="images/i_029.png" width="479" height="392" alt="drawings" />
+<div class="caption">Fig.23 - Daisy Fleabane design</div>
+</div>
+
+<p>Well, it was not. It is from a design made especially
+for you of real wild flowers, freshly gathered. The name
+of the flower is the daisy fleabane which grows in almost
+all open grassy fields where daisies and buttercups and
+clovers are found.</p>
+
+<p>The illustration <a href="#Fig_24">Fig. 24</a> shows how the daisy fleabane<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+looks when first gathered. Sometimes the blossom is entirely
+white, sometimes it is tinged with purple, and it has
+a bright-yellow centre. Its petals are as fine as a fringe,
+like those of the asters that blossom in the fall.</p>
+
+<p>In making the design the full-blown flowers were pressed
+down flat, which makes them round like a sunflower,
+while the buds and partly open flowers were left as they
+naturally grew. The composition, or arrangement, of this
+design is like that used for the upright clover design (<a href="#Fig_16">Fig.
+16</a>), that is, it has two tall side sprays and a shorter middle
+spray; but see how very different the two designs are in
+appearance. The clover is all graceful curves, the daisy
+fleabane is stiff and formal with straight lines and angles.</p>
+
+<p>If you use the white flower, make the design on a sheet
+of tinted paper, else the flower will not show. All white
+flowers should have tinted paper for a background.</p>
+
+
+<h3>Wild Mustard Design</h3>
+
+<p>The small, yellow blossoms of the wild mustard and
+its compound leaves make very dainty designs. <a href="#Fig_25">Fig. 25</a>
+is one of them.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a id="Fig_25"></a>
+<img src="images/i_030.png" width="600" height="178" alt="drawings" />
+<div class="caption">Fig.25 - Wild Mustard design.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tr><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_26"></a>
+<img src="images/i_031a.png" width="245" height="611" alt="drawings" />
+<div class="caption">Fig.26 - Wild Mustard.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 389px;">
+<a id="Fig_24"></a>
+<img src="images/i_031b.png" width="389" height="727" alt="drawings" />
+<div class="caption">Fig.24 - The Daisy Fleabane
+grows like this.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+<p>From the drawing of the wild mustard (<a href="#Fig_26">Fig. 26</a>) you will
+see that the flowers do not grow close to the leaves as they
+are placed in this design, but on tall stems which lift them<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a><br /><a name="Page_22" id="Page_22">[22]</a></span>
+far above the scattered leaf-sprays. The design <a href="#Fig_25">Fig. 25</a>
+was made by cutting off a number of flower-clusters and
+leaves, and grouping first one flower-cluster and one leaf-spray
+together, with the ends of their stems touching, then
+another flower-cluster
+and another leaf-spray.
+The arrows in <a href="#Fig_27">Fig. 27</a>
+show where the stems
+are brought together,
+and the design <a href="#Fig_25">Fig. 25</a>
+shows how the joining
+of the first two is covered
+with one of the
+small leaves of the second
+leaf-spray, and how
+the joining of the second two is hidden under a leaf of the
+third leaf-spray, and so on.</p>
+
+<div class="figcenter" style="width: 353px;">
+<a id="Fig_27"></a>
+<img src="images/i_032a.png" width="353" height="209" alt="drawings" />
+<div class="caption">Fig.27 - Parts of Wild Mustard design.</div>
+</div>
+
+<p>There are four flower-clusters and five leaf-sprays in
+the design. You can have as many as you wish but must
+end them with a leaf-spray.</p>
+
+<div class="figcenter" style="width: 542px;">
+<a id="Fig_28"></a>
+<img src="images/i_032b.png" width="542" height="271" alt="drawings" />
+<div class="caption">Fig.28 - Buttercup design.</div>
+</div>
+
+
+<h3>Buttercups&mdash;a Design</h3>
+
+<p>Buttercups are so beautifully golden, so glossy and
+bright, you would think they could be made into many<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+nice things, a gold necklace for instance. And so they
+could if they only would not wilt almost as soon as they
+are gathered. To be sure, they will revive and freshen up
+when put in water if they are not too much wilted, but
+we cannot make them into jewelry while their stems are
+in water.</p>
+
+<p>Still there is something buttercups can be used for, and
+that is designs. <a href="#Fig_28">Fig. 28</a> is a drawing from the simplest
+kind of a buttercup design but a pretty one. It shows
+five wide-open blossoms placed in a row at equal distances
+apart with a little spray of leaves and bud at the lower
+end of each stem. These sprays do not grow as they are
+in the design but are added after the flowers are placed
+in a row.</p>
+
+<p>As in all other designs, each flower, bud, and stem is
+touched with paste on the under-side to hold it in place
+on the paper. A design like <a href="#Fig_28">Fig. 28</a> should be pressed after
+it is arranged, and it will last a long while and keep its
+bright color. A number of other and very beautiful designs
+can be made of the common wild buttercup.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p>
+
+
+
+
+<h2>CHAPTER VI<br />
+<small>PUSSY-WILLOWS</small></h2>
+
+
+<p><span class="smcap">We</span> all welcome and love the dear little pussy-willows
+(<a href="#Fig_29">Fig. 29</a>) whose fur is so soft and silvery. How pretty
+they look sitting along the slender,
+bare branches of the small American
+willow-tree which is their home.
+The pussies like to come early to
+assure us that spring is here. They
+are very tame little kitties, and will
+allow you to carry them away to
+your school or to your home.</p>
+
+<div class="figcenter" style="width: 159px;">
+<a id="Fig_29"></a>
+<img src="images/i_034.png" width="159" height="659" alt="drawings" />
+<div class="caption">Fig.29 - Pussy-Willows.</div>
+</div>
+
+<p>Sometimes pussy-willows turn into
+little rabbits, squirrels, bumblebees,
+and mice, but they need your help,
+they cannot make the magic change
+alone. It will be lots of fun helping
+them if you do it this way.</p>
+
+<div class="figcenter" style="width: 463px;">
+<a id="Fig_30"></a>
+<img src="images/i_035a.png" width="463" height="342" alt="drawings" />
+<div class="caption">Fig.30 - The Rabbit and the Rabbit's ears, enlarged.</div>
+</div>
+
+<div class="figcenter" style="width: 587px;">
+<a id="Fig_31"></a>
+<img src="images/i_035b.png" width="587" height="100" alt="drawings" />
+<div class="caption">Fig.31 - The Pussy-Willow Bunnies.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 475px;">
+<a id="Fig_32"></a>
+<img src="images/i_035c.png" width="475" height="398" alt="drawings" />
+<div class="caption">Fig.32 - Pussy-Willow Squirrel, enlarged.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 129px;">
+<a id="Fig_33"></a>
+<img src="images/i_035d.png" width="129" height="432" alt="drawings" />
+<div class="caption">Fig.33 - Paper tail, enlarged,
+for squirrel.</div>
+</div>
+</td></tr>
+</table></div>
+
+
+
+
+<h3>Pussy-Willow Rabbits</h3>
+
+<p>Take a small branch of the very
+largest pussies you can find, have
+ready some scraps of smooth, fresh
+writing-paper, a piece of cardboard,
+pair of scissors, and some good paste.
+It only requires long ears to change
+the pussy-willows into bunnies. Cut
+the ears from your writing-paper like
+the pattern <a href="#Fig_30">Fig. 30</a>. Put paste on<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a><br /><a name="Page_26" id="Page_26">[26]</a></span>
+the strip between the letters G and H, then take a pussy
+from the branch and stick the paste-covered strip just
+above the small end of the pussy, which will be the bunny's
+head. The arrow I, <a href="#Fig_30">Fig. 30</a>, points to the place for
+the ears. When the paste has dried bend the ears up
+like the ears of the rabbits in <a href="#Fig_31">Fig. 31</a>. Make three or
+four rabbits to keep each other company and paste them
+in a row on your piece of cardboard.</p>
+
+<div class="figcenter" style="width: 510px;">
+<a id="Fig_34"></a>
+<img src="images/i_036.png" width="510" height="554" alt="drawings" />
+<div class="caption">Fig.34 - The Pussy-Willow Bumble-Bee.</div>
+</div>
+
+
+<h3>A Pussy-Willow Squirrel</h3>
+
+<p>This little gray squirrel (<a href="#Fig_32">Fig. 32</a>), sitting up in such a
+lifelike pose, must be made of a slightly bent, rather long,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+slender pussy. Pull forward some of the fur near the small
+end so that it will look like the front legs of the squirrel
+when he holds a nut in his hand-like front paws, and push
+up two tufts on the head for ears. The pussy from which
+<a href="#Fig_32">Fig. 32</a> was made already had these tufts for legs and ears,
+and it looked so much like a squirrel one simply had to
+add the tail and let it be a squirrel.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 257px;"><a id="Fig_35"></a>
+<img src="images/i_037a.png" width="257" height="387" alt="drawing bee body" />
+<div class="caption">Fig.35 - Parts of bumble-bee.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 330px;"><a id="Fig_36"></a>
+<img src="images/i_037b.png" width="330" height="375" alt="drawing bee legs" />
+<div class="caption">Fig.36 - Draw the legs of the bee
+like this.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Cut the paper tail like the pattern <a href="#Fig_33">Fig. 33</a>, fringe it
+along the edge and bend forward the little lap at the
+bottom which is separated from the tail by the dotted
+line. Curve the tail backward, put paste on top of the
+lap, and stick the lap to the under part of the large end of
+the pussy; then paste the finished squirrel to a piece of
+pasteboard cut round or square as you like best.</p>
+
+
+<h3>Pussy-Willow Bumblebee</h3>
+
+<p>Mr. Bumblebee (<a href="#Fig_34">Fig. 34</a>) needs one whole pussy for his
+body, one-half of a pussy for his big, round throat, and<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+a small piece of the pussy for his head (<a href="#Fig_35">Fig. 35</a>). On the
+piece of cardboard which is to hold the bee, draw his legs
+like <a href="#Fig_36">Fig. 36</a>, then paste the three parts&mdash;body, throat, and
+head&mdash;on top of the legs. <a href="#Fig_37">Fig. 37</a> shows how it would look
+underneath if you could
+see through the paper, so
+you will know exactly
+where to paste first the
+throat, then the head, and
+lastly the body. The edges
+of these parts where they
+join must be pushed close
+together.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 346px;"><a id="Fig_37"></a>
+<img src="images/i_038a.png" width="346" height="373" alt="drawing diagram" />
+<div class="caption">Fig.37 - Paste the three parts of the
+bee on top of the legs.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 349px;">
+<a id="Fig_38"></a>
+<img src="images/i_038b.png" width="349" height="365" alt="drawings" />
+<div class="caption">Fig.38 - Mr. Bumble-Bee, enlarged, ready
+for his wings.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>A bumblebee has slightly
+curved spikes extending
+from his head which are
+called antennæ. <a href="#Fig_38">Fig. 38</a>
+shows you where to draw
+them. You will also see
+on the same diagram
+how to widen the six
+legs, making them
+thicker and more lifelike.
+Cut paper wings the shape of <a href="#Fig_39">Fig. 39</a>, making them the
+proper size to fit your bee. Remember that a bumblebee
+has small, short wings compared to the size of its body.
+Bend the lap at the bottom of the wing along the dotted
+line, and paste the lap of each wing onto the sides of<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+Mr. Bumblebee's chest. The wings turn back over the
+laps and hide them. (See <a href="#Fig_40">Fig. 40</a>). The finished bee is
+shown in <a href="#Fig_34">Fig. 34</a>.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
+<tr><td align="left"><div class="figcenter" style="width: 390px;">
+<img src="images/i_039a.png" width="390" height="219" alt="diagram" /><a id="Fig_39"></a>
+<div class="caption">Fig.39 - Pattern of bumble-bee wing.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 251px;">
+<img src="images/i_039b.png" width="251" height="224" alt="diagram" /><a id="Fig_40"></a>
+<div class="caption">Fig.40 - Showing lap of wing bent back.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+<p>If you cut a leaf out of green paper and put your bumble-bee
+on that instead of on the cardboard, he will look, with
+his extended wings, as if just ready to fly, and will make
+a fine addition to your collection of things made of outdoor
+material.</p>
+
+<div class="figcenter" style="width: 597px;">
+<a id="Fig_41"></a>
+<img src="images/i_039c.png" width="597" height="235" alt="drawings" />
+<div class="caption">Fig.41 - Pussy-Willow Mouse, enlarged.</div>
+</div>
+
+
+<h3>Pussy-Willow Mouse</h3>
+
+<p>Then there is the pussy-willow mouse (<a href="#Fig_41">Fig. 41</a>). He is
+a nice little gray mouse with a long tail.</p>
+
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p>
+
+<p>Choose a large pussy-willow for this mouse, ruffle the
+fur up on top of the head and it will look like ears. The
+head is at the small end of the pussy. Paste one end of a
+piece of cotton string under the large end of the mouse,
+and that will be his tail. The string should be white.</p>
+
+<div class="figcenter" style="width: 440px;"><a id="Fig_42"></a>
+<img src="images/i_040.png" width="440" height="439" alt="diagram" />
+<div class="caption">Fig.42 - Jumping Pussy-Willow Game-Board.</div>
+</div>
+
+<p>Finish by pasting the mouse to a round or square piece
+of pasteboard.</p>
+
+
+<h3>Jumping Pussy-Willows&mdash;a Game</h3>
+
+<p>This is a good game and it will make you laugh to see
+the pussies leap up in the air, sail along a short distance,
+and land on a numbered square of the game-board.</p>
+
+<p>The board (<a href="#Fig_42">Fig. 42</a>) should be ten or twelve inches
+square. Cut it from a flat, even box lid or any other
+pasteboard you happen to have. Draw straight lines from<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+top to bottom about one inch apart, then more straight
+lines from side to side one inch apart. This will divide the
+board into squares like a checker-board. Each of these
+squares must be numbered and you can draw or paste them
+in. <a href="#Fig_42">Fig. 42</a> shows how the game-board should look.</p>
+
+<p>To play the game, lay the board down on a flat surface,
+a stone will do if you are out-of-doors, or even the ground;
+and a table, if in the house. In front of the board draw
+a short line for the starting-post. The line should be ten
+or more inches from the board according to the distance
+you can make the pussies jump. Any number of players
+may join in the game and each player should have his
+own jumping pussy.</p>
+
+<div class="figcenter" style="width: 560px;">
+<a id="Fig_43"></a>
+<img src="images/i_041.png" width="560" height="249" alt="drawing" />
+<div class="caption">Fig.43 - Place your finger on the Pussy-Willow and
+make it jump.</div>
+</div>
+
+<p><a href="#Fig_43">Fig. 43</a> shows how to place the pussy under the tip of
+your right forefinger, with the large, blunt end standing
+a little out beyond the finger-tip. When ready to shoot,
+press down suddenly on the pussy and, as your finger slides
+off the small end, away jumps pussy and lands on a square
+of the game-board. Each player plays in turn, always,
+of course, placing the pussy on the starting-line when shooting.
+The player whose pussy lands on the highest number
+wins the game. Jumping pussy-willow can also be played<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+by dividing the players into two even sides; then the side
+which has the highest score, after the numbers won by
+them have been added up, is the winner.</p>
+
+
+<h3>Pussy-Willow Bouquet</h3>
+
+<p>A nice, big bunch of pussy-willows makes an attractive
+bouquet, and a very welcome one early in the spring. "The
+pussies are out!" we hear some one say, and then the boys
+and girls vie with one another in their effort to be the first
+to find and bring home branches of the little catkins as
+proof that spring has come and they were the first to see
+her.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
+
+
+
+
+<h2>CHAPTER VII<br />
+<small>ARRANGEMENT OF FLOWERS</small></h2>
+
+
+<p><span class="smcap">The</span> arrangement of flowers is interesting and means
+a great deal. It means that this chapter will tell you what
+wild flowers look prettiest on the dinner-table and in bowls
+and vases in other parts of the house; what flowers and
+vines will keep fresh longest, and the kind that do not
+need water but are beautiful when dry. It means that
+you can learn not to force a tightly packed handful of all
+sorts of flowers into a small vase and expect them to look
+well. Flowers don't like crowding and are quite particular
+about their associates.</p>
+
+<p>If you come in hot and tired after your walk, put the
+flowers you have gathered into a pail of fresh water and
+let them stay there until you have rested and are ready
+to sort them out and make each kind look its very best.
+All flowers do not appear well in stiff, straight vases; all
+do not look well in bowls. That is the first thing to learn,
+and the next is that while some flowers seem to smile upon
+and nestle lovingly up to some others, there are kinds that
+they seem to draw away from and frown upon. Only a
+few examples can be given here. If you love the flowers
+you will find out more for yourself.</p>
+
+
+<h3>The Wild Morning-Glory</h3>
+
+<p>In your walks through the fields and along the country
+roadsides have you ever noticed the wild morning-glory?
+Of course, you have seen it and, perhaps, gathered some
+blossoms, only to find them in a short time wilted in your<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+hand or turned into little, long bags, puckered at the top
+as if drawn up with a string.</p>
+
+<div class="figcenter" style="width: 593px;">
+<a id="Fig_44"></a>
+<img src="images/i_044.png" width="593" height="496" alt="drawings" />
+<div class="caption">Fig.44 - This is the way the Wild Morning Glory looks.</div>
+</div>
+
+<p>When I say noticed, I mean have you thought about
+the flowers while you looked at them? Have you noticed
+their shape and beautiful color, and have you seen the
+great difference between the green leaf of the wild morning-glory
+and that of the cultivated one?</p>
+<div class="figleft" style="width: 436px;"><a id="Fig_45"></a>
+<img src="images/i_045.png" width="436" height="599" alt="" />
+<div class="caption">Fig.45 - The Wild Morning Glory blossomed
+after it was gathered.</div>
+</div>
+<p>The wild morning-glory leaf (<a href="#Fig_44">Fig. 44</a>) is more beautiful
+in shape, the vine is more graceful, and the blossom just
+as lovely as the cultivated morning-glory, and all this
+beauty need not be left behind when you gather the
+wild flowers which are to make the rooms of your home
+charming.</p>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>
+
+<p>While I write this, July 7, there stands on a table in our
+living-room a tall glass vase, wide at the top and holding
+plenty of water. It is filled with a mass of wild morning-glory-vines,
+and there are four new, entirely open, pink
+and white blossoms while others are just twisting open.</p>
+
+
+
+<p>Four days ago, when out for a walk in the country, I
+gathered the vine by the roadside where it grew in the
+company of daisies, buttercups, and wild mustard. Lifting
+themselves up into the light, where the warmth of the<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+morning sun could open the buds and where the leaves
+could breathe in the fresh air, some of these trailing vines
+had wound themselves in masses around tall, strong weed-stalks.</p>
+
+<p>I gathered the vines, weed-stalks and all, breaking them
+off close to the ground; and now these stalks hold most
+of the vines upright in the vase, while other sprays droop
+gracefully over the edge and hang down almost to the
+table-top. Only one or two flowers were in bloom when
+I found the vines, but there were quantities of green buds
+which I hoped would open later, and that is just what
+they are doing. It is like having wild flowers growing in
+one's window. And as for decoration, nothing can be more
+beautiful (<a href="#Fig_45">Fig. 45</a>).</p>
+
+<p>Trailing vines always make pretty decorations, and
+many wild ones keep fresh a long while when given plenty
+of water. Some have flowers, some have not, but in any
+case they are worth gathering when you have large vases
+to fill.</p>
+
+
+<h3>The Wild Balsam-Apple</h3>
+
+<div class='unindent'>or as some people call it, the wild cucumber, is very
+decorative. That means it has beautiful curves and twists,
+and its small, white flowers, prickly, egg-shaped fruit, and
+long tendrils twisted spirally, like a steel watch-spring let
+loose, make us love to look at it. The leaves are pretty,
+too, being shaped almost like a five-pointed star. Sometimes
+this vine is cultivated and you will find it trained
+up on strings to shade the porch, or over the kitchen-door
+of a farmhouse. Wherever you find it, it is beautiful. A
+large jar filled with sprays of the wild balsam makes a
+good centrepiece for the table, or a tall vase holding some
+upright and some drooping sprays looks very pretty when
+placed near a window where the light will fall on it. Do
+not mix other flowers with it, its own blossoms are sufficient.</div>
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p>
+
+
+<h3>Wild Clematis</h3>
+
+<p>The wild clematis is another beautiful vine, and you
+will find it clambering over fences and bushes along the
+country road. Its masses of white flowers fill the air with
+a sweet, spicy perfume that delights you.</p>
+
+<p>You can gather the clematis when it is in blossom, and
+keep it fresh in water for some time if you put it in root
+ends down. This vine does not wilt as you carry it. Later
+in the season, when the white flowers have turned into
+balls of silvery fringe, the vine is lovely in a different way.
+Then you can gather great armfuls and take it home to
+hang over mirrors or picture-frames, letting it become
+quite dry. It is best to strip the leaves off the sprays at
+first because they are not beautiful when dry. In a day
+or two after hanging up your clematis the balls of fringe
+will become a mass of soft down which will cling to the
+vine for many weeks. Later, when it becomes dusty, take
+it down.</p>
+
+
+<h3>Bittersweet</h3>
+
+<p>Then there is bittersweet, another wild vine that we
+gather in the fall. It covers fences and bushes as the
+clematis does, but instead of turning into fringe balls its
+small, creamy white flowers become bunches of berries.</p>
+
+<p>The berries are yellow at first; when ripe they split open
+and curl back to show the brilliant red seeds inside that
+look like coral beads.</p>
+
+<p>Gather the bittersweet while the berries are yellow,
+strip off the green leaves, and hang the vine up dry or put
+it in a large vase without water. Then the berries will
+open and last all winter.</p>
+
+
+<h3>Snapdragon and Wild Carrot</h3>
+
+<p>Both of these are pretty flowers and worth gathering.
+The snapdragon (perhaps you call it butter-and-eggs) does
+not mind at all where it grows. Field, roadside, or even<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+the village streets may be its home, but wherever it lives,
+it makes the spot shine joyously with its stalks of yellow
+blossoms. Snapdragons combine well with the wild carrot,
+whose other name is Queen Anne's lace, and together
+they make a delicate and beautiful bouquet.</p>
+
+<p>If you have a large glass fish-globe fill it with fresh
+water, and put in the snapdragon and wild carrot in a
+loose bouquet. Nothing could be prettier for the August
+lunch-table than this.</p>
+
+
+<h3>Wild Roses</h3>
+
+<div class='unindent'>look best in a low glass bowl, for they have no stems to
+speak of. Short-stemmed flowers do not belong in tall
+vases. The roses wilt quickly out of water and should
+have plenty of it.</div>
+
+<p>Do not put any other kind of flowers in the bowl; the
+roses won't like it; neither will you when you see how
+much better they look by themselves.</p>
+
+
+<h3>Daisies and Buttercups</h3>
+
+<div class='unindent'>so friendly in the fields, look pretty when arranged in a
+deep jar together, but I would not mix daisies with any
+other flowers, unless it is the lacy wild carrot. Buttercups
+look well with the carrot, too, and buttercups look
+pretty mixed with grasses. You see they all know each
+other very well, growing in the fields together.</div>
+
+
+<h3>The Wild Flag, or Iris</h3>
+
+<div class='unindent'>whose home is along the banks of ponds and small streams,
+should be put into a tall clear glass vase or pitcher, where
+its stems will show through, that it may look its best.</div>
+
+<p>There is the yellow iris, the white and the purple, and
+they are very beautiful when combined but not crowded.
+Always put some of the long-spiked leaves in with the
+flowers.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+
+<h3>Clover Bouquets</h3>
+
+<p>Clover bouquets make delightful centrepieces for the
+table. Arranged loosely with its own green foliage, the
+rose-colored clover is especially beautiful in a clear, green
+glass bowl of water. The sprays should be brought over
+the edges of the bowl, and allowed to droop down, resting
+partly on the table.</p>
+
+<p>Yellow clover and its foliage mingled with white clover
+makes a charming combination as a bouquet for almost
+any occasion. The name of the yellow clover is hop-clover.
+It is not as common as the other kinds.</p>
+
+
+<h3>Green Bouquets</h3>
+
+<p>When there are no flowers to be had you can have
+bouquets and centrepieces of green leaves, ferns, and vines,
+and you will be surprised to find what pretty ones can be
+arranged and how much they will be admired.</p>
+
+<p>Ferns will wither soon unless taken up with the roots
+and the soil surrounding them; but if they have the roots
+and soil they will last a long while, provided you put them
+in a bowl or jar and keep them <i>always wet</i>. That does
+not mean to water them as you would any other growing
+plant, but to keep them <i>standing</i> in water <i>all the time</i>.
+Maidenhair-fern kept in this way makes a delicate and
+beautiful centrepiece for the table.</p>
+
+<p>Sometimes you will find varieties of foliage that are
+full of color. In early summer the young leaves of the
+scrub-oak are very brilliant in reds and yellows, and I have
+made bouquets of nothing but leaves from the rose-bushes.
+These are often tinged with red and purple. Sprays of
+the barberry-bush with its rows of dangling red berries
+are pretty in a green bowl. Be careful of the thorns when
+you gather this. Cut the stems; do not try to break them.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p>
+
+
+
+
+<h2><i>PART II</i><br />
+<small>GRASSES</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER VIII<br />
+<small>FAIRY-TREES MADE OF GRASSES</small></h2>
+
+
+<p><span class="smcap">Some</span> of our grasses appear like very large trees to the
+little grass fairies who, we like to pretend, hide in their
+midst; while other grasses, with their jointed, bamboo-like
+stems, seem to these tiny people to be tall forests of
+real bamboo.</p>
+
+<p>Why not play that you are a little fairy and live among
+the grasses? But to see the grasses as the fairies see them
+you must lie down and bring your eyes very near the
+ground; so stretch yourself out flat, face down, with your
+head lower than the grass tops; then look steadily ahead
+through the tall grass stems. What do you see?</p>
+
+<p>The five fairy-trees standing by themselves in <a href="#Fig_46">Fig. 46</a>
+are four short-stemmed tops of the Scribner's panic-grass.
+<a href="#Fig_47">Fig. 47</a> shows exactly how the grass looks before you pick
+it, and <a href="#Fig_48">Fig. 48</a> gives a simple design that you can make
+by placing the tips of the four grass tops together, allowing
+the stems of two heads to lie in a straight horizontal
+line (that means a line running from left to right), and
+the stems of the other two heads to lie in a straight line
+vertically (that means up and down).</p>
+<div class="figcenter" style="width: 500px;">
+<a id="Fig_46"></a>
+<img src="images/i_051.png" width="500" height="441" alt="drawings" />
+<div class="caption">Fig.46 - Trees of Scribner's Panic-Grass.</div>
+</div>
+<p>While you are playing with the grasses you can begin
+to learn something about them. The beard-grass, which<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+some people call the little blue-stem (<a href="#Fig_49">Fig. 49</a>), has near relatives
+named forked beard-grass and bushy beard-grass.
+These are stiff and angular, with bamboo-like stems, just
+the thing for trees in a little Japanese garden which some
+time you will want to make. You may run across them
+anywhere, for they are common in all parts of our country.</p>
+
+
+
+<div class="figcenter" style="width: 409px;">
+<a id="Fig_47"></a>
+<img src="images/i_052.png" width="409" height="694" alt="drawings" />
+<div class="caption">Fig.47 - Scribner's Panic-Grass as it grows,
+Panicum Scribnerianum.</div>
+</div>
+
+<p>Make friends with these and with other grasses. As
+you find them learn their names just as you would learn
+the names of new playmates. Take the grasses home,
+show them to your father and to your mother; if they<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+do not know their names, carry them to school and ask
+your teacher about them. In case she cannot tell you, go
+to the public library with your grasses and persuade the
+librarian at the desk to help you find their pictures and
+names in some of her books. All grasses have names, so<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+keep asking and hunting until you know what to call them.
+When you know their names you will be glad to see your
+friends, the pretty green grasses, whenever you find them.</p>
+<div class="figcenter" style="width: 455px;">
+<a id="Fig_49"></a>
+<img src="images/i_053.png" width="455" height="792" alt="drawings" />
+<div class="caption">Fig.49 - You will run across these anywhere.</div>
+</div>
+
+<p>In <a href="#CHAPTER_XVIII">Chapter XVIII</a>, which tells how to make a burdock-burr
+house, you will find more about grasses.</p>
+
+<div class="figcenter" style="width: 547px;">
+<a id="Fig_48"></a>
+<img src="images/i_054.png" width="547" height="572" alt="drawings" />
+<div class="caption">Fig.48 - Scribner's Panic-Grass. Design made of four grass heads.</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p>
+
+
+
+
+<h2>CHAPTER IX<br />
+<small>A HOUSE MADE OF GRASS</small></h2>
+
+
+<p><span class="smcap">Real</span> people live in grass houses way off in the Philippine
+Islands. That is, their houses are made of bamboo, which
+is a kind of giant grass. It must be a pretty airy, comfortable
+house in summer, and it is always summer in the
+Philippines, but we never see that kind of houses here.
+One reason is because in most of our country a grass house
+would be very cold in winter, and another reason for not
+building them is because the bamboo grows only in the
+extreme south, and even down there people want more
+substantial homes.</p>
+
+<p>A prettier playhouse, though, could not be devised, and
+if you could see a Filipino house you would want it immediately,
+but since you cannot have a real one you can have
+the fun of making a little doll Filipino house, and of
+making it exactly as the little brown Filipino men make
+theirs. Suppose you gather some grass and twigs now,
+and build the little house for your doll.</p>
+
+<p>Some of the queer little people whose home is in the
+Philippine Islands perch their houses like birds' nests up
+in the trees, but often they are built on stilts to lift them
+high from the ground. Our little house (<a href="#Fig_50">Fig. 50</a>) shall
+be on stilts. We will make the floor first. If you do not
+understand how to measure by inches, ask an older person
+to help you.</p>
+
+
+<h3>The Floor</h3>
+
+<p>Find two straight, round sticks, not quite as large round
+as a lead-pencil. The sticks must be cut six and a half<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+inches long, then two sticks of the same kind five inches
+long; after that there must be six more sticks five inches
+long. Split these last six sticks in half lengthwise.</p>
+
+<p>The Philippine people do not use nails, or screws, or glue,
+and not even wooden pegs, in building their houses; they
+bind and tie the parts together with rattan, and as we are
+going to build just as they do we, too, will tie the parts
+of our house together, but will use raffia in place of the
+rattan.</p>
+
+<div class="figcenter" style="width: 601px;">
+<a id="Fig_50"></a>
+<img src="images/i_056.png" width="601" height="517" alt="drawings" />
+<div class="caption">Fig.50 - The little Grass House you can make.</div>
+</div>
+
+<p>Hold one of the six-and-a-half-inch sticks (letter J, <a href="#Fig_51">Fig.
+51</a>) upright in your hand while you cross it a short distance
+below the top with a five-inch-round stick (letter<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+K, <a href="#Fig_51">Fig. 51</a>). The distance from the top of the upright
+stick to the crossing and the distance from the short end
+of the other stick to the crossing must be the same.</p>
+
+<div class="figcenter" style="width: 336px;">
+<a id="Fig_51"></a>
+<img src="images/i_057a.png" width="336" height="368" alt="drawings" />
+<div class="caption">Fig.51 - Begin binding
+them together.</div>
+</div>
+
+<div class="figcenter" style="width: 372px;">
+<a id="Fig_52"></a>
+<img src="images/i_057b.png" width="372" height="405" alt="drawings" />
+<div class="caption">Fig.52 - Carry the raffia over and
+between the two ends of the sticks.</div>
+</div>
+
+<p>Begin binding them together as shown in <a href="#Fig_51">Fig. 51</a>. Then
+carry the raffia (string will do if you cannot get raffia) over
+and between the two ends of the sticks
+(<a href="#Fig_52">Fig. 52</a>), and wind it opposite ways
+several times around
+the sticks, bringing
+the raffia between as
+well as over them.
+This will lash them firmly together. Now turn this beginning
+of your floor around so that the short stick will be
+upright and the long one extend from side to side. Do
+not let the binding loosen; hold it tight and cross the long
+stick with one of the split five-inch sticks (<a href="#Fig_53">Fig. 53</a>). Be
+sure that the flat side of the split stick is next to the long
+stick, and that you leave a slight opening between it and<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
+the first crosspiece. Pull the raffia tight and bind it
+over this second crosspiece (<a href="#Fig_54">Fig. 54</a>), then back, crossing
+it as in <a href="#Fig_55">Fig. 55</a>.</p>
+
+<div class="figcenter" style="width: 334px;">
+<a id="Fig_53"></a><a id="Fig_54"></a><a id="Fig_55"></a>
+<img src="images/i_058.png" width="334" height="346" alt="drawings" />
+<div class="caption">Fig.53 - Turn the sticks, bringing J
+in horizontal position.<br />Fig.54 - Bind raffia over second stick.
+<br />Fig.55 - Then bring raffia across front
+of second stick</div>
+</div>
+
+<p>Bind on the next split crosspiece in the same way, and
+go on adding crosspieces until they reach almost to the
+end of the long stick,
+then let the last crosspiece
+be the second
+unsplit five-inch stick.
+When all the short
+crosspieces are properly
+bound onto the
+long stick, bind the
+other six-and-a-half-inch
+long stick under
+the opposite ends of
+the crosspieces in the
+same way, and just as
+carefully (<a href="#Fig_56">Fig. 56</a>).
+This makes the floor
+and we must lash it to
+the stilts, which are
+four upright sticks,
+each seven and one
+half inches long. Fit
+the stilts in the outside
+corners made by the crossing of the end and side sticks of
+the floor, and, holding the floor about four and a half
+inches above the lower ends of the stilts, bind floor and
+stilts together (<a href="#Fig_57">Fig. 57</a>). Of course you can put the stilts
+on only one at a time.</p>
+
+
+<h3>The Walls</h3>
+
+<p>Make the framework for the walls by binding and tying
+onto the stilts near the top two sticks, each six and a half<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
+inches long, one stick on
+each side. Across these
+sticks, from stilt to stilt, at
+each end, bind a five-inch-length
+stick (<a href="#Fig_58">Fig. 58</a>).</p>
+
+<div class="figcenter" style="width: 310px;">
+<a id="Fig_56"></a>
+<img src="images/i_059a.png" width="310" height="273" alt="drawings" />
+<div class="caption">Fig.56 - Make the floor this way.</div>
+</div>
+
+
+<h3>The Roof</h3>
+
+<p>To support the roof
+there must be two upright
+sticks, each seven inches
+long, and these sticks must
+be bound and tied to the middle of the end sticks of the
+floor and the end sticks of the wall. They are lettered
+L and L in <a href="#Fig_59">Fig. 59</a></p>
+
+<div class="figcenter" style="width: 314px;">
+<a id="Fig_57"></a>
+<img src="images/i_059b.png" width="314" height="284" alt="drawings" />
+<div class="caption">Fig.57 - Lash the floor to
+the stilts.</div>
+</div>
+
+<div class="figcenter" style="width: 307px;">
+<a id="Fig_58"></a>
+<img src="images/i_059c.png" width="307" height="301" alt="drawings" />
+<div class="caption">Fig.58 - Bind on four more poles
+making framework for walls.</div>
+</div>
+
+<p><a href="#Fig_60">Fig. 60</a> shows the framework of the house without the
+bindings, so that you may see exactly how the sticks are
+put together. There is a ridge-pole which forms the top
+ridge of the roof. This must be a stick about seven inches
+long, and it is to be tied to the uprights lettered L and L<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
+that you have just fastened on the two ends of the house.
+(See <a href="#Fig_59">Fig. 59</a>, L and L.) Four other sticks, M and M and
+N and N, long enough to reach from the ridge-pole, crossing
+above it, to the side crosspieces of the wall, you must tie
+to the ridge-pole and the side-wall sticks, placing them
+slanting, as you see them in <a href="#Fig_60">Fig. 60</a>, at each end.</p>
+
+
+<h3>The Porch</h3>
+
+<p>Like many other people, the Filipino wants a porch
+to his house. Perhaps he sits there to smoke his curious
+little pipe, which is not much larger than the one you make
+of an acorn. I have never seen him on his porch, but I
+have seen him smoke and afterward tuck his pipe away
+in his long, fuzzy hair, where it remained in safety even
+while he leaped and pranced about in the wild dance he
+loves so much.</p>
+
+<div class="figcenter" style="width: 279px;">
+<a id="Fig_59"></a>
+<img src="images/i_060a.png" width="279" height="307" alt="drawings" />
+<div class="caption">Fig.59 - End poles are added to
+hold up the roof.</div>
+</div>
+
+<div class="figcenter" style="width: 324px;">
+<a id="Fig_60"></a>
+<img src="images/i_060b.png" width="324" height="360" alt="drawings" />
+<div class="caption">Fig.60 - This is the way the house
+is put together.</div>
+</div>
+
+<p>But we must not forget the porch.   If the Filipino<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
+has one to his house, we must have a porch to ours. We
+won't make it separately and add it to the part already
+built, but, as the Filipino does, we will use part of the
+house-floor for the floor
+of the porch, and let the
+roof cover that as well
+as the house. To do
+this we must separate
+the house part from the
+porch part by putting
+up two more uprights,
+one on each side, a little
+way back from the front
+of the house, and these
+uprights will form the
+boundary-line. Letters
+O and P in <a href="#Fig_60">Fig. 60</a> are
+these last uprights, the
+sticks which form them
+being long enough to
+reach from the wall side-piece
+to the floor, and
+extend a little above
+and below where they
+cross the upper and
+lower sticks.</p>
+
+<div class="figcenter" style="width: 330px;">
+<a id="Fig_61"></a>
+<img src="images/i_061a.png" width="330" height="397" alt="drawings" />
+<div class="caption">Fig.61 - Fresh grass instead of
+palms over one side wall.</div>
+</div>
+
+<div class="figcenter" style="width: 293px;">
+<a id="Fig_62"></a>
+<img src="images/i_061b.png" width="293" height="279" alt="drawings" />
+<div class="caption">Fig.62 - Strips of wood to bind
+down the grass on wall.</div>
+</div>
+
+
+<h3>Thatching</h3>
+
+<p>Now we come to the
+real grass part of the
+house, for we have had to use small sticks for the framework
+instead of bamboo, and where the Filipino uses palm-leaves
+we will use grass.</p>
+
+<p>Gather some long, coarse, fresh blades of grass for<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
+thatching both the roof and walls, and begin with the walls.
+Bunch the grass evenly, the stem ends all together, bend
+the bunch at the centre, then spread it out at its centre,
+and hang it thickly over one side-wall beam, which is the
+upper stick (<a href="#Fig_61">Fig. 61</a>). Have the stem ends inside the house
+hang down as long as the tip ends on the outside, and
+let the outside ends hang
+down below the edge of
+the floor; then take a flat
+strip of wood and place it
+near the top of the grass-covered
+wall, bend the
+ends a little and slide
+them back of the uprights
+(<a href="#Fig_62">Fig. 62</a>). Smooth the
+grass down evenly and put
+in another flat stick, this
+time at the bottom (<a href="#Fig_62">Fig.
+62</a>). If you want the inside
+of the house as perfect as
+the outside, slide in two
+other strips on the inside
+of each wall to hold the
+grass down. <a href="#Fig_62">Fig. 62</a> shows
+the grass partially trimmed
+off to make it even at the
+bottom.</p>
+
+<div class="figcenter" style="width: 302px;">
+<a id="Fig_63"></a>
+<img src="images/i_062a.png" width="302" height="134" alt="drawings" />
+<div class="caption">Fig.63 - Pole rafter being thatched
+for roof.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 250px;">
+<a id="Fig_64"></a>
+<img src="images/i_062b.png" width="250" height="112" alt="drawings" />
+<div class="caption">Fig.64 - Shows exactly how the
+raffia is tied</div></div></td><td align="left"><div class="figcenter" style="width: 296px;">
+<a id="Fig_65"></a>
+<img src="images/i_062c.png" width="296" height="135" alt="drawings" />
+<div class="caption">Fig.65 - Hang grass over ridge
+pole of roof.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+<p>To thatch the roof you
+will need two more sticks
+for rafters. Over one stick,
+near the end, tie a bunch of grass into a tassel, using a
+piece of raffia to bind it; hang more grass over the stick
+or rafter, and tie it into another tassel, and with the same
+piece of raffia tie a third tassel (<a href="#Fig_63">Fig. 63</a>). <a href="#Fig_64">Fig. 64</a> shows
+exactly how the raffia is tied. Make the tassels rather<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+thick and put them close together so that there will be
+no space between.</p>
+
+<p>When this rafter (the stick) is covered with thatch lay
+it across the side of the roof half-way between the ridge-pole
+(top stick on the roof) and the stick forming the side
+wall of the house, and tie the ends securely to the slanting
+sticks of the roof. Thatch another rafter and fasten it
+on the opposite side of the roof, then cover two shorter
+sticks with thatch and tie one across the front, the other
+across the back peak of the roof on a line with the thatched
+rafters on the sides.</p>
+
+<p>Fasten more thatch at the front and back peak of the
+roof, tying it to the ridge-pole, also to the two slanting
+sticks. Allow the grass to hang down far enough to cover
+the top of the thatch below it (<a href="#Fig_50">Fig. 50</a>). This thatch must
+entirely fill up the ends of the roof made by the peak. Now
+hang grass over the ridge-pole at the top of the roof as
+you would hang your doll's little sheets on your toy clothes-line
+(<a href="#Fig_65">Fig. 65</a>), and bring the ends down over the thatched
+rafters on each side of the roof. Hold this top thatch in
+place by laying sticks across the grass just below the ridge-pole
+on each side of the roof. Bind and tie these sticks at
+each end to the framework of the house (<a href="#Fig_50">Fig. 50</a>).</p>
+
+<p>If grass cannot be had for thatching, soak hay in water
+to make it soften and take the stiffness out, then use that.
+Raffia dyed green might do, or should all else fail, take
+fine broom-straws softened in hot water for the thatch, and
+use loosely twisted string for binding and tying. Of course
+the string should not be white, but you can dip it in coffee
+and dry it; the color will then be like the color of rattan.</p>
+
+
+<h3>The Ladder</h3>
+
+<p>The spry little Filipinos use ladders instead of stairs
+to reach their living-room, so we must make a rustic ladder
+for our house.</p>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>
+
+<div class="figleft" style="width: 192px;">
+<a id="Fig_66"></a>
+<img src="images/i_064.png" width="192" height="582" alt="drawings" />
+<div class="caption">Fig.66 - The ladder will
+be strong and firm.</div>
+</div>
+<p>Cut two slender sticks about six and one-half inches
+long for the sides; then cut seven or eight short sticks
+for the crosspieces or rungs. The rungs should be one
+and three-quarter inches long. Bind and tie the ends of
+the rungs to the side sticks (<a href="#Fig_66">Fig. 66</a>),
+placing them about three-quarters
+of an inch apart. The ends of the
+rungs must cross the side sticks and
+extend out about one-quarter of an
+inch. If properly tied, your little
+ladder will be firm and strong.</p>
+
+<p>Place the ladder one end resting
+on the ground, the other end on the
+front edge of the porch, then stand
+off and admire your work. It is
+certainly worth admiring, for the
+house will be a perfect miniature
+Filipino home, and you may imagine
+you can see tall cocoanut-palms
+and many other strange and
+beautiful trees and plants that grow
+in the hot Philippine Islands. You
+might copy some of these with
+grasses and small flowering wild
+plants.</p>
+
+<p>If you have a Noah's ark it will
+be a good idea to select some of
+the animals that live in the Philippines
+and put them in the little
+rattan and bamboo jungles which you have made of
+grasses. A piece of looking-glass or plain window-glass
+can represent water not far from the house, and here you
+should have a crocodile sunning himself on the bank. Let
+a wild boar be plunging out of the jungle, and deep in the
+bamboo grove you might hide the tremendously large<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
+snake called a boa. I don't think there will be a boa in
+your Noah's ark, but you can make one of bread dough,
+or of clay. With all these dangerous creatures prowling
+round, do you think it strange that the Filipino people
+put their houses on stilts?</p>
+
+<p>If this were a real house in the real Philippines you might
+see a number of natives, wearing little or no clothes, coming
+toward you bringing small snakes which they had
+caught to sell in the towns for rat-catchers. And near
+the house there would be most wonderful flowers, some
+of them orchids, the flowers that live on air; while all
+around would be strange and rare birds.</p>
+
+<p>At one side of the house, some distance away, there
+would, perhaps, be a wet rice-field where the queer water-buffalo,
+called a carabao, would be drawing a strange-looking
+plough, the driver, a little brown man, wearing an immense
+umbrella-like hat woven of palm-leaves.</p>
+
+<p>Listen! Do you hear that deep, booming sound? It
+comes from the peculiar tree which a native is striking
+with his big club in slow, heavy blows on one of its immense,
+wall-like roots. The sound goes rolling far over
+the land, telephoning to other natives that white people
+are coming.</p>
+
+
+<h3>A Doll Filipino Woman</h3>
+
+<p>To make the little house seem more real, dress a doll
+in genuine Philippine costume and stand her near the
+ladder with arms extended as if in welcome. The dress
+must be a white waist with flowing sleeves, a light-colored
+skirt, a large gay handkerchief, called a <i>pañuelo</i>, folded
+around the doll's neck, and an overskirt made of a square
+of dark cloth drawn tightly around her body from waist
+to knees. No stockings are needed, but you can give her
+heelless slippers with only a narrow strip over the toes
+to keep them on.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
+
+
+
+
+<h2>CHAPTER X<br />
+
+<small>GRASS DRESS AND GRASS HEAD-DRESS</small></h2>
+
+
+<p><span class="smcap">Look</span> at the little girl in the photograph who is wearing
+her new grass dress made of the wavy hair-grass and playing
+that she is a wood-nymph. She feels very proud and
+is greatly pleased with her pretty costume.</p>
+
+<div class="figcenter" style="width: 600px;"><a id="Fig_67"></a><a id="Fig_68"></a><a id="Fig_69"></a>
+<img src="images/i_066.png" width="600" height="327" alt="drawings" />
+<div class="caption">Fig.67 - Bring the long end of string across front of
+second bunch and form loop A.</div>
+<br />
+<div class="caption">Fig.68 - First loop, A, on front of grass and string passed around
+back of grass forming second loop, B.</div>
+<br />
+<div class="caption">Fig.69 - String brought forward again and slipped through
+first loop, A.</div></div>
+
+<p>Almost any kind of long, slender grasses can be used
+for a dress of this kind, but you must gather an armful
+or more. It takes a good deal of material, for the fringe
+must be close and thick.<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
+
+<div class="figcenter" style="width: 428px;"><a id="photograph"></a>
+<img src="images/i_067.jpg" width="428" height="600" alt="Phtotograph of girl in costume" />
+<div class="caption">She is greatly pleased with her pretty grass costume.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span></p>
+
+<p>Divide the grass into bunches, each bunch about as
+thick as your thumb, and have the heads of all the grasses
+together at one end of the bunch, and the stem ends together
+at the other end.</p>
+
+<div class="figcenter" style="width: 442px;"><a id="Fig_70"></a>
+<img src="images/i_068.jpg" width="442" height="442" alt="photograph" />
+<div class="caption">Fig.70 - Use a strong string for tying the grass fringe.</div>
+</div>
+
+<p>Tie a strong string around the stem ends of one bunch.
+Hold this tied bunch under your left arm, stem ends to
+the front, and take up another bunch (<a href="#Fig_70">Fig. 70</a>). Bring
+the long end of the string across the front of the second<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+bunch and form a loop (A, <a href="#Fig_67">Fig. 67</a>). Hold the loop while
+you pass the string around the back of the bunch (<a href="#Fig_68">Fig. 68</a>),
+then slide the end through the loop A, <a href="#Fig_69">Fig. 69</a>. Draw
+this loop-fastening very tight and it will hold. Now place
+the second bunch under your arm with the first bunch,
+and make a loop-fastening around the third bunch. Keep
+on adding bunches of grass in this way, always drawing
+the last bunch close to the one before it, and holding them
+all together under your arm as in the photograph (<a href="#Fig_70">Fig. 70</a>).
+In this picture the grass bunches are purposely left far
+apart that you may see exactly how to make the fringe.</p>
+
+<div class="figcenter" style="width: 452px;">
+<a id="Fig_71"></a>
+<img src="images/i_069.png" width="452" height="507" alt="drawings" />
+<div class="caption">Fig.71 - Bristle-spiked Cyperus grass used for
+head-dress. See <a href="#photograph">photograph</a>.</div>
+</div>
+
+<p>The grass dress will be finished when you have made<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+a strip of fringe long enough to reach around your waist,
+for the skirt&mdash;it needs no waist&mdash;is really only a fringe of
+grasses to be worn over a light summer dress.</p>
+
+
+<h3>Grass Head-Dress</h3>
+
+<p>The grass head-dress to be worn with the wood-nymph
+skirt is quite as wild-looking, but is simply a band of grasses,
+with bunches of the bristle-spiked cyperus grass (<a href="#Fig_71">Fig. 71</a>)
+hanging downward on each end. The band goes across
+over the top of the head, and the grass side ornaments
+fall over the ears.</p>
+
+<p>Wear the grass costume and carry a light branch of green
+leaves in each hand when you give your next outdoor fancy
+dance, or take part in outdoor tableaux where you could
+represent either a wood-nymph or the spirit of the grasses.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
+
+
+
+
+<h2><i>PART III</i><br />
+<small>GREEN LEAVES</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XI<br />
+<small>OAK-LEAVES</small></h2>
+<div class="figright" style="width: 498px;">
+<a id="Fig_72"></a>
+<img src="images/i_071.png" width="498" height="381" alt="drawings" />
+<div class="caption">Fig.72 - The Robinson Crusoe Hat.</div>
+</div>
+
+<p><span class="smcap">To</span> dress up and pretend is something every little girl,
+and boy too, for that matter, likes to do, and there is no
+better place for having this kind of fun and no greater
+storehouse for dress-up material than the wide, sunny
+fields and green, shady forest on a summer's day.</p>
+
+
+
+<p>If you want to be a wood-nymph, a fairy, or a pioneer;
+if you would be a fashionable lady decked in jewels rare,<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+or a rollicking cowboy, or Robinson Crusoe, it is all the
+same to Mother Nature's department store. Fields, Woods
+&amp; Co. can furnish all you need. If the goods are not always
+ready to wear, they are at least ready to be made
+up into what you want.</p>
+
+<p>Why, you can even be a little savage and wear a skirt
+made of a fringe of long grasses, like the wood-nymph's
+dress, and bracelets of slender, golden-brown rootlets, if
+that pleases you; all the materials are ready to your hand.
+And you can make a</p>
+
+
+<h3>Robinson Crusoe Hat</h3>
+
+<div class='unindent'>of the large leaves of the scrub-oak&mdash;a pretty and becoming
+hat and one that will keep your head cool though you
+walk under the hottest of noonday suns.</div>
+
+<p>The photograph given here shows one little girl who
+likes immensely to wear her Crusoe hat, and <a href="#Fig_72">Fig. 72</a> shows
+just how the hat looks when not on her head.</p>
+
+<p>It won't take more than five minutes to make the hat,
+but first you must gather the leaves. Ordinary oak-leaves
+are too small to use; it is on the scrub-oak that you will
+find them large enough. The scrub-oak grows low, like a
+bush, and the leaves will be quite within your reach. Like
+a good shopkeeper, this kind of oak shows his customers
+leaves of various sizes, but it is the very largest that you
+must take, and only the ones that are dark-green in color.
+The pretty new light-green or brownish leaves will soon
+wilt and curl on the edges, while a hat made of the older,
+tougher ones will last in good condition several days if left
+out in the dew at night or kept damp in the house.</p>
+
+<div class="figcenter" style="width: 449px;">
+<img src="images/i_073.jpg" width="449" height="609" alt="photograph" />
+<div class="caption">The Robinson Crusoe Hat is pretty and becoming.</div>
+</div>
+
+<p>The number of leaves needed depends upon the size of
+the leaves and the size of your head. It is well to have
+at least a dozen and a half; then you can select the best.
+The largest leaves are not always perfect, but unless very<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a><br /><a name="Page_64" id="Page_64">[64]</a></span>
+much torn or eaten away by insects they will answer. To
+gather all you need you will probably have to visit several
+of the little scrub-oaks.</p>
+
+<div class="figleft" style="width: 241px;">
+<a id="Fig_73"></a>
+<img src="images/i_074.png" width="241" height="234" alt="drawings" />
+<div class="caption">Fig.73 - Pin the leaves together
+in this way.</div>
+</div>
+<p>If you are at home when you make your hat, use broom-straws
+to pin the leaves together; if you are in the woods
+find some smooth, slender twigs, break them in short pieces,
+and they will take the place of the straws.</p>
+
+<p>Begin by pinning two leaves together as they are in <a href="#Fig_73">Fig.
+73</a>. These leaves are lettered
+U and V. You see that U
+is lapped over V and then
+pinned to it in two places,
+first near the stem and then
+through the lower side lobe.
+The next leaf would be letter
+W, and W would be pinned
+to U just as U is pinned to V.
+Make the stems meet at the
+top and keep adding leaves,
+pinning one to another, until
+the hat is large enough to fit
+your head comfortably, then pin the last leaf to the first.</p>
+
+
+<p>Do not make the hat too flat; if you find it flattening
+out, lap the leaves over more at the bottom. When finished
+it should be shaped like <a href="#Fig_72">Fig. 72</a>.</p>
+
+
+<h3>Oak-Leaf Mask</h3>
+<div class="figright" style="width: 518px;">
+<a id="Fig_74"></a>
+<img src="images/i_075.png" width="518" height="727" alt="drawings" />
+<div class="caption">Fig.74 - The Oak Leaf Mask.</div>
+</div>
+<p>Among other frolics in the woods you can have a masquerade&mdash;a
+real one, where you wear a mask, and that
+mask made of one of the largest leaves of the scrub-oak.
+Not even a pair of scissors will be needed to make this
+mask, and it is a funny one too (<a href="#Fig_74">Fig. 74</a>). See the turned-up
+eyelids and the wide nose tilted at the end.</p>
+
+<p>When you have found a leaf large enough (the one in<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
+the drawing was nine inches long and seven inches wide)
+use your thumb-nail to cut out the eyes and nose.   The
+outlines at the top of <a href="#Fig_74">Fig. 74</a> show how to shape them,
+and the dotted lines show where they are bent up.</p>
+
+
+
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p>
+
+<p>There is no mouth, none is needed, for the leaf, below
+the nose, drops down loosely over your mouth like the
+curtain on a mask one buys at a shop. The oak-leaf mask
+will stay on your face if you wet the under parts of each
+side and stick them to
+your cheeks.</p>
+
+<p>Another way to make
+the mask is to turn the
+leaf around, stem down,
+and then cut the eyes
+and nose in the wide
+part, leaving the narrower
+stem end for a long chin. This kind you can hold
+in front of your face by taking the stem in your hand. It
+requires so short a time to make a mask that when one
+wears out or is lost you can have another to replace it in
+a minute or two.</p>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p>
+
+
+<h3>The Little Oak-Leaf Dog</h3>
+
+<p>He has the funny expression of a real dog when he is
+making up his mind what to do next, even if he is only an
+oak-leaf. It was an ordinary leaf four inches long which
+was, by tearing a little here and bending a little there,
+transformed into his absurd dogship (<a href="#Fig_75">Fig. 75</a>).</p>
+
+<div class="figcenter" style="width: 310px;">
+<a id="Fig_75"></a>
+<img src="images/i_076a.png" width="310" height="192" alt="drawings" />
+<div class="caption">Fig.75 - The little Oak Leaf Dog.</div>
+</div>
+
+
+<p><a href="#Fig_76">Fig. 76</a> is the tracing of the leaf actually used for the
+dog. <a href="#Fig_77">Fig. 77</a> shows the same leaf with its stem nipped
+off and the other end torn up, not very evenly, where the
+dotted lines are in <a href="#Fig_76">Fig. 76</a>. This makes the little dog's
+tail. The tear on either side reaches to the mid-rib of the
+leaf, but does not cross it, and the mid-rib being unbroken
+holds the tail out stiff and straight.</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 242px;">
+<a id="Fig_77"></a>
+<img src="images/i_076b.png" width="242" height="298" alt="drawings" />
+<div class="caption">Fig.77 - This shows how the
+dog was made.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 244px;">
+<a id="Fig_76"></a>
+<img src="images/i_076c.png" width="244" height="360" alt="drawings" />
+<div class="caption">Fig.76 - The leaf the dog
+was made of.</div>
+</div></td></tr>
+</table></div>
+<p>The two hind legs are bent down just where the tear
+ends in making the tail. The dotted line in <a href="#Fig_77">Fig. 77</a> shows
+this. The other two legs, formed by the side lobes of the
+leaf, are bent down as the dotted lines indicate. The tip
+of the lobe on the left side had to be torn off because that
+leg was longer than the opposite one.</p>
+
+<p>In making the neck the narrow part of the leaf was bent
+up and then down, the two dotted lines show where. Then
+the ears were bent up and the little oak-leaf dog was placed
+standing as you see him in <a href="#Fig_75">Fig. 75</a>, to have his picture
+drawn.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
+
+
+
+
+<h2>CHAPTER XII<br />
+<small>GRAPE-LEAF DRINKING-CUP</small></h2>
+
+
+<p><span class="smcap">A wild-grape</span> leaf will do quite as well as a cultivated
+one for a drinking-cup if it is large enough. You want a
+large leaf, because a small one will hold only a sip of water,
+and when one is really thirsty that is certainly not enough.</p>
+<div class="figcenter" style="width: 417px;">
+<a id="Fig_78"></a>
+<img src="images/i_079a.png" width="417" height="428" alt="drawings" />
+<div class="caption">Fig.78 - The drinking cup was made
+of a leaf like this.</div>
+</div>
+<p>Whether wild or cultivated, the grape-leaf should be
+washed in clean water to take off dust and any possible
+insects that may be on it. Where there is water to drink
+there is water for washing the leaf, so there can be no difficulty
+about that, and the large green leaf, freshened by
+the water, looks very cool and inviting.</p>
+
+<p>It is simply a matter of folding, first one way, then the
+other, that turns the grape-leaf into a cup. <a href="#Fig_78">Fig. 78</a> is a
+tracing of the leaf from which the cup (<a href="#Fig_79">Fig. 79</a>) was made.
+It measured eight inches at its widest part, almost seven
+inches from tip to stem, and the cup held a good supply
+of water.</p>
+<div class="figcenter" style="width: 430px;">
+<a id="Fig_79"></a>
+<img src="images/i_079b.png" width="430" height="330" alt="drawings" />
+<div class="caption">Fig.79 - A fine drinking cup made by folding
+a Grape leaf.</div>
+</div>
+<p>Begin to fold by bringing the two lower lobes of the leaf
+together in the way shown in <a href="#Fig_80">Fig. 80</a>. This makes the
+middle bend that is indicated by the dotted line in <a href="#Fig_78">Fig.
+78</a>. Then bring the two lobes around to the left, or to the
+right if that comes easier, hold them close together and
+lap them over the upper lobe on that side. That makes
+the two side bends which join at the middle bend (<a href="#Fig_78">Fig.
+78</a>), and rounds the cup into shape.</p>
+
+
+
+
+
+<div class="figcenter" style="width: 456px;">
+<a id="Fig_80"></a>
+<img src="images/i_080.png" width="456" height="583" alt="drawings" />
+<div class="caption">Fig.80 - Bring the two lower lobes of the
+leaf together.</div>
+</div>
+
+<p>The bottom of the cup is pointed, as you see, and,
+of course, will not stand; then, too, the cup falls apart
+when you loosen your hold, but neither of these things
+are of any consequence, for you can let your cup lie flat<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a><br /><a name="Page_70" id="Page_70">[70]</a></span>
+and fold it again very quickly when it is needed. As long
+as the folds are held tight in your fingers, the cup will keep
+its shape and hold water without leaking a particle. Use
+the upper, or green, side of the leaf for the inside of
+the cup; the under, or light, side is fuzzy and may harbor
+small insects even after it is washed. Be sure you look
+into the water before drinking it. This should be done
+no matter what you drink from or where you get the
+water.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII">CHAPTER XIII</a><br />
+<small>GREEN-LEAF DESIGNS</small></h2>
+
+
+<h3>Beech-Leaves</h3>
+
+<p><span class="smcap">Remarkably</span> pretty designs can be made entirely of
+green leaves; also with leaves and their seed-pods, their
+nuts and berries. You can press a design of leaves alone,
+but one having seed-pods, berries, or nuts cannot be pressed.
+It is fun to make it, even if it cannot be preserved by pressing,
+and you will like to do it.</p>
+
+<div class="figcenter" style="width: 445px;">
+<a id="Fig_81"></a>
+<img src="images/i_081.png" width="445" height="362" alt="drawings" />
+<div class="caption">Fig.81 - Two twigs broken off a Beech Tree
+made this design.</div>
+</div>
+
+<p><a href="#Fig_81">Fig. 81</a> is the drawing of a charming design made of
+two twigs broken off a beech-tree. On one twig were two
+beechnuts in their pretty green, spiky outer shells; on<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
+the other was just one nut. Each twig had three leaves.
+Nothing was cut off and nothing was added for this design;
+the twigs were used exactly as they came from the
+tree. The stems were
+simply crossed, with the
+lower leaf of one twig
+falling over the stem of
+the other twig, and that
+finished it. The easiest
+thing in the world to do
+if you happen to think
+of it.</p>
+
+
+<h3>Violet-Leaves</h3>
+
+<p>There is one thing
+about the green leaves of
+the violet which makes it
+a joy to use them in a
+design, and that is, the
+stems are so pliable, so easily bent and curved, you can
+do almost anything with them.</p>
+
+<div class="figcenter" style="width: 336px;">
+<a id="Fig_82"></a>
+<img src="images/i_082a.png" width="336" height="306" alt="drawings" />
+<div class="caption">Fig.82 - Design made of
+Violet leaves.</div>
+</div>
+
+<p>See how the stems add to the beauty of the violet-leaf
+design <a href="#Fig_82">Fig. 82</a>.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 261px;">
+<a id="Fig_83"></a>
+<img src="images/i_082b.png" width="261" height="226" alt="drawings" />
+<div class="caption">Fig.83 - The stem curves
+naturally.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 156px;">
+<a id="Fig_84"></a>
+<img src="images/i_082c.png" width="156" height="166" alt="drawings" />
+<div class="caption">Fig.84 - Under side of the small
+leaf in the design.</div>
+</div></td></tr>
+</table></div>
+
+
+<p>The curve of the stem of <a href="#Fig_83">Fig. 83</a> is a natural one for it
+to take, and you can probably find a leaf with its stem<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
+curved very much like it, but it is another thing to come
+across one of the same size which has a stem curved in the
+opposite direction, and such a stem is necessary for a design
+like <a href="#Fig_82">Fig. 82</a>.</p>
+
+<p>Very well! Since the stem does not naturally curve
+the way we want it, we will make it do so. All we have
+to do is to draw it through our fingers several times and,
+by pressure, gently persuade it to turn as we wish.</p>
+
+<p><a href="#Fig_84">Fig. 84</a> is the under-side of the small leaf at the bottom
+of the design (<a href="#Fig_82">Fig. 82</a>), and shows how the stem loop above
+the leaf was made.</p>
+
+<div class="figcenter" style="width: 584px;">
+<a id="Fig_85"></a>
+<img src="images/i_083.png" width="584" height="315" alt="drawings" />
+<div class="caption">Fig.85 - This is the way the curling Ground-Pine grows.</div>
+</div>
+
+<p>First a violet-leaf with stem curved like the one in <a href="#Fig_83">Fig.
+83</a> was laid down on a sheet of paper, then another leaf
+of the same size, with stem <i>made</i> to curve in the opposite
+direction, was placed beside but not touching the first
+leaf, and with its stem crossing the other stem. The two
+stems meeting at the bottom formed a pear-shaped loop.
+The small leaf, after its stem had been formed into a loop
+and the end tucked in at the back, was fitted on top of
+the stems of the large leaves, as you see it in <a href="#Fig_82">Fig. 82</a>.</p>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+<div class="figcenter" style="width: 321px;">
+<a id="Fig_86"></a>
+<img src="images/i_084.png" width="321" height="500" alt="drawings" />
+<div class="caption">Fig.86 - Beautiful, tiny, green Pine-Tree made
+of a curling branch of the Ground-Pine.</div>
+</div>
+
+<p>Violet-leaves are seldom flat; they are apt to curl at the
+edges; some are so curled as to form little cornucopias.
+Choose the flattest you can find for a design like <a href="#Fig_82">Fig. 82</a>,
+and paste them to the paper with a touch of paste on the
+under-part of the tip and of the two lobes at the bottom<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+of each leaf. Paste the stems down also with a touch of
+paste here and there.</p>
+
+<p>The violet-leaf design can be pressed.</p>
+
+
+<h3>Ground-Pine</h3>
+
+<p>Deep in the shadowy woods, often where pine-trees are
+growing, you will find the ground-pine. Clinging close
+to the ground, curling in feathery, green clusters on its
+vine-like root, it runs for yards over the surface, while its
+root, lying along the top, sends down slender rootlets into
+the earth. Push away the dry leaves or pine-needles that
+usually cover the root, and you can pull up long strips and
+soon gather enough to make the prettiest kind of festive
+decorations.</p>
+
+<p>Festoons of the ground-pine are very pretty on walls,
+stair-banisters, porch-railings, over picture-frames, and
+hanging from chandeliers, and this ready-made evergreen
+rope is as suitable for outdoor as for indoor decoration, as
+beautiful in summer as in winter.</p>
+
+<p>When you want to "dress-up" in the woods use the
+ground-pine for trimmings. Loop it over your skirt and
+make a wreath for your hair. Last summer at camp we
+used the ground-pine in this way and the little girls, arrayed
+for a dance, never looked prettier. For table decorations
+at camp and for decorating the tent doorways the
+ground-pine is charming.</p>
+
+<p><a href="#Fig_85">Fig. 85</a> shows how the short, curled clusters grow on
+the long root, and <a href="#Fig_86">Fig. 86</a> gives a wee pine-tree made of
+one cluster picked off the root and planted in an outdoor
+doll's garden.</p>
+
+<p>This is what our American writer and poet, Ralph
+Waldo Emerson, said of the ground-pine:</p>
+
+<div class='poem'>
+"As I spoke, beneath my feet<br />
+<span style="margin-left: 0.5em;">The ground-pine curled its pretty wreath."</span><br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p>
+
+
+
+
+<h2><i>PART IV</i><br />
+<small>CULTIVATED FLOWERS</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XIV<br />
+<small>PHLOX</small></h2>
+
+
+<h3>Phlox Tower and Phlox Design</h3>
+
+<p><span class="smcap">In</span> a great bunch of garden-flowers given me by a friend
+I found some pink-and-white phlox (<a href="#Fig_87">Fig. 87</a>), and from it
+I made first a</p>
+
+
+<h3>Phlox Tower</h3>
+
+<p>As you know, the blossom is trumpet-shaped and flares
+at the open end into five petals. The tube part is long
+and narrows to a point, so it is easy to push one flower into
+another. That is what you do in building the phlox tower.
+You pull the blossom off its stem and out of the little green
+calyx which holds it, then you push the end of the tube
+part into the round red eye in the centre of another flower
+as far down as it will go. Then you push another blossom
+into that one and build up until your tower is as high as
+you want it, or as high as it will stand without toppling
+over. A bud stuck in the top flower makes a good finish
+(<a href="#Fig_88">Fig. 88</a>).</p>
+
+
+<h3>Phlox Design</h3>
+
+<p>The design <a href="#Fig_89">Fig. 89</a> was made by first putting three
+blossoms together, sticking one inside the other as for the
+tower, to form the long side sprays, and afterward arranging
+three blossoms below the side sprays and one above<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
+with their stems meeting at the middle, as they are in <a href="#Fig_89">Fig.
+89</a>. On each side of the upper flower was placed a sprig
+of buds; then the tube part of a blossom was cut off and
+the petal part fitted in the centre of the design to cover
+the ends of the other flowers where
+they met.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 376px;">
+<a id="Fig_87"></a>
+<img src="images/i_087a.png" width="376" height="533" alt="drawings" />
+<div class="caption">Fig.87 - Blossoms of the Phlox.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 121px;">
+<a id="Fig_88"></a>
+<img src="images/i_087b.png" width="121" height="600" alt="drawings" />
+<div class="caption">Fig.88 - Build your Phlox
+Tower like this</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>The tube parts of three more
+flowers were cut away, and the petal
+parts arranged in the position shown in <a href="#Fig_89">Fig. 89</a>.   This
+formed a scattered design quite different from any of the
+others made of flowers.</p>
+<div class="figcenter" style="width: 583px;">
+<a id="Fig_89"></a>
+<img src="images/i_088.png" width="583" height="475" alt="drawings" />
+<div class="caption">Fig.89 - This phlox design should be pressed.</div>
+</div>
+
+
+<p>Touches of paste on the under part held all the flowers<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
+in place. The phlox design is a good one to preserve by
+pressing.</p>
+
+
+<h3>The Tiger-Lily Leopard</h3>
+<div class="figleft" style="width: 411px;"><a id="Fig_90"></a>
+<img src="images/i_089a.png" width="411" height="168" alt="drawing" />
+<div class="caption">Fig.90 - The stealthy, prowling Leopard.</div>
+</div>
+
+<p>From the brilliant-orange tiger-lily, with its dark-brown
+or black spots, we are going to make a&mdash;tiger? No, a
+leopard. Tiger-lilies may have spots, but tigers, you know,
+are striped.</p>
+
+<p>It is really wonderful how much this little animal, made
+of parts of a beautiful flower and broom-straws, looks like
+the stealthy, prowling, wild creature which lives in Africa
+and Asia. The yellow coat of the live leopard is covered
+with black spots, and so is that of our flower leopard. The
+fierce living animal has a long tail that it moves slowly<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+back and forth in anger or when it threatens to attack another
+animal or a man. Our little leopard also has a long
+tail which, if it does not really move, looks as if it were
+just going to. But while the live animal is ferocious and
+will kill, we can only pretend that of the tiger-lily leopard.
+Though he looks dangerous, he cannot even nibble a green
+leaf.</p>
+
+<p>The illustration of the tiger-lily given here is a drawing
+of the one from
+which the lily leopard
+(<a href="#Fig_90">Fig. 90</a>) was made.
+You will notice that at
+the right of the flower
+(<a href="#Fig_91">Fig. 91</a>) there is the
+stem and pistil of a
+blossom that has fallen
+apart.</p>
+
+
+<div class="figcenter" style="width: 383px;">
+<a id="Fig_91"></a>
+<img src="images/i_089b.png" width="383" height="489" alt="drawings" />
+<div class="caption">Fig.91 - The leopard is made from a
+Tiger Lily like this.</div>
+</div>
+
+<p>When we make the
+leopard we cut off this
+lily-stem close to the stalk, leaving the pistil attached, to
+use for the back-bone and tail. Four broom-straws, about
+an inch and a half long and sharpened at one end, we use
+for legs. The pointed ends of two of the legs are pushed<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+into the stem at the front, and the other two in part of
+the pistil at the back, as shown in <a href="#Fig_92">Fig. 92</a>. That makes
+the skeleton.</p>
+
+<div class="figcenter" style="width: 414px;">
+<a id="Fig_92"></a>
+<img src="images/i_090a.png" width="414" height="161" alt="drawings" />
+<div class="caption">Fig.92 - This is the skeleton of the leopard.</div>
+</div>
+
+<div class="figcenter" style="width: 307px;">
+<a id="Fig_93"></a>
+<img src="images/i_090b.png" width="307" height="117" alt="drawings" />
+<div class="caption">Fig.93 - The leopard's spotted coat.</div>
+</div>
+
+<p>Now we have to fit on the skeleton the leopard's spotted
+coat. After pulling the perfect flower apart we select the
+petal best suited for this purpose (<a href="#Fig_93">Fig. 93</a>), and then take
+the curl partially out of it by pressing it down on the table
+with our fingers. The tip of the petal will have to be cut
+off because it comes down too far over the tail.</p>
+
+<p>The blunt end of the petal will be the leopard's head,
+and it can be rounded up and moulded with your fingers
+until it looks like the head of the leopard in <a href="#Fig_90">Fig. 90</a>. Small
+ears of bits of broom-straw, pointed at one end, we must
+stick in the head where they belong and then, in order
+to make the coat stay in place, we will pin it to the skeleton
+at the neck, in the middle of the back, and again at the
+tail, with fine broom-straws. So we have the little leopard
+complete.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
+
+
+
+
+<h2>CHAPTER XV<br />
+<small>CULTIVATED FOXGLOVE</small></h2>
+
+
+<h3>Fairy-Caps</h3>
+
+<div class='tnote2'><b>Transcriber's Note:</b> Foxglove is poisonous. Do not
+play with foxgloves.</div>
+
+<p><span class="smcap">Do</span> you know the cultivated foxglove with its tall spikes
+of thimble-shaped flowers, prettily spotted inside? (<a href="#Fig_94">Fig.
+94</a>.) And do you know that these flowers will fit on the
+ends of your fingers like tall caps on the heads of little
+fairies?</p>
+
+<p>Perhaps there are foxgloves growing in your garden
+now. If there are, pick five blossoms off the stalk, selecting
+a large one for your thumb and a small one for your
+little finger; the others should be of a size in between these
+two.</p>
+<div class="figcenter" style="width: 374px;">
+<a id="Fig_94"></a>
+<img src="images/i_092.png" width="374" height="548" alt="drawings" />
+<div class="caption">Fig.94 - "Do you know the cultivated
+Fox Glove?"</div>
+</div>
+<p>Turn these blossoms upside down and they at once become
+fairy-caps. Fit the caps on all five fingers of your
+left hand. Then on your fingers, just below the caps, draw
+little faces with pen and ink. Now you have five living,
+moving fairies who will do all sorts of things and be very
+spry about it (<a href="#Fig_95">Fig. 95</a>). They will nod at you joyously,
+they will bend low in solemn salute, and they will put their
+little heads together to plan some piece of mischief.</p>
+
+<p>They can be fairy children at school, if you like, with
+the short, fat thumb fairy for the teacher; and you can
+make the fairy pupils stand close together, shoulder to
+shoulder, then at a word from the teacher, separate and
+stand alone again.</p>
+
+<p>It will be fun to name the fairies, such names as Pepper-grass,
+Mustard-seed, and Catnip, and with the teacher
+standing before his class, have him call the roll and have
+each fairy bob his head as he answers to his name.</p>
+
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>
+
+
+
+<div class="figcenter" style="width: 415px;">
+<a id="Fig_95"></a>
+<img src="images/i_093.png" width="415" height="504" alt="drawings" />
+<div class="caption">Fig.95 - Five living Fairies.</div>
+</div>
+
+<p>Perhaps you will want the teacher to require each pupil
+to sing a little song or recite a short verse. When a fairy
+does that, he moves forward in front of the others, and
+stays in that place until he has finished. Here is a pretty
+verse for a flower-capped fairy to recite:</p>
+
+<div class='poem'>
+"I wonder what the Clover thinks,<br />
+<span style="margin-left: 0.5em;">Intimate friend of the Bobolinks,</span><br />
+<span style="margin-left: 0.5em;">Lover of Daisies, slim and white,</span><br />
+<span style="margin-left: 0.5em;">Waltzer with Buttercups at night.</span><br />
+<br />
+<b>&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;</b><br />
+<br />
+<span style="margin-left: 0.5em;">Oh, who knows what the Clover thinks?</span><br />
+<span style="margin-left: 0.5em;">No one! Unless the Bobolinks."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>
+
+
+<h3>Sweet Pea&mdash;the Peacock</h3>
+
+<p>You use a little pretended magic when you turn a sweet-pea
+blossom into a peacock, and that makes it seem more
+mysterious and more interesting. It doesn't take a second
+but while you are doing it you must repeat this transformation
+rhyme:</p>
+
+<div class='poem'>
+"Sweet Pea, Sweet Pea,<br />
+<span style="margin-left: 0.5em;">Your petals unlock.</span><br />
+<span style="margin-left: 0.5em;">I turn two down,</span><br />
+<span style="margin-left: 0.5em;">And you're a peacock."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p>
+<div class="figcenter" style="width: 349px;">
+<a id="Fig_96"></a>
+<img src="images/i_094a.png" width="349" height="470" alt="drawings" />
+<div class="caption">Fig.96: - "Sweet Pea, Sweet Pea,
+Your petals unlock."</div>
+</div>
+<div class='unindent'>Pick out a fine, large sweet-pea blossom. It doesn't matter
+about the color. If you have a number to choose
+from, suit yourself.
+Hold the flower in your
+left hand by its stem
+and recite the first two
+lines:</div>
+
+<div class='poem'>
+"Sweet Pea, Sweet Pea,<br />
+<span style="margin-left: 0.5em;">Your petals unlock."</span><br />
+</div>
+
+
+
+<div class="figcenter" style="width: 341px;">
+<a id="Fig_97"></a>
+<img src="images/i_094b.png" width="341" height="504" alt="drawings" />
+<div class="caption">Fig.97: - "I turn two down and
+you're a Peacock."</div>
+</div>
+
+<div class='unindent'>Then as you reach
+around to the back of the
+flower with your right hand
+and put your thumb on
+one curled petal, X, and
+your first finger on the
+other curled petal, Y (<a href="#Fig_96">Fig.
+96</a>), finish the rhyme:</div>
+
+<div class='poem'>
+"I turn two down,<br />
+<span style="margin-left: 0.5em;">And you're a peacock."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<div class='unindent'>and at the same time turn these petals down as they are
+in <a href="#Fig_97">Fig. 97</a>. You will see right away that the turned-down
+petals at the sides are the wings, the upright petal at the
+back is the tail, and the closed middle part is the body.<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+The tipped-up point of the body part makes a very good
+head for the little sweet-pea peacock.</div>
+
+<div class="figcenter" style="width: 305px;">
+<a id="Fig_98"></a>
+<img src="images/i_095.png" width="305" height="600" alt="drawings" />
+<div class="caption">Fig.98 - The blossoms of the cultivated
+Snapdragon are large.</div>
+</div>
+
+
+<h3>Snapdragon&mdash;Lady's Head and Lion's Head</h3>
+
+<p>The magic that turns a blossom of the large, cultivated
+snapdragon into a little lady's head, upon which rests
+a dainty, ruffled sunbonnet, or into a ferocious-looking
+lion's head, is the magic of pen and ink, not of rhyme.</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 256px;">
+<img src="images/i_096a.png" width="256" height="396" alt="drawing" /><a id="Fig_99"></a>
+<div class="caption">Fig.99 - The Snapdragon
+Lady's Head</div>
+</div></td><td align="left"><div class="figcenter" style="width: 288px;">
+<a id="Fig_100"></a>
+<img src="images/i_096b.png" width="288" height="358" alt="drawings" />
+<div class="caption">Fig.100 - The Snapdragon
+Lion's Head.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>The blossoms of the cultivated snapdragon are very
+much larger than those of its wild cousin, called by some
+people butter-and-eggs, but the cultivated flowers grow on
+a stalk in the same way as the wild ones. You would
+hardly recognize the cultivated flowers as snapdragons because
+of their size and wonderful colors. A sure test is to
+pinch one; if it opens its mouth it is a real snapdragon; if<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+it doesn't it is not; but you must know how to pinch it,
+else it may refuse to snap.</p>
+
+<p>The illustration (<a href="#Fig_98">Fig. 98</a>) shows a stalk of the cultivated
+flower, and looking at the blossoms in that position you
+can see neither the lady's head nor the lion's, yet they
+are there.</p>
+
+
+<h4>LADY'S HEAD</h4>
+
+<p>Pick a blossom off its stalk, leaving the little stem attached,
+and turn it around until you discover the sunbonnet
+and see that it looks like <a href="#Fig_99">Fig. 99</a>, then with pen
+and ink draw eyes, nose, and mouth on the part under
+the bonnet that is the face. This part is white, while the
+sunbonnet is sometimes a dainty pink and sometimes a
+gorgeous scarlet or orange, with deeper color on the edges.</p>
+
+
+<h4>LION'S HEAD</h4>
+
+<p>Turn another blossom upside down and the crown of
+the bonnet becomes the lower jaw and beard of the lion,
+while the other part is the lion's face. On the face you
+must make two fierce eyes like those in <a href="#Fig_100">Fig. 100</a>. When
+you take hold of the lion's jaws at the back and pinch them
+he will open his great, wide mouth as if to send out a tremendous
+roar, only to snap it shut again without a sound
+as you stop pinching. <a href="#Fig_100">Fig. 100</a> shows how to hold the
+flower to open the lion's mouth.</p>
+
+<p>The pink snapdragon is best to use for the lady's head
+and the orange-colored one for the lion's. If you would
+rather call it a dragon's head, you can, you know, but it
+looks more like a lion.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p>
+
+
+
+
+<h2>CHAPTER XVI<br />
+<small>MISS HOLLYHOCK'S GARDEN-PARTY</small></h2>
+
+
+<div class="figcenter" style="width: 598px;">
+<a id="Fig_101"></a>
+<img src="images/i_098.png" width="598" height="460" alt="drawings" />
+<div class="caption">Fig.101 - Miss Hollyhock gives a garden party.</div>
+</div>
+
+<p><span class="smcap">When</span> Miss Hollyhock gives a garden-party the scene
+is a gay one. All the ladies, and you can have as many
+as you want, are in their freshest, crispest summer gowns.
+There are dainty pink ones, white, rose-colored, and deep
+red; there are light yellow and orange; there are gowns
+almost brown and others almost black, but whatever the
+color of the skirt the waist is always green. Green waists<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
+are the style where Miss Hollyhock lives, and she and all
+her friends follow the style very closely.</p>
+
+<div class="figright" style="width: 101px;">
+<a id="Fig_102"></a>
+<img src="images/i_099a.png" width="101" height="180" alt="drawings" />
+<div class="caption">Fig.102 - Cut the Pistil out
+of the flowers.</div>
+</div>
+
+<p>The hats these little ladies wear to the party are of the
+same silky material as their
+skirts and are usually of the
+same color, though sometimes
+a lady in white will appear in
+a pink or yellow hat, or a pink
+lady can be seen wearing a
+white hat, and the lady in rose
+knows how well she looks in a
+hat that is almost black. When
+there are two or more gowns of
+the same color the hollyhock ladies prefer to have different
+colored hats so that they will not all look alike.</p>
+<div class="figleft" style="width: 357px;">
+<a id="Fig_103"></a>
+<img src="images/i_099b.png" width="357" height="355" alt="drawings" />
+<div class="caption">Fig.103 - This is the way to make
+Miss Hollyhock.</div>
+</div>
+
+<p><a href="#Fig_101">Fig. 101</a> shows how Miss Hollyhock and her friends are
+made from the flowers
+of that name. When
+you have gathered the
+flowers you must cut
+off the stem of each
+close to the green calyx
+which is Miss Hollyhock's
+waist, and then
+cut out the pistil which
+grows inside the blossom.
+This pistil is
+shaped something like
+a little club, and is
+covered with the yellow
+grains of pollen
+(ask some one what
+pollen is). It looks
+like <a href="#Fig_102">Fig. 102</a>. The pollen will make the flower wilt
+quickly. That is why it is best to take the pistil out.</p>
+
+
+<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
+
+<p>Now select a nice, round, hard, green bud for a head
+and leave its stem on for the neck. Turn the sharp point
+of your scissors around in the top of the hollyhock calyx
+to make a little round hole, then push the stem of the bud
+into the hole, screwing it round and round until the bud
+almost, but not quite, touches the calyx.   If you push it
+all the way down your lady will have no neck; her head
+will grow directly out of her shoulders.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 189px;">
+<a id="Fig_104"></a>
+<img src="images/i_100a.png" width="189" height="269" alt="drawings" />
+<div class="caption">Fig.104 - Miss Hollyhock's
+Tea Table.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 338px;">
+<a id="Fig_105"></a>
+<img src="images/i_100b.png" width="338" height="255" alt="drawings" />
+<div class="caption">Fig.105 - Teapot and cups for the
+Hollyhock tea table.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Wooden toothpicks are used for legs, arms, and support,
+but strong broom-straws will answer as well, or
+straight, slender twigs. Push three toothpicks, twigs, or
+broom-straws up into the centre of the flower, two in front
+and one at the back as you see them in <a href="#Fig_103">Fig. 103</a>. The
+dotted lines show where they go inside the blossom. Be
+sure to have all three the same length so that the little
+lady will stand firmly. The arrows on <a href="#Fig_103">Fig. 103</a> show where
+to insert the arms. Cut sharp points on the broom-straws
+to make them slide in easily. Blunt ends will tear the
+flower.</p>
+
+<p>With pen and ink make the eyes, nose, and mouth on<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
+the head, and use a petal of another hollyhock for a hat.
+Pin the hat to the top of the lady's head with a pin or
+short broom-straw.</p>
+
+<p>A garden-party would not be complete without</p>
+
+
+<h3>A Tea-Table</h3>
+
+<p>Make the tea-table of the hollyhock's round cake of unripe
+seeds which most children call a cheese. This is covered
+with a green case which is easily taken off and then
+you have a round, white disk like a little table-top turned
+up at the edge. Select the largest one you can find and push
+the ends of three toothpicks or broom-straws into the under-side
+for the table legs (<a href="#Fig_104">Fig. 104</a>). Now the tea-table
+must have a</p>
+
+
+<h3>Teapot and Cups</h3>
+
+<p>Find a green bud for a teapot shaped like Z (<a href="#Fig_105">Fig. 105</a>).
+Push two short straws into the bud in the places shown
+by the arrows in Z (<a href="#Fig_105">Fig. 105</a>), one for the spout and one
+for the handle. Cut the tops off smaller buds to make
+them into teacups (A and B, <a href="#Fig_105">Fig. 105</a>). A drop of paste
+at the bottom of the teapot and the cups will keep them
+in place on the table.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
+
+
+
+
+<h2>CHAPTER XVII<br />
+<small>DAFFODILS</small></h2>
+
+
+<h3>Dancing Flowers and Whirligigs</h3>
+
+<p><span class="smcap">Daffodils</span>, yellow as sunshine, always come with the
+beautiful springtime. The blossoms of the single daffodils,
+with their tall, golden cups resting in the saucers of
+lighter-colored petals, are the daintiest, though both single
+and double are so like a song of cheerfulness it is a joy to
+have them near. They look as if they wanted to dance
+for sheer happiness and, wonder of wonders, you can actually
+make them dance.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_106"></a>
+<img src="images/i_102a.png" width="263" height="328" alt="drawings" />
+<div class="caption">Fig.106 - The Daffodil Dancer.</div>
+</div>
+</td><td align="left">
+<div class="figcenter" style="width: 268px;">
+<a id="Fig_107"></a>
+<img src="images/i_102b.png" width="268" height="288" alt="drawings" />
+<div class="caption">Fig.107 - The Daffodil Animal.</div>
+</div></td></tr>
+</table></div>
+
+<p>Gather a few of the single daffies, leaving on them the
+very short stems which hold them to the main stalk. These
+little green stems will be the stiff ornaments at the top
+of the dancers' green caps when you turn the flowers upside
+down, which is right side up for the dancers.</p>
+
+<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p>
+
+
+<h3>Daffodil Dancers</h3>
+
+<p>To make a flower stand alone and give it feet to dance
+on, push three wooden toothpicks firmly up under the
+little yellow skirt into the
+centre of the blossom. It
+doesn't matter if a flower
+has three feet; like an insect,
+it may have more
+than two and it won't stand
+on two. Spread the bottom
+ends of the toothpicks
+out a trifle like a tripod to
+make the flower stand
+steady (<a href="#Fig_106">Fig. 106</a>).</p>
+
+<p>When you have made
+several dancers, stand them
+on a tin tray, and they
+will be a group of "daffy-down-dillies
+just come to
+town," arrayed in their
+best gowns and ready to
+take part in the dance.
+Tap the tray gently from
+underneath and the dancers
+will begin to move.
+Tap a little harder and
+they will begin to dance. Tip the tray slightly forward
+and they will dance toward you; tip it backward and
+they will dance away again.</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 314px;"><a id="Fig_108"></a>
+<img src="images/i_103.png" width="314" height="516" alt="drrawing" />
+<div class="caption">Fig.108 - Daffodil stalk for you to
+turn into a whirligig</div>
+</div>
+</td><td align="left"><div class="figcenter" style="width: 415px;">
+<a id="Fig_109"></a>
+<img src="images/i_104.png" width="415" height="600" alt="drawing" />
+<div class="caption">Fig.109 - The Whirligig.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<h3>A Daffodil Animal</h3>
+
+<p>Queer little animals that come only from Daffy land
+can be made of the single daffodil-blossoms.   Take one of<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+the flowers and carefully cut away the outstanding petals,
+leaving the perfect, long cup. Hold the cup in your left
+hand with the short, green stem hanging down; the stem
+is the animal's head; then break off about half an inch
+from the blunt ends of four wooden toothpicks and use
+the longest parts for legs. Push the pointed ends of the
+tooth pick legs up into the under-side of the long, slender
+cup as it is held in your left hand. Keep the legs of an
+even length and the animal will stand firmly. This little<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
+fellow, with his green head and long green nose, is very
+comical (<a href="#Fig_107">Fig. 107</a>). He can dance on the tin tray too, and
+run about when you tip it.</p>
+
+<p>The daffodil toys will keep their color a long while even
+after the blossoms are dry. Do not take off the brown
+calyx which is lightly wrapped around the bottom of each
+flower. It represents the hair of the dancers and the ears
+of the animal.</p>
+
+
+<h3>The Whirligig</h3>
+
+<p>You can have some fun with the daffodil stalk, too, after
+taking off the flowers.</p>
+
+<p><a href="#Fig_108">Fig. 108</a> is a daffodil stalk; look at it closely, then look
+at <a href="#Fig_109">Fig. 109</a>. They are really the very same though they
+appear to be so different. One seems to have a blossom
+at the top, and you know that the other has not.</p>
+
+<p>If you want to do the trick and make a stalk blossom,
+select a stalk like <a href="#Fig_108">Fig. 108</a>, hold the stem closely between
+your open hands and roll it rapidly by first sliding your
+right hand forward while the left slides backward, then
+the left forward and the right hand back. This makes a
+whirligig of your stalk, and the flower will appear at the
+top as you see it in <a href="#Fig_109">Fig. 109</a>.</p>
+
+<p>Try making whirligigs of other kinds of stems; of
+grasses, twigs, and leaves.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p>
+
+
+
+
+<h2><i>PART V</i><br />
+<small>SEED-VESSELS</small></h2>
+
+
+
+<hr class="chap" />
+<h2><a id="CHAPTER_XVIII"></a>CHAPTER XVIII<br />
+<small>SEED-VESSEL PLAYTHINGS</small></h2>
+
+
+<p><span class="smcap">When</span> the flowers have gone then come the seed-vessels,
+equally as good for playthings but very different.</p>
+<div class="figcenter" style="width: 486px;">
+<a id="Fig_110"></a>
+<img src="images/i_106.png" width="486" height="251" alt="drawings" />
+<div class="caption">Fig.110 - Rose-haw apples for your doll's table.</div>
+</div>
+<p>Of course, you know the rose-haws, the little red and
+yellow and green apples that you find on the rose-bushes
+in the fall. They are the seed-vessels of the rose, and every
+rose which is allowed to remain on the bush until it fades
+and falls apart leaves a seed-vessel to take its place.</p>
+
+
+
+<div class="figcenter" style="width: 351px;">
+<a id="Fig_112"></a>
+<img src="images/i_107a.png" width="351" height="518" alt="drawings" />
+<div class="caption">Fig.112 - The bronze-green Rose-haw.</div>
+</div>
+
+
+
+<h3>The Doll's Fruit Piece</h3>
+
+<p>The rose-haws look very much like little apples. Rosy-cheeked
+Baldwins, yellow harvest-apples, and greenings,<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a><br /><a name="Page_98" id="Page_98">[98]</a></span>
+and they will make a fine fruit-piece for the centre of your
+doll's table. Pile them up on one of the toy dishes and
+put the smallest of green rose-leaves
+around the edge (<a href="#Fig_110">Fig. 110</a>).</p>
+
+
+<h3>Rose-Haw Necklace</h3>
+
+<p>But the rose-haws can be used
+for something besides toy apples;
+you can pretend they are jewels
+and string them for a real necklace.</p>
+<div class="figcenter" style="width: 626px;">
+<a id="Fig_111"></a>
+<img src="images/i_107b.png" width="626" height="453" alt="drawings" />
+<div class="caption">Fig.111: - This necklace is made of Rose-haws and Plantain Lily seed pods.</div>
+</div>
+
+<p>One necklace can be entirely
+of the haws and another like
+<a href="#Fig_111">Fig. 111</a>, which is made of bronze-green
+haws (<a href="#Fig_112">Fig. 112</a>), and the
+long, green seed-pods of the plantain
+(<a href="#Fig_113">Fig. 113</a>). The blossoms of
+the plantain are pale purple or lavender, and hang from
+the stalk as the seed-pods do. They are bell-shaped and
+about an inch long. The leaf is like a lily-leaf.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 179px;">
+<a id="Fig_113"></a>
+<img src="images/i_108a.png" width="179" height="600" alt="drawings" />
+<div class="caption">Fig.113 - The long, green
+seed pods of the Plantain
+Lily</div>
+</div></td><td align="left"><div class="figcenter" style="width: 70px;">
+<a id="Fig_114"></a>
+<img src="images/i_108b.png" width="70" height="276" alt="drawings" />
+<div class="caption">Fig.114 - The seed pod earring.</div>
+</div></td></tr>
+</table></div>
+
+<p>As you see, the haws and seed-pods are strung alternately;<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+first a haw, then a seed-pod, again a haw and so
+on. Thread your needle with strong thread and be sure
+the thread is long enough for the necklace. Measure it
+around your neck, letting it droop as much as you wish;
+then allow several inches at each end for tying. If you
+cannot find the large, brownish-green haws use yellow or
+red ones, but the green haws, when strung with the green
+seed-pods, are more beautiful.</p>
+
+<div class="figcenter" style="width: 499px;">
+<a id="Fig_115"></a>
+<img src="images/i_109a.png" width="499" height="249" alt="drawings" />
+<div class="caption">Fig.115 - This necklace is made of Barberries and Plantain Lily Stalk.</div>
+</div>
+
+<div class="figcenter" style="width: 619px;">
+<a id="Fig_116"></a>
+<img src="images/i_109b.png" width="619" height="166" alt="drawings" />
+<div class="caption">Fig.116 - A branch of the Barberry Bush.</div>
+</div>
+
+
+<h3>Seed-Pod Earrings</h3>
+
+<p>To match the necklace, make long, green earrings of
+the plantain seed-pods. <a href="#Fig_114">Fig. 114</a> shows a seed-pod earring.
+You see it is strung on a thread and the ends of the
+thread are then tied to form a loop. The loop must be
+just large enough to fit comfortably over your ear, and<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+when you wear the earring, the green jewel will hang down
+and dangle delightfully. The upper end of the seed-pod
+should almost touch your ear.</p>
+
+
+
+
+<h3>Necklace of Barberries and
+Plantain-Stalk</h3>
+
+<div class="figleft" style="width: 154px;">
+<a id="Fig_117"></a>
+<img src="images/i_110a.png" width="154" height="411" alt="drawings" />
+<div class="caption">Fig.117 - Make the earring
+in this way</div>
+</div>
+<p>Plantain is very useful in making
+jewelry because you can use the
+stalk as well as the seed-pods.</p>
+
+<p><a href="#Fig_115">Fig. 115</a> is a necklace made of
+the plantain-stalk cut in short pieces,
+all the same length, and the coral-red
+berries of the barberry-bush. The
+crooked branches of the barberry-bush
+grow very close together and
+are covered with thorns which stand
+out straight and sharp like pins.
+That is why it is so often used for
+hedges; nothing can get through it
+without being terribly scratched.
+From the branches the red berries hang down like coral
+drops. <a href="#Fig_116">Fig. 116</a> shows the way they grow.
+To make this necklace, string first a piece of the plantain-stalk,
+pushing
+the needle
+through lengthwise,
+then string
+a barberry and
+again a piece of
+the green stalk;
+after that a barberry. Keep on in this way until the
+necklace is as long as you want it.</p>
+
+
+<p>The berries are exceedingly pretty strung as you see
+them, hanging down in their natural way, and really, you
+cannot string them any other way.   The upper part of<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
+the berry is the only part through which you can pass your
+needle because of the large, hard seed which fills the space
+below.</p>
+
+
+<h3>Plantain-Stalk and Barberry Earrings</h3>
+
+<p>How to make the earrings to complete this set of jewelry
+is shown in <a href="#Fig_117">Fig. 117</a>. First you string a piece of the plantain-stalk,
+then a barberry; then you put your needle back
+through the stalk and tie
+the thread at the top.
+After that you make the
+loop to put over your
+ear as you did in making
+the seed-pod earring.</p>
+
+
+<h3>Birds of Maple-Tree
+Seed-Vessels</h3>
+
+<div class="figcenter" style="width: 393px;">
+<a id="Fig_118"></a>
+<img src="images/i_110b.png" width="393" height="111" alt="drawings" />
+<div class="caption">Fig.118 - Maple seed vessel used as bird wings</div>
+</div>
+
+<p>You see it is not only
+the seed-vessels of flowers
+that can be turned
+into playthings. The
+trees also furnish abundant
+material for toys.</p>
+
+<div class="figcenter" style="width: 351px;">
+<a id="Fig_119"></a>
+<img src="images/i_111.png" width="351" height="346" alt="drawings" />
+<div class="caption">Fig.119 - Maple seed vessel bird.</div>
+</div>
+
+<p>Gather the winged seed-vessels that fall from the maple-trees,
+<a href="#Fig_118">Fig. 118</a> is a maple seed-vessel, and let us sit on
+the dry, sun-warmed grass and turn them into odd little
+birds like <a href="#Fig_119">Fig. 119</a>. These birds are very near the size of
+our ruby-throated humming-birds, a trifle larger perhaps,
+but they do not in the least resemble the beautiful, jewel-colored,
+long-beaked wild bird, either in looks or habits.
+However, they are nice, tame, quiet little birds and never
+object to being handled, played with, and placed on any
+bush or low tree where you may happen to want to put
+them. You cannot say that of the humming-bird, can you?</p>
+
+<p>You will need two seed-vessels for each bird. Divide<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
+one through the centre, separating the two wings, and use
+one of these wings for the body of the bird, as you see in
+the diagram <a href="#Fig_120">Fig. 120</a>. Clip off the two corners of the
+square end where the arrows point to shape it like a
+bird's head, then carefully bend up the seed-vessel pair
+of wings, and fit the body down in between them, resting
+it on the centre part that holds the wings together. One
+or two stitches with needle and thread, passed through
+wings and body, will keep them close and secure.</p>
+
+<div class="figcenter" style="width: 505px;">
+<a id="Fig_120"></a>
+<img src="images/i_112.png" width="505" height="300" alt="drawings" />
+<div class="caption">Fig.120 - Bird's body.</div>
+</div>
+
+<p>When your bird is finished (<a href="#Fig_119">Fig. 119</a>), thread a needle
+with black thread, tie a good-sized knot in the end of the
+thread, and push the needle from underneath up through
+the back of the bird where it will come out between the
+wings. Draw the knot up close to the body and tie the
+other end of the thread to a low branch of a tree. When
+you stand off a little distance you cannot see the thread and
+your bird will seem to be hovering in mid-air. A gentle
+breeze will stir the bird and make it look as if flying. If
+there is no breeze, you can blow on it, or fan it until the
+little thing flutters about almost as if alive.</p>
+
+<p>Be careful to string the thread through the bird at a
+place that will make it evenly balanced.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p>
+
+
+
+
+<h2>CHAPTER XIX<br />
+<small>BUCKEYE HORSE AND BUCKEYE RIDER</small></h2>
+
+
+<p>All children love the clean, glossy, brown horse-chestnuts
+or buckeyes. There are so many buckeye-trees in
+Ohio that it is called the Buckeye State, and many villages
+of Long Island are full of them. They are used for
+shade-trees and often line the streets, where they send down
+showers of their nuts, pretty but not good to eat. Everywhere
+the children gather basketfuls and take them home
+to play with, and in other Beard books we have told of some
+things that can be made of buckeyes, but the buckeye
+horse and rider which you see here have just arrived.</p>
+
+<p>He is a very remarkable-looking horse with his funny
+round head and stiff legs and tail, though not more remarkable
+than the little man who rides him. Both are
+made simply of buckeyes and slender twigs. The head
+and body of the horse and of the man are buckeyes. The
+neck, ears, tail, and legs of the horse are smooth, straight
+twigs; the neck, arms, and legs of the man are also twigs.</p>
+
+
+<h3>The Buckeye Horse</h3>
+
+<p>When you make a horse let the light-colored part of the
+buckeye be his face. This part usually has a dark spot
+on it which looks like an eye. You will see it in <a href="#Fig_121">Fig. 121</a>.
+He will have only one eye unless you put in another with
+lead-pencil or pen and ink, but very frequently horses are
+blind in one eye, so it will not matter whether he has two
+eyes or one.</p>
+
+<p>Stick two short pieces of twigs in the head for ears and
+a longer twig for the neck. You will have to sharpen the<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
+ends of the twigs to a point so that they will go in easily.
+The neck twig will need sharpening at both ends.</p>
+
+<p>Before putting the head on the body of the horse, which
+should be as large a buckeye as you can find, push in four
+twigs for the legs. The front legs must slant forward,
+the hind legs slant backward. This will make him stand
+firmly. Then choose a slender twig for the tail, and split
+it several times at one end to show that it has hair on
+it, as in <a href="#Fig_121">Fig. 121</a>.
+Fasten the tail on
+and then push in
+the neck twig.
+This finishes the
+horse.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a id="Fig_121"></a>
+<img src="images/i_114.png" width="408" height="277" alt="drawings" />
+<div class="caption">Fig.121 - He is a remarkable looking Horse.</div>
+</div>
+
+
+<h3>The Buckeye Man</h3>
+
+<p>For the body of
+the man who sits
+astride the horse,
+choose a buckeye
+which is rather flat
+on one side. A
+round buckeye will roll off. Find a small buckeye for the
+man's head and give him a twig neck (<a href="#Fig_122">Fig. 122</a>). Do not
+make his twig arms stand out straight at his sides; push
+them in slantingly so that he will hold them out in front.
+Put his twig legs in far apart and slant them a little
+forward.</p>
+
+<div class="figcenter" style="width: 387px;">
+<a id="Fig_122"></a>
+<img src="images/i_115.png" width="387" height="392" alt="drawings" />
+<div class="caption">Fig.122 - The Buckeye Horse and Rider.</div>
+</div>
+
+<p>Now place the man on the horse, and if he does not fit,
+change the position of his legs until he sits securely. Your
+buckeye man and buckeye horse will then look like <a href="#Fig_122">Fig. 122</a>.</p>
+
+
+<h3>Pine-Cones. Pine-Cone Forest</h3>
+
+<p>Of course you like to gather the rich-brown pine-cones
+that lie scattered on the ground under the pine-trees; we<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+all do. Collect a number of those which have loosened
+and opened out their little leaf-like scales, then stand them
+up like trees in an open space on the ground. They look
+so much like toy trees we immediately want to play we
+are foresters, way off in the wild western lands, planting
+forest-trees for Uncle Sam.</p>
+
+
+<p>We can make our forest as large as we want it and
+plant trees every
+day if we like, or
+we can gather up
+our nice, clean, dry
+cones and take them
+into the house to use
+in some other way.
+They make nice
+playthings.</p>
+
+
+<h3>A Fruit-and-Vegetable
+Market</h3>
+
+<p>If you find small,
+short cones, not
+fully opened out,
+notice how much
+they look like little
+pineapples; you
+must save these for our fruit-and-vegetable market, where
+we sell fat, short acorns as hazelnuts, the long acorns as
+pecans, and the buckeyes, or horse-chestnuts, all shiny,
+dark, and smooth, as eggplants, and rose-haws as apples.</p>
+
+<p>There are other things in our store, too. String-beans,
+which are really locust-pods, and heads of white cauliflower
+made of bunches of the wild carrot or Queen Anne's
+Lace blossoms, tied together so that the pretty white flowers
+of the wide-spreading clusters lie evenly with edges touching.
+A number of these clusters are used for one head<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+of cauliflower, and around each head are arranged green
+leaves with their tops cut off just as you see them around
+the real vegetable.</p>
+
+
+<h3>Cone Card-Rack</h3>
+
+<p>Save one of your fine, large-sized, wide-open cones and
+make a card-rack of it like the one shown in the photograph
+<a href="#Fig_123">Fig. 123</a>.</p>
+
+<div class="figcenter" style="width: 431px;"><a id="Fig_123"></a>
+<img src="images/i_116.jpg" width="431" height="492" alt="photograph" />
+<div class="caption">Fig.123 - Card rack and pin box combined.</div>
+</div>
+
+
+<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+<p>You must have a small, round or square wooden box
+for the base and glue the flat bottom of the cone on the
+lid. The box can be filled with small brass clips for holding
+sheets of paper together, or with pins, and it will then
+make a fine birthday or Christmas present for some one.
+The cone card-rack is very useful on a writing-desk.</p>
+
+<p>If you make a number of these cone-racks they will be
+something new for your next fair. Remember to stick
+some pretty cards in each rack.</p>
+
+
+<h3>Christmas-Tree Ornaments</h3>
+
+<p>Perhaps you would like to keep some of your cones for
+Christmas-tree ornaments; they make very pretty ones.</p>
+
+<p>Gild several until they shine like gold, then silver others,
+and they will look as if covered with white frost. If you
+have collected any of the prickly sweet-gum balls that
+look as if they were carved in little starry patterns, gild
+and silver these, too, and let them dangle from the tree
+on long gilt or silver cords.</p>
+
+<p>These natural, outdoor ornaments are not easily broken,
+and may be kept from year to year for your Christmas
+tree.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></p>
+
+
+
+
+<h2>CHAPTER XX<br />
+<small>BURDOCK-BURRS</small></h2>
+
+
+<h3>The Little House of Burrs</h3>
+
+<p><span class="smcap">Now</span> let us build a little woodsy house of burrs (<a href="#Fig_124">Fig. 124</a>)
+and put it in a little garden. Gather two heaping handfuls
+of large-sized burdock-burrs, small ones are not strong
+enough, and begin building. These burrs grow on a bush;
+they are about the size of a marble, are almost round, are
+prickly, and are pinkish at the top.</p>
+
+<p>Make the roof first (<a href="#Fig_125">Fig. 125</a>). Stick ten or twelve burrs
+together in a row with pink heads all pointing in the same
+direction. Place this row on a flat, smooth surface, a
+board, flat stone, table, or, perhaps, the hard earth, and
+attach another row of burrs along the side edge of the first
+row. Continue to add more burrs until you have six or
+seven rows fastened into one flat piece.</p>
+
+<p>Be sure that this piece does not bulge out or sink down
+in places, for the roof must be perfectly flat. Make the
+two side walls (<a href="#Fig_126">Figs. 126</a> and <a href="#Fig_127">127</a>) and the back wall of
+the house as you made the roof; the back wall must be
+the length of the roof and the height of the side walls (<a href="#Fig_128">Fig.
+128</a>). The side walls must each fit on the ends of the roof
+and be high enough to look well.</p>
+
+<p>The front wall of the house must have a doorway and
+a window (<a href="#Fig_129">Fig. 129</a>). But first make it solid, exactly like
+the back wall and exactly the same size, then lay it down
+on the flat surface that you are using for a table, and open
+a hole for the doorway by taking out five or six burrs,
+counting from the bottom up, and two or three burrs,
+counting from side to side. That will make about ten or<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+twelve burrs to be removed. Take out the burrs for the
+window and make the opening three or four burrs high and
+two burrs wide. (See <a href="#Fig_129">Fig. 129</a>).</p>
+
+<p>Use four burrs for each side of the hollow square chimney
+(<a href="#Fig_130">Fig. 130</a>), which is open at top and bottom.</p>
+
+<div class="figcenter" style="width: 589px;">
+<a id="Fig_124"></a>
+<img src="images/i_119.png" width="589" height="517" alt="drawings" />
+<div class="caption">Fig.124 - The little woodsey house of Burdock-burrs with
+ornamental trees of grass</div>
+</div>
+
+<p>To put the different parts of the house together lay the
+roof down flat and stick the edge of the back wall on top
+of the outer row of burrs which forms one of the long edges
+of the roof. Fasten one side wall on one short edge of the
+roof in the same way and press the edge of the back wall
+and the edge of the side wall together, making the corner
+firm and square. Next attach the second side wall, and
+lastly fit in the front wall.</p>
+
+<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 364px;">
+<a id="Fig_125"></a>
+<img src="images/i_120a.png" width="364" height="128" alt="drawings" />
+<div class="caption">Fig.125 - Roof of house of Burs.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 121px;">
+<a id="Fig_130"></a>
+<img src="images/i_120d.png" width="121" height="105" alt="drawings" />
+<div class="caption">Fig.130 - Chimney of
+house of Burs.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 103px;">
+<a id="Fig_126"></a>
+<img src="images/i_120b.png" width="103" height="321" alt="drawings" />
+<div class="caption">Fig.126 - Side wall of
+house of Burs.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 342px;">
+<a id="Fig_128"></a>
+<img src="images/i_120e.png" width="342" height="270" alt="drawings" />
+<div class="caption">Fig.128 - Back wall of house of Burs.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 87px;">
+<a id="Fig_127"></a>
+<img src="images/i_120c.png" width="87" height="312" alt="drawings" />
+<div class="caption">Fig.127 - Side wall of
+house of Burs.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 353px;">
+<a id="Fig_129"></a>
+<img src="images/i_120f.png" width="353" height="273" alt="drawings" />
+<div class="caption">Fig.129 - Front wall of house of Burs.</div>
+</div></td></tr>
+</table></div>
+
+
+
+<p><span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p>
+
+<p>Now lift the house carefully, place it right side up on the
+ground, and adjust the chimney to the roof.   As you work
+keep the picture of the
+house in front of you so
+that you may see at a
+glance whether you are
+building it correctly or
+not. If you cannot find
+large burrs, let the sides
+and the roof of the house
+be two layers of burrs
+stuck firmly together.
+Make a path leading up
+to the door of very small
+shells, sand, or fresh earth.</p>
+
+<h3>Pond, with Water-Lilies,
+in the Garden</h3>
+
+<p>Would you like to have
+a little pond near the
+house, with white water-lilies floating on its surface and wee
+cattails growing here and there in and near the water's edge?</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figleft" style="width: 271px;">
+<a id="Fig_131"></a>
+<img src="images/i_121a.png" width="271" height="600" alt="drawings" />
+<div class="caption">Fig.131 - Cat-tail for little
+pond made of Timothy-Grass.</div>
+</div></td><td align="left"><div class="figright" style="width: 185px;">
+<a id="Fig_132"></a>
+<img src="images/i_121b.png" width="185" height="286" alt="drawings" />
+<div class="caption">Fig.132 - Cat-tail held upright
+by Burdock-burrs.</div>
+</div></td></tr>
+</table></div>
+
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>
+
+<p>You can easily make such a pond. Sink a shallow pan
+in the ground, a hole must be dug to fit it, you know, and
+fill the pan with water. Cover the edges with moss or earth
+and plant short-stemmed heads of timothy-grass (<a href="#Fig_131">Fig. 131</a>)
+and slender, stiff grass-blades in scattered groups near
+the water. It is timothy-grass that looks so much like
+cattails, and also the grass called foxtail.</p>
+
+<div class="figcenter" style="width: 413px;">
+<a id="Fig_133"></a>
+<img src="images/i_122a.png" width="413" height="336" alt="drawings" />
+<div class="caption">Fig.133 - The play Water-Lily made
+of a White Clover floating
+on water.</div>
+</div>
+
+
+<p>Some of the cattails can be made to look as if they were
+growing in the pond if you make a flat-bottomed ball of
+burrs around the ends of the stems to hold them upright
+(<a href="#Fig_132">Fig. 132</a>), and put some small stones on top of the ball
+to weight it down in the water.</p>
+<div class="figcenter" style="width: 346px;">
+<a id="Fig_134"></a>
+<img src="images/i_122b.png" width="346" height="339" alt="drawings" />
+<div class="caption">Fig.134 - Cut leaves for the water lilies from a Maple leaf
+as shown here.</div>
+</div>
+
+<p>For the little water-lilies select perfect white clover-blossoms
+(<a href="#Fig_133">Fig. 133</a>), and for the leaves, or lily-pads, use<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+any rather small, smooth, round leaves. The marsh-marigold
+leaf will answer, or you can cut out water-lily leaves
+from oak or maple. Make them the shape of the pattern
+<a href="#Fig_134">Fig. 134</a>.   The pattern here is laid on a maple-leaf ready
+to cut out a leaf for the water-lily. Make a number of
+lilies and float them and the leaves on top of the water.</p>
+
+
+<h3>A Pea-Pod Canoe</h3>
+
+<p>You might add a pea-pod canoe (<a href="#Fig_135">Fig. 135</a>), with a tiny
+American flag standing proudly erect at the bow.</p>
+<div class="figcenter" style="width: 541px;">
+<a id="Fig_135"></a>
+<img src="images/i_123a.png" width="541" height="152" alt="drawings" />
+<div class="caption">Fig.135 - Pea-pod Canoe.</div>
+</div>
+
+
+<p>When you make the canoe, open the pod where you see
+the dotted line in <a href="#Fig_136">Fig. 136</a>. To keep the pod open make
+little braces of broom-straws, and put them in crosswise
+with one end against each side of the canoe. There are
+four braces in the canoe (<a href="#Fig_135">Fig. 135</a>), but you may not need
+that many.</p>
+<div class="figcenter" style="width: 533px;">
+<a id="Fig_136"></a>
+<img src="images/i_123b.png" width="533" height="135" alt="drawings" />
+<div class="caption">Fig.136 - Cut open the pea-pod along dotted line.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>
+
+
+<h3>The Trees</h3>
+
+<p>In the picture given here the tree on the left of the little
+house of burrs is just two stalks of the common grass called
+meadow muhlenbergia, which are held up as if really growing,
+by several green burrs left from building the house.
+The burrs are squeezed up tight to the grass-stems and
+then pressed down tight to the ground. You can find the
+grass for these trees almost any place; it is very social and
+loves to make its home with other grasses.</p>
+
+<p>The graceful, drooping tree on the right of the house
+is made of the grass called brome-grass. Keep your eyes
+open and you will find it some time while playing out-of-doors.
+As soon as you see it, run to the brome-grass and
+whisper its name. You will be glad to discover it and<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+will remember its name afterward whenever you see the
+grass.</p>
+
+<div class="figcenter" style="width: 460px;">
+<a id="Fig_137"></a>
+<img src="images/i_124.png" width="460" height="454" alt="drawings" />
+<div class="caption">Fig.137 - Burdock-burr target.</div>
+</div>
+
+<p>Look at the picture again and notice the odd plants near
+the brome-grass tree. Their name is Bermuda-grass. See
+how they spread out their long, slender fingers. They look
+very much like a grass named the small crab-grass, and
+another the large crab-grass,
+and like another still called
+the wire-grass; but if you put
+all these side by side and examine
+them closely you will
+see how they differ.</p>
+
+
+<h3>Burdock-Burr Game</h3>
+<div class="figleft" style="width: 272px;">
+<a id="Fig_138"></a>
+<img src="images/i_125.png" width="272" height="489" alt="drawings" />
+<div class="caption">Fig.138 - Hold the burr this way
+when you throw it at the
+target.</div>
+</div>
+<p>Besides making things of
+burdock-burrs, you can play
+a game with them. The game
+is something like archery,
+only, instead of shooting arrows
+at a target, you throw
+burrs at it.</p>
+
+<p>Get a good-sized piece of
+woollen cloth or some kind
+of material with a rough surface
+to which the burrs will
+cling. Tack this up on the
+fence or on a board; then,
+with a large piece of chalk
+that will make a wide mark,
+draw four circles, one inside the other like <a href="#Fig_137">Fig. 137</a>. It
+doesn't matter if your circles are not perfect. Do the
+best you can and finish your target. Number the spaces
+between the circles 1, 2, 3, 10. The outer space is 1, the
+next, 2, next to the centre 3, and the centre 10. The centre,
+being the bull's-eye, counts most.</p>
+
+
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p>
+
+<p>Have ready a lot of burrs for each player; mark a
+boundary-line on the ground, beyond which no one must
+step in throwing the burrs, and, standing at the boundary-line,
+let each player in turn throw three burrs at the target.
+The burrs that stick to the target make the score if they
+are in the numbered spaces. <a href="#Fig_138">Fig. 138</a> shows how to hold
+the burr. Suppose one burr sticks to the space numbered
+2, and the two others are in number 1, the player would
+then have two ones and one two which, added together,
+make four; her score then would be four.</p>
+
+<p>Always pull the burrs of one player off the target before
+the next player takes her turn, and there will be no question
+as to who should claim them. After each player has
+had three turns, let every one add up her scores. The
+player who has the highest wins the game. If divided
+into sides, the players on the side having the highest score
+are the winners and they should be given a hearty cheer
+by the losing side. Even very little girls and boys should
+learn to be good losers and to help celebrate the victory
+of others.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXI<br />
+<small>THINGS TO MAKE OF ENGLISH-WALNUT SHELLS</small></h2>
+
+
+<p><span class="smcap">Nuts</span> are the seed-vessels of the nut-trees; did you ever
+think of that? They do not grow only that we may have
+something delicious to eat. They ripen and fall on the
+ground, where some of them take root and grow up into
+trees themselves. If you plant a hickory-nut a little
+hickory-tree should come up, and it will if the conditions
+are all right. If you plant a walnut it will be a walnut-tree
+that will appear; so you see a nutshell is the seed-vessel
+of the nut-tree.</p>
+
+<p>English walnuts do not grow wild in this country, but
+are cultivated here and you all know what the English
+walnut is like. Our American walnut is very hard to crack;
+its shell is rough and deeply grooved, but the English-walnut
+shell is smooth and without sharp edges, though its
+surface is uneven. There is a shallow groove running round
+the shell, like a seam, and the shell cracks open along this
+seam evenly and easily.</p>
+
+
+<h3>To Open an English Walnut</h3>
+
+<p>The easiest way to open an English walnut so that
+the shell will be in two perfect halves is to push the tip
+of a penknife-blade into the groove at the large end of
+the nut, and then slowly and carefully turn the knife to
+pry the halves apart. When opened this way the shell
+is never broken (<a href="#Fig_139">Fig. 139</a>).</p>
+
+<div class="figcenter" style="width: 427px;">
+<a id="Fig_139"></a>
+<img src="images/i_128.png" width="427" height="409" alt="drawings" />
+<div class="caption">Fig.139 - This is the way to open the shell.</div>
+</div>
+
+<p>After you have opened several nuts and taken out the<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+kernels, use the knife to cut away the thin, papery divisions
+inside the shells.   You will then be ready to make</p>
+
+
+<h3>The Professor</h3>
+
+<div class='unindent'>and one half-shell is to be his head. Draw a face on the
+shell like the face of the professor (<a href="#Fig_140">Fig. 140</a>). The narrow
+part of the shell is his chin, the wide part, the top of his
+head. He has an intellectual forehead, high and broad,
+with furrows of thought showing plainly on it.</div>
+
+<div class="figcenter" style="width: 418px;">
+<a id="Fig_140"></a>
+<img src="images/i_129a.png" width="418" height="524" alt="drawings" />
+<div class="caption">Fig.140 - The English Walnutshell Professor.</div>
+</div>
+
+
+<h3>The Professor's Robe</h3>
+
+<p>As a rule professors wear black robes when they wear
+any, but our nutshell professor wears white because it is
+more becoming to his dark complexion, and because it
+is more effective and draws attention to him.</p>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
+
+<div class="figcenter" style="width: 431px;">
+<a id="Fig_141"></a>
+<img src="images/i_129b.png" width="431" height="533" alt="drawings" />
+<div class="caption">Fig.141 - The Professor's Robe.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p>
+
+<p>To make the robe, fold an oblong piece of white paper
+into a square, which makes the square double. The edges
+should measure about four inches. If you have a large
+white envelope cut off one end to make it square and use
+that. Fold the square diagonally across from point to
+point, as is shown by the dotted
+line in <a href="#Fig_141">Fig. 141</a>. Now turn
+back first one side point, then
+the other side point, and make
+them meet over the first fold to
+form a fanlike pleat, wider at
+the bottom than at the top.
+The dotted lines on either side of the middle one in <a href="#Fig_141">Fig.
+141</a> show where the folds should come. The middle fold
+is bent out, or toward you; the side folds are bent in, or
+away from you. The side points now extending toward
+you are the wide, flowing sleeves of the professor's gown.</p>
+<div class="figcenter" style="width: 517px;">
+<a id="Fig_142"></a>
+<img src="images/i_130a.png" width="517" height="214" alt="drawings" />
+<div class="caption">Fig.142 - The Nutshell Mouse.</div>
+</div>
+<div class="figright" style="width: 92px;">
+<a id="Fig_143"></a>
+<img src="images/i_130b.png" width="92" height="126" alt="drawings" />
+<div class="caption">Fig.143 - Ear for the mouse.</div>
+</div>
+<p>Take the robe in your hand at the bottom point, holding
+it from the back, and on the top point hang the professor's
+nutshell head (<a href="#Fig_140">Fig. 140</a>).</p>
+
+<p>While the head balances quite securely on the point,
+you can make it wag from side to side, make it shake and
+tremble when the professor grows very earnest in his discourse,
+and make the chin thrust itself forward when he<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
+is emphatic. You do all this merely by shaking and tipping
+the paper robe. He is an amusing little lecturer, this
+English-walnut shell professor, and seems very much alive.</p>
+
+
+<h3>English-Walnut Shell Mouse</h3>
+
+<p>It is a far cry from a lecturer to a little mouse, yet one
+English-walnut shell will make both, half a shell for each.</p>
+<div class="figleft" style="width: 338px;">
+<a id="Fig_144"></a>
+<img src="images/i_131a.png" width="338" height="240" alt="drawings" />
+<div class="caption">Fig.144 - The Nutshell Thimble Box.</div>
+</div><div class="figright" style="width: 194px;">
+<a id="Fig_145"></a>
+<img src="images/i_131b.png" width="194" height="507" alt="drawings" />
+<div class="caption">Fig.145 - Tie a ribbon
+around the nut.</div>
+</div>
+<p>This is a nice, cosey-looking little
+mouse who crouches down comfortably
+and does not show his
+legs (<a href="#Fig_142">Fig. 142</a>).</p>
+
+<p>The point of the shell is the
+nose of the mouse; above it make
+two round, black eyes and then
+paste on two brown-paper ears.
+Cut the ears like <a href="#Fig_143">Fig. 143</a>, bend
+back the little stems at the bottom,
+put a touch of paste on each stem and stick the
+ears to the mouse's head in the position shown in <a href="#Fig_142">Fig.
+142</a>. Cut a piece of string about three inches long for
+the tail and paste one end of it on the inside edge of the
+shell at the large end.</p>
+
+<p><span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span></p>
+
+<p>If you make three of these mice and glue them to a piece
+of cardboard they will look very cunning. Or you can
+glue one mouse to a small card and use it for the top of a
+Christmas pen-wiper.</p>
+
+
+<h3>English-Walnut Shell Thimble-Box</h3>
+
+<p>A pretty way to give a small present at Christmas or
+on a birthday is to put it into an English-walnut shell box.
+A thimble fits in the box beautifully (see <a href="#Fig_144">Fig. 144</a>).</p>
+
+<p>Open the shell of an English walnut in the way described
+(<a href="#Fig_139">Fig. 139</a>). Cut away the inside partitions and, with jeweller's
+cotton, make a soft little bed in one-half of the shell.
+Press down the cotton in the middle to make a hollow, and
+in this hollow fit the new thimble. Put a layer of cotton
+over the top of the thimble and tuck in the edges. The
+way to close the box is to cover the edges of the other half-shell
+with glue and then fit it on the half that holds the
+thimble, just as it was before you opened it.</p>
+
+<p>Now you have a whole nut again, but the meat inside
+is very different from that which you took out. You can
+gild the nutshell after the glue has hardened or leave it
+as it is. Its own brown color is pretty enough. In either
+case you must have a piece of narrow ribbon to tie around
+the box and form a loop by which to hang it (<a href="#Fig_145">Fig. 145</a>).</p>
+
+<p>Pass the ribbon under the small end of the nutshell, then
+bring it up and tie it securely at the top of the large end.
+The ribbon should not be over the seam but should pass
+across the middle of each half-shell. It will then hold the
+two parts together and keep the glue from loosening. After
+the ribbon is tied at the top of the nut, make a long loop
+above it and tie again in a bow-knot.</p>
+
+<hr class="chap" />
+
+
+
+<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+
+
+
+<h2><i>PART VI</i><br />
+<small>VEGETABLES</small></h2>
+
+<hr class="chap" />
+
+
+<h2>CHAPTER XXII<br />
+<small>THINGS YOU CAN MAKE OF LIMA BEANS</small></h2>
+
+
+<p><span class="smcap">Vegetables</span> are good to eat, certainly, and you know
+what they are like when cooked and on the dinner-table;
+but many are also good to play with. You can make fine
+toys of them, toys that are entirely different from any you
+have ever seen. Here is the</p>
+
+
+<h3>Swimming Fish Made of a Lima-Bean Pod</h3>
+
+<p>A fish that really swims, not on top of the water but in
+it, is the little fish (<a href="#Fig_146">Fig. 146</a>). You won't find that in a<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+shop or anywhere else, for I have only just discovered how
+to make it myself.</p>
+<div class="figcenter" style="width: 599px;">
+<a id="Fig_146"></a>
+<img src="images/i_133a.png" width="599" height="154" alt="drawings" />
+<div class="caption">Fig.146 - The Lima Bean Fish will swim.</div>
+</div>
+
+<div class="figcenter" style="width: 472px;">
+<a id="Fig_147"></a>
+<img src="images/i_133b.png" width="472" height="135" alt="drawings" />
+<div class="caption">Fig.147 - The pod for the fish must be open at the bottom.</div>
+</div>
+
+<p>A paper tail and two paper fins must be added, but that
+won't take five minutes when you know how to do it. The
+tail and fins make it wonderfully
+lifelike, for when the fish swims
+around in a big basin or dish-pan,
+the tail sways this way and that,
+the fins move back and forth exactly
+as they do on a living fish
+in a real lake or in the great ocean.</p>
+
+<div class="figcenter" style="width: 219px;">
+<a id="Fig_148"></a>
+<img src="images/i_134a.png" width="219" height="145" alt="drawings" />
+<div class="caption">Fig.148 - The fin of Bean-pod
+Fish</div>
+</div>
+
+<div class="figcenter" style="width: 423px;">
+<a id="Fig_149"></a>
+<img src="images/i_134b.png" width="423" height="258" alt="drawings" />
+<div class="caption">Fig.149 - Tail of Bean-pod Fish.</div>
+</div>
+<div class="figleft" style="width: 461px;">
+<a id="Fig_150"></a>
+<img src="images/i_135.png" width="461" height="600" alt="drawings" />
+<div class="caption">Fig.150 - The Lima Bean Man will stand.</div>
+</div>
+<p>Choose a good, firm bean-pod,
+one as flat and even as you can
+find, open it carefully along the straight edge and take
+out the beans. Save the beans, for you can make something
+of them too. Do not let the pod close again after
+the beans are out.   It must be open about half an inch,
+or maybe a little more, at the middle. You can widen
+the opening by pushing your finger in.   Be careful not to
+split it along the upper edge.   It should be like <a href="#Fig_147">Fig. 147</a>,
+which shows the opening at the bottom.</p>
+
+<p>With the small blade of a pocket-knife make a slit on<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
+each side of the pod at the large end where it is marked
+C in <a href="#Fig_147">Fig. 147</a>.</p>
+
+
+
+<p>These slits are to hold the fins. Directly on the curved
+edge of the small end of the pod, at the place marked D,
+cut another short slit. Don't let it reach the lower edge.
+This is to hold the tail.</p>
+
+<p>From writing-paper, not the very heavy kind, cut two
+fins like <a href="#Fig_148">Fig. 148</a>. Double the paper and cut out both at<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
+once so that they may be exactly alike. From the same
+kind of paper cut the tail like <a href="#Fig_149">Fig. 149</a>. All you have to
+do now is to push the sharp point of one paper fin into the
+slit on one side of the pod, the other fin into the slit on the
+other side of the pod, and the sharp point of the tail into
+the slit in the edge of the pod, and there is your fish. You
+see the fins and tail are not pasted on and they really seem
+a living part of the fish. Notice that the top of fins and
+tail are different from the bottom, and be sure to have the
+top edge up when you put them in the slits.</p>
+
+<div class="figcenter" style="width: 515px;">
+<a id="Fig_151"></a>
+<img src="images/i_136.png" width="515" height="441" alt="drawings" />
+<div class="caption">Fig.151 - Parts of Lima Bean Man</div>
+</div>
+
+<p>The way to make the lima-bean fish swim is to place
+it, open edge down, in a large basin of water; then with
+a stick or spoon begin at the centre to stir the water gently
+and gradually round and round until it all moves faster
+and faster, and keeps on moving after you stop stirring.
+Then your little green fish will swim.   Round and round<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
+the basin he will go, his tail waving and his fins moving
+so naturally you will shout with delight.</p>
+
+<p>If at first the fish insists upon turning over on his side
+and floating about like a dead fish, don't give him up. He
+is only playing 'possum. He <i>can</i> swim and he <i>will</i> if you
+are patient and keep setting him upright until he gains his
+balance and becomes used to the water. Remember to put
+the fish <i>in</i> the water, not on top.</p>
+
+<p>Don't let the beans, that you have taken out of the pod
+when making the fish, get dry and hard. They can
+be turned into a</p>
+
+
+<h3>Lima-Bean Man</h3>
+
+<p>Three beans and several strong, straight broom-straws
+you will need for making this comical little fellow, who,
+upright and independent, stands squarely on his own feet.
+That is a good thing for any one to do, let alone a little
+bean man (<a href="#Fig_150">Fig. 150</a>).</p>
+
+<p>The beans should be of different sizes. A large one for
+the body, next in size for the feet and a smaller one for
+the head. Some beans have a little point that stands out
+on one edge and looks like a tiny nose, while below it there
+is a round hollow that looks like a little open mouth. That
+is the kind of bean to choose for the little man's head.</p>
+
+<p>The broom-straw for Mr. Bean's arms should be quite
+four inches long, if he is to be four inches tall. Cut one
+end of this broom-straw slanting to a point like E in <a href="#Fig_151">Fig.
+151</a>, and push the point through the upper part of the body
+bean and out far enough on the other side to make the
+arms of equal length; then bend one arm up at the middle
+where the elbow should be, and the other arm down as
+you see them in the drawing of the man (<a href="#Fig_150">Fig. 150</a>).</p>
+
+<p>The broom-straws for the legs must be two and a half
+inches long and cut pointed at both ends, for one end of
+the leg is pushed into the lower part of the body bean and<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
+the other end into the half bean which is the foot. Split
+the foot bean in half to make two feet and push the leg
+straw into the rounded side. The flat side is the bottom
+of the foot.</p>
+
+<div class="figcenter" style="width: 515px;">
+<a id="Fig_152"></a>
+<img src="images/i_138.png" width="515" height="301" alt="drawings" />
+<div class="caption">Fig.152 - The beans are not taken out of the pod for
+the Lima Bean Pig.</div>
+</div>
+
+<p>A short piece of broom-straw, hardly an inch long, is
+the neck. Cut this straw pointed at each end, push one
+end into the top of the body bean and the other end into
+the lower part of the head bean. Use one-half of the outer
+skin, that comes off the foot bean when you split it, for
+a hat. Being curved like a rose-petal, it fits the head very
+nicely, but a drop of paste on the little man's head will
+make it more secure.</p>
+
+<p>Your lima-bean man may be a farmer and own</p>
+
+
+<h3>A Lima-Bean Pig</h3>
+
+<div class='unindent'>&mdash;a funny pig with fat sides and a turned-up snout (<a href="#Fig_152">Fig.
+152</a>).</div>
+
+<p>Look over all your bean-pods that still have beans in
+them, and select the one shaped most like <a href="#Fig_153">Fig. 153</a>. Do
+not take the beans out of the pod; they make the pig fat
+and solid.   The stem end forms the snout and the head.</p>
+
+<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p>
+
+<div class="figcenter" style="width: 502px;">
+<a id="Fig_153"></a>
+<img src="images/i_139a.png" width="502" height="149" alt="drawings" />
+<div class="caption">Fig.153 - Choose a bean-pod shaped like this for your pig.</div>
+</div>
+
+<p>Cut four broom-straws about one and a half inches long
+for the legs. Sharpen each of these straws at one end and
+push the pointed end into the lower part of the body, two on
+each side, in the places shown by small rings on <a href="#Fig_153">Fig. 153</a>.</p>
+
+<p>From part of another
+bean-pod cut two ears
+like F, <a href="#Fig_154">Fig. 154</a>, and pin
+them on the pig's head
+with a short straw as
+they are shown in the
+picture of the pig. Run
+the straw through one
+ear near the bottom,
+through the head and
+then through the other
+ear on the other side of
+the head.</p>
+
+<div class="figcenter" style="width: 353px;">
+<a id="Fig_154"></a>
+<img src="images/i_139b.png" width="353" height="312" alt="drawings" />
+<div class="caption">Fig.154 - Make these of a bean-pod
+or of paper.</div>
+</div>
+
+<p>Pull a narrow strip
+from the edge of a bean-pod
+for the tail (G, <a href="#Fig_154">Fig. 154</a>). Curl it by drawing it lightly
+over the blade of the scissors. Punch a small hole with the
+point of the scissors in the upper edge of the pig's back
+at the place marked by the arrow on <a href="#Fig_153">Fig. 153</a>, and push
+one end of the tail into the hole. Make small round dots
+with a pencil, or pen and ink, for the eyes. The ears and
+tail may be made of paper if you find that easier to use.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXIII<br />
+<small>SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF
+A RADISH</small></h2>
+
+
+<p><span class="smcap">If</span> you have ever seen an alligator, a long-tailed sweet
+potato will make you think of one immediately.</p>
+
+<p><a href="#Fig_155">Fig. 155</a> is a baby alligator with a sweet-potato body
+and paper head and legs. It is just the size of the little
+alligators they sell for pets down in Florida. That is, the
+alligator from which the drawing was made is the size of
+the live ones; the drawing is, of course, smaller.</p>
+
+<div class="figcenter" style="width: 604px;">
+<a id="Fig_155"></a>
+<img src="images/i_140a.png" width="604" height="148" alt="drawings" />
+<div class="caption">Fig.155 - The Baby Alligator made of a Sweet Potato.</div>
+</div>
+
+<div class="figcenter" style="width: 540px;">
+<a id="Fig_156"></a>
+<img src="images/i_140b.png" width="540" height="130" alt="drawings" />
+<div class="caption">Fig.156 - Find a potato shaped like this for the alligator..</div>
+</div>
+
+<p>Find a potato shaped like <a href="#Fig_156">Fig. 156</a>. Cut a slit in the
+large end and two slits on each side where you see them
+in <a href="#Fig_156">Fig. 156</a>. When you make the side slits push your knife
+in with the blade slanting upward and backward for the<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
+front legs, and slanting downward and backward for the
+back legs. This will allow the paper legs to slide in without
+bending.</p>
+
+<div class="figcenter" style="width: 478px;"><a id="Fig_157"></a>
+<img src="images/i_141a.png" width="478" height="307" alt="drawing" />
+<div class="caption">Fig.157 - Make the alligator's head like this.</div>
+</div>
+
+<p>Use brown paper, as near the color of the potato as you
+can get, for the alligator's head and legs. Make the head
+like <a href="#Fig_157">Fig. 157</a>, cutting along the heavy lines and bending
+along the dotted ones. Bend down the sides of the head<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
+and of the neck, then bend the head first up, then down,
+to lift it above the neck (<a href="#Fig_155">Fig. 155</a>.)</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 329px;">
+<a id="Fig_158"></a>
+<img src="images/i_141b.png" width="329" height="228" alt="drawings" />
+<div class="caption">Fig.158 - Cut two front legs by this
+pattern.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_159"></a>
+<img src="images/i_141c.png" width="263" height="292" alt="drawings" />
+<div class="caption">Fig.159 - Make the two hind legs by
+this pattern.</div>
+</div></td></tr>
+</table></div>
+
+<p>The eyes of a baby alligator are large and prominent.
+Draw them on the head as you see them in <a href="#Fig_157">Fig. 157</a>. That
+is as near as we can come to the real eyes.</p>
+
+<div class="figcenter" style="width: 433px;">
+<a id="Fig_160"></a>
+<img src="images/i_142.png" width="433" height="600" alt="drawings" />
+<div class="caption">Fig.160 - The Radish Imp is a decorative
+little fellow.</div>
+</div>
+
+<p>Cut out of the same paper used for the head two fore
+legs like <a href="#Fig_158">Fig. 158</a>, and two hind legs like <a href="#Fig_159">Fig. 159</a>. Slide
+the fore legs into the slits nearest the large end of the potato<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+and the hind legs into the slits near the tail. Push the
+point of the paper neck into the slit at the large end of the
+potato. That finishes the baby alligator, which is wonderfully
+true to life.</p>
+
+
+<h3>What to Make of a Radish</h3>
+
+<p>A crisp, fresh, clean radish is very tempting, but don't
+eat it this time; turn it into something
+else by the magic your ten
+fingers can work.</p>
+
+
+<h3>The Radish Imp</h3>
+
+<p><a href="#Fig_160">Fig. 160</a> shows a round white
+radish which, with its long, slender
+root and leaves still on it, has been
+changed into a queer little radish
+imp by using strong broom-straws
+to stiffen his leaf arms, his leaf legs,
+and his leaf body. His eyes are bits
+of broom-straw, his mouth is a slit
+with a broom-straw tongue, and his
+absurd, stand-out ears are also pieces
+of stout broom-straw.</p>
+
+<p>The root growing out of the top
+of his head is like a Chinaman's
+queue standing on end with little,
+crinkly separate hairs at its base.</p>
+
+<div class="figcenter" style="width: 205px;">
+<a id="Fig_161"></a>
+<img src="images/i_143.png" width="205" height="486" alt="drawings" />
+<div class="caption">Fig.161 - Cut two broom-straws
+for the arms and
+two for the legs.</div>
+</div>
+
+<p>When you make your radish imp
+cut two broom-straws about four
+inches long for his arms; point these at the ends. Cut
+two more strong broom-straws a little longer than the
+distance between the radish and the tips of the two longest
+leaves. Point these at both ends (<a href="#Fig_161">Fig. 161</a>). Now
+choose two leaves of even length, nearest the radish, for
+the arms. Don't take them off but push a broom-straw<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
+through each leaf, first in, then out, then push the other
+end of the straw into the thick part of the stems just under
+the radish. Look at <a href="#Fig_160">Fig. 160</a> and see how this is done.</p>
+
+<div class="figcenter" style="width: 434px;">
+<a id="Fig_162"></a>
+<img src="images/i_144a.png" width="434" height="220" alt="drawings" />
+<div class="caption">Fig.162 - White Mouse.</div>
+</div>
+
+<div class="figcenter" style="width: 532px;">
+<a id="Fig_163"></a>
+<img src="images/i_144b.png" width="532" height="284" alt="drawings" />
+<div class="caption">Fig.163 - These belong to the mouse.</div>
+</div>
+
+<p>The leaves with the longest stems must be used for the
+legs.   If there are more than two long-stemmed leaves,
+cut off all except those wanted for the legs. Bend the long,
+stout broom-straws at one end, as in <a href="#Fig_161">Fig. 161</a>, and push
+the other end up through the thick part of the stems and
+into the radish; then with a piece of string or strong blade
+of grass tie the stems of the leaves to the straws, as shown
+in <a href="#Fig_160">Fig. 160</a>. This forms a little belt at the waist-line. Leave<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+a large leaf with short stem loose at the back for a cape
+and run the bent ends of the long straws in and out of the
+leaves intended for the feet.</p>
+
+<p>Cut a curved slit in the radish for a mouth and push
+in a small piece of broom-straw for a tongue, then put in
+bits of straw for eyes, nose, and uplifted ears.</p>
+
+
+<h3>A White Mouse</h3>
+
+<p>You can make a most amusing little white mouse of a
+white radish; not a round one like that used for the imp,
+but egg-shaped, like <a href="#Fig_162">Fig. 162</a>. The long root is the tail
+of the mouse and the other end of the radish is his head.
+Cut two paper ears like H, <a href="#Fig_163">Fig. 163</a>. Make two slits in the
+head and slip the pointed ends of the ears into the slits.</p>
+
+<p>For whiskers (all mice have whiskers) find two sprays
+of fine branching broom-straws (I, <a href="#Fig_163">Fig. 163</a>), cut them
+the proper length, and push a spray into the head on each
+side of the nose. Put bits of broom-straw in for eyes and
+then cut four thick straws like J, <a href="#Fig_163">Fig. 163</a>, and push the
+pointed ends slantingly in the lower part of the radish for
+the feet of the mouse. His legs are not seen because he
+is crouching. The drawing of the mouse shows where to
+put the feet.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXIV<br />
+<small>GREEN-PEA TOYS AND A GREEN-PEA DESIGN</small></h2>
+
+
+<p><span class="smcap">Press</span> your thumb on the rounded edge of a fresh, fat
+green pea-pod, and, pop! it goes splitting open at the top.
+Then push your thumb into the opening, run it down the
+pod and the two halves separate, showing a row of fine,
+large peas that look like great green pearls in a soft, silk-lined
+case made expressly for them.</p>
+
+<div class="figcenter" style="width: 561px;">
+<a id="Fig_164"></a>
+<img src="images/i_146.png" width="561" height="236" alt="drawings" />
+<div class="caption">Fig.164 - The Green Pea Greenies, cousins of the Brownies.</div>
+</div>
+
+<p>You have done this ever so many times when helping
+mother, haven't you? And you know that the next thing
+to do when the pod is open is to run that same little thumb
+down again and scoop out all those round green peas, letting
+them fall with a patter into the pan in your lap.</p>
+
+<p>Now as a reward for such helpfulness suppose you ask
+mother or the cook to give you a good big handful of
+peas which have not been shelled, and ask also for some
+wooden toothpicks such as are used in the kitchen for fastening
+meat together; or a number of nice, straight, strong<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+broom-straws if there are no wooden toothpicks. Take all
+these out on the porch if the day is fine and sit down comfortably
+to make the remarkable things which I am going
+to tell you how to make. It is a good plan to have a box
+and its cover to hold the shelled peas and their pods, but
+it does not really matter except that the round peas are
+apt to roll away and get lost if you put them in your lap.</p>
+
+<div class="figcenter" style="width: 557px;">
+<a id="Fig_165"></a>
+<img src="images/i_147.png" width="557" height="355" alt="drawings" />
+<div class="caption">Fig.165 - Parts of the Greeny Girl and how to put them together.</div>
+</div>
+
+
+<h3>The Greeny Girl</h3>
+
+<p>The little green-pea greenies, cousins of the brownies,
+shown in the illustration are funny, aren't they? But
+the drawing is not as funny as the real greenies, and you
+can make them in all sorts of absurd positions.</p>
+
+<p>Two little men and a widely smiling greeny girl are given
+here (<a href="#Fig_164">Fig. 164</a>). The large green peas that come late in
+the season are used to make these little people. In fact,
+it is only the large peas that can be used for any of the<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
+things described. <a href="#Fig_165">Fig. 165</a> shows how the greeny girl is
+put together. Her arms, legs, and neck are made of broom-straws.
+Her body and head are green peas. Her dress is
+one end of a pea-pod and her feet are bits of a pea-pod cut
+the shape you see in <a href="#Fig_165">Fig. 165</a>.</p>
+
+<p>First cut short pieces of broom-straws for the legs and
+point them at both ends so that they will be easy to push
+into the peas and pods. Cut another piece the same length,
+pointed at the top end for the support. Push the legs and
+support into the large pea used for the body as you see
+them in <a href="#Fig_165">Fig. 165</a>. Now cut another piece of broom-straw
+pointed at both ends for the neck and push one end into
+the pea you have selected for the head.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 273px;">
+<a id="Fig_166"></a>
+<img src="images/i_148a.png" width="273" height="260" alt="drawings" />
+<div class="caption">Fig.166 - Begin the tent in
+this way.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 247px;">
+<a id="Fig_167"></a>
+<img src="images/i_148b.png" width="247" height="221" alt="drawings" />
+<div class="caption">Fig.167 - The Greenies' Pea-pod
+tent.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Cut off the stem of a large pea-pod, leaving the little
+leaves at the top, which were the calyx of the pea-blossom,
+for a collar, and then cut the pea-pod dress the proper length
+to fit the little woman. When that is done put the dress
+on over the headless body and push the lower end of the
+broom-straw neck in at the top, down through the collar,
+and into the pea which forms the body. With a pin make
+a hole on each side just under the collar and push a broom-straw<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
+arm in each of the armholes you have made. Bend
+one straw in the middle, as in <a href="#Fig_165">Fig. 165</a>, to give the bent
+elbow.</p>
+
+<p>Last of all cut two three-cornered feet like the one in
+<a href="#Fig_165">Fig. 165</a> from a pea-pod and push a foot on the end of each
+leg. Turn the toes in and the little figure will look very
+comical. To give her a face, dip a pen in black ink and
+make two round eyes in the head, a round nose, and a wide
+mouth turned up at the corners. The pen must be pushed
+through the skin of the pea to do this. When the greeny
+girl stands up, her dress hides the support at the back so
+that it cannot always be seen, and she looks as if she stood
+on her two feet just as you stand on yours.</p>
+
+
+<h3>The Greeny Men</h3>
+
+<p>The illustration (<a href="#Fig_164">Fig. 164</a>) shows how the greeny men
+are put together. The little dancing fellow must have
+two supports because one foot is lifted. The tiny ridiculous
+cap on the head of the other man is the little cap that
+holds the pea to the pod and sometimes clings to the pea
+after it is shelled.</p>
+
+
+<h3>Pea-Pod Tents</h3>
+
+<p>The greenies' little tents are made of pea-pods and it
+takes three pods for each tent. After you have taken out
+the peas split the pods up along the back edge, but leave
+the two halves fastened together at the stem. Stand up
+two pods by pushing the stem end of one pod between the
+two halves at the top of the other, as they are shown in
+<a href="#Fig_166">Fig. 166</a>. Then separate the halves of the third and longest
+pod and place it astride the first two (<a href="#Fig_167">Fig. 167</a>). This will
+make quite a strong tent, and, if you like, you can have
+a whole camp of them.</p>
+
+<p><span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span></p>
+
+
+<h3>The Green-Pea House</h3>
+
+<p>The greenies need not always live in tents. Like other
+people, they can have houses as well.</p>
+
+<p>It is best to use the wooden toothpicks in making the
+house. They are stronger than broom-straws and all the
+same length. Begin by putting the front of the house together.
+Make the peak first. Choose a large pea, push
+the end of a toothpick into it, then not far from that push
+in the end of another toothpick slantingly so that the lower
+ends will be separated as you see them in <a href="#Fig_168">Fig. 168</a>. On
+each of these lower ends stick a pea like <a href="#Fig_169">Fig. 169</a>. That
+is the peak for the roof. Now make a long upright for
+each side by using a pea to join two sticks (<a href="#Fig_170">Fig. 170</a>), and
+push the upper end of each upright into the peas at the
+lower ends of the peak (<a href="#Fig_171">Fig. 171</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 224px;">
+<a id="Fig_168"></a>
+<img src="images/i_150a.png" width="224" height="127" alt="drawings" />
+<div class="caption">Fig.168 - Begin the peak in
+this way.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 237px;">
+<a id="Fig_169"></a>
+<img src="images/i_150b.png" width="237" height="122" alt="drawings" />
+<div class="caption">Fig.169 - Stick a pea on the
+lower ends of each toothpick
+to finish the peak.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Shorten two toothpicks by breaking half an inch off
+each of them, then join them as you did the uprights by
+pushing one end of each stick into a large pea (<a href="#Fig_172">Fig. 172</a>).
+This is the front joist or crosspiece of the upper floor
+of the house, and you must fit it in between the two uprights
+of the front by pushing the ends of the crosspiece
+into the peas at the middle of the uprights (<a href="#Fig_173">Fig. 173</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 231px;">
+<a id="Fig_171"></a>
+<img src="images/i_151b.png" width="231" height="362" alt="drawings" />
+<div class="caption">Fig.171 - Add the uprights
+to the peak.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 40px;">
+<a id="Fig_170"></a>
+<img src="images/i_151a.png" width="40" height="267" alt="drawings" />
+<div class="caption">Fig.170 - The long
+upright.</div>
+</div><div class="figcenter" style="width: 236px;">
+<a id="Fig_172"></a>
+<img src="images/i_151c.png" width="236" height="41" alt="drawings" />
+<div class="caption">Fig.172 - This is the front
+joist.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 226px;">
+<a id="Fig_173"></a>
+<img src="images/i_151d.png" width="226" height="361" alt="drawings" />
+<div class="caption">Fig.173 - Fit the joist in
+between the two uprights.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 231px;">
+<a id="Fig_174"></a>
+<img src="images/i_151e.png" width="231" height="362" alt="drawings" />
+<div class="caption">Fig.174 - The back of the house.</div>
+</div></td></tr>
+</table></div>
+
+<p>The back of the house is made in the same way with a
+third upright added which runs down through the middle<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a><br /><a name="Page_142" id="Page_142">[142]</a></span>
+from the point of the peak to the bottom of the house.
+This third upright is made by shortening two toothpicks
+and joining them with a pea, then fitting them in between
+the pea at the top of the peak and the pea at the middle
+of the crosspiece. A whole toothpick with the upper end
+pushed into the lower part of the pea at the middle of the
+crosspiece finishes the long upright (<a href="#Fig_174">Fig. 174</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a id="Fig_176"></a>
+<img src="images/i_152.png" width="600" height="523" alt="drawings" />
+<div class="caption">Fig.176 - The Greenies' little house.</div>
+</div>
+
+<p>When the front and back are made all there is to do to
+finish the frame of the house is to put in the crosspieces
+to hold them together. <a href="#Fig_175">Fig. 175</a> shows all these crosspieces
+or joists. One crosspiece between the two peas at
+the top of the front and back peaks for the ridge-pole (K,<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
+<a href="#Fig_175">Fig. 175</a>), one on each side between the peas at the bottom
+of the peaks (L and M), one at each side between the peas
+at the ends of the front and back
+crosspieces (N, O), and one between
+the two peas at the middle of
+the front and back crosspieces (P).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_175"></a>
+<img src="images/i_153a.png" width="263" height="366" alt="drawings" />
+<div class="caption">Fig.175 - This is the frame of
+the house.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 229px;">
+<a id="Fig_177"></a>
+<img src="images/i_153b.png" width="229" height="41" alt="drawings" />
+<div class="caption">Fig.177 - The first bar of
+the fence.</div>
+</div>
+<div class="figcenter" style="width: 241px;">
+<a id="Fig_178"></a>
+<img src="images/i_153c.png" width="241" height="149" alt="drawings" />
+<div class="caption">Fig.178 - Push in two
+uprights.</div>
+</div></td></tr>
+</table></div>
+
+<p>Now you have the frame of a
+two-storied house or a house
+with only an upper story, but
+it needs a roof and a floor.
+Split some of your pea-pods in
+half and lay one at a time
+across the ridge-pole at the
+top and the crosspiece at the
+bottom of the peak. Put half
+of a pod on one side of the
+peak, half a pod on the other
+side of the peak, then another
+half pod on the first side, and
+the next one on the second
+side, and so on until the space
+is covered and the house is
+roofed in. The stem ends of
+the pods must be up.   The
+stems lock together and hold the
+roof in place.</p>
+
+<p>Make the loosely laid floor also
+of the split pea-pods, putting them
+across from front to back.</p>
+
+
+<p>Your little house (<a href="#Fig_176">Fig. 176</a>) now
+looks like those which strange
+people in far-away, hot countries
+build for themselves.   They have
+no lower story or what we call a first floor, but are lifted
+on posts far above the sometimes very damp ground,<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+and out of reach of any wild animals that may be prowling
+around.</p>
+
+
+<h3>The Fence</h3>
+
+<p>You can make a fence to put around the house in this
+way: Push a large pea on each end of a whole toothpick
+like <a href="#Fig_177">Fig. 177</a>, then break a toothpick
+exactly in half, stick one
+end of each half into the lower
+parts of the peas to form uprights,
+and push the lower end
+of each of these uprights into
+another pea as shown in <a href="#Fig_178">Fig. 178</a>.
+For the slanting crosspiece stick
+one end of another toothpick into
+the upper pea at the left-hand side, and the other end
+into the lower pea at the right-hand side (<a href="#Fig_179">Fig. 179</a>). Add
+a toothpick between the two lower peas, and one section of
+the fence is finished
+(<a href="#Fig_180">Fig. 180</a>).</p>
+
+<div class="figcenter" style="width: 242px;">
+<a id="Fig_179"></a>
+<img src="images/i_154a.png" width="242" height="143" alt="drawings" />
+<div class="caption">Fig.179 - Put in a slanting
+crosspiece.</div>
+</div>
+
+<div class="figcenter" style="width: 437px;">
+<a id="Fig_180"></a>
+<img src="images/i_154b.png" width="437" height="177" alt="drawings" />
+<div class="caption">Fig.180 - The finished section and the way to
+begin a new section of the fence.</div>
+</div>
+
+<p>Begin another
+section by sticking
+one end of a
+toothpick into a
+new pea and the
+other end into
+the upper pea at
+the left side of
+the section you
+have just finished (<a href="#Fig_180">Fig. 180</a>), then put in half a toothpick
+for the upright, a pea on the bottom of that, a whole
+toothpick for the slanting crosspiece, and another whole
+toothpick for the bottom.</p>
+
+<p>In this way you can keep on adding section after section
+and make your fence any length.   To turn a corner all<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+you have to do is to push the toothpicks which form the
+upper and lower crosspieces of a new section in at the
+back of the top and bottom peas of an end section of the
+fence.</p>
+
+
+<h3>The Tropical Plant</h3>
+
+<p>You will notice that in the illustration there is a plant
+growing at the side of the house which looks something
+like a cactus and adds to the tropical, or hot-country look
+of the little greeny people's home.</p>
+
+<div class="figcenter" style="width: 301px;">
+<a id="Fig_181"></a>
+<img src="images/i_155a.png" width="301" height="188" alt="drawings" />
+<div class="caption">Fig.181 - Draw curves like these
+for the design.</div>
+</div>
+
+<div class="figcenter" style="width: 305px;">
+<a id="Fig_182"></a>
+<img src="images/i_155b.png" width="305" height="224" alt="drawings" />
+<div class="caption">Fig.182 - The Green Pea design.</div>
+</div>
+
+<p>Seven half pea-pods are used to make this plant, four
+to stand up and three to lie down flat. Wrap and tie the
+stem ends of the four half pods together with a bit of string.
+Push a toothpick for a flower-stem through the middle
+of the bunch. Cut away the stem of a pea-pod, then cut
+off the calyx, or circle of little leaves, with the knob below
+attached. This is to be the blossom of the strange plant.
+Stick the flower on its toothpick stem, knob down, as you
+see it in the picture.</p>
+
+<p>To make the plant stand firmly lay the three extra half
+pods down flat with the stem ends one on top of the other
+and the outer ends at equal distances apart, and force
+the toothpick flower-stem through the pods where they<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+cross. These three flat pods make a base which holds the
+rest of the plant upright, while they look as if they were
+a part of it.</p>
+
+
+<h3>A Pretty Design of Green Peas</h3>
+
+<div class="figright" style="width: 262px;">
+<a id="Fig_183"></a>
+<img src="images/i_156.png" width="262" height="279" alt="drawings" />
+<div class="caption">Fig.183 - Do not open the pods wide.</div>
+</div>
+<p>This is not a toy, but you will like to make it just the
+same, and afterward, perhaps, you will want to try another
+design all by yourself. If you can draw at all, with
+a soft pencil make some
+curves on a piece of white
+paper like <a href="#Fig_181">Fig. 181</a>, only
+ever so much larger, then
+a straight line up from the
+centre. The distance
+between the two largest
+curves at their widest
+part should be about eight
+inches. If you cannot
+draw these curves, ask
+some older person to do
+it for you.</p>
+
+<p>Lay your paper with
+the pattern drawn on it flat on the table before you, shell
+some peas and carefully place them on the pencil lines of
+the curves. Begin with the largest peas at the centre of
+the design and finish with the smallest at the ends of the
+curves. <a href="#Fig_182">Fig. 182</a> shows how this is done. Put the first
+pea on the curve at the place shown by the arrow in
+<a href="#Fig_181">Fig. 181</a>.</p>
+
+<p>You won't be able to keep the peas in place unless you
+stick them to the paper with paste. Hold the tube of paste
+in your left hand, squeeze out a very little, take it off the
+tube with one of the peas and push the pea, paste side
+down, onto the paper where it belongs.</p>
+
+<p>When the peas are all placed on the curves open two<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+pea-pods as you did for the greenies' tent, slide one pod
+between the two halves of the other, and with a little paste
+on the stem ends and the tips, fasten them in the middle
+above the curves of peas as they are shown in <a href="#Fig_182">Fig. 182</a>.
+The two halves of each pod are not opened wide but are
+like <a href="#Fig_183">Fig. 183</a>. Above the pods, on the straight, upright
+line, place four more peas, beginning at the bottom with
+a large pea and ending with one much smaller.</p>
+
+<p>The success of this design will depend upon making one
+side just like the other and in keeping it equally balanced.
+That is, one side must not sag down below the other and
+the pods at the top must fit exactly on the line, half on
+one side, half on the other.</p>
+
+<p>The peas, you see, do not touch each other, but are
+separated by little spaces, and the spaces are all of the same
+length.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXV<br />
+<small>CORN-HUSKS AND CORN-COBS</small></h2>
+
+
+<h3>How to Make American History Seem Real&mdash;Our First
+Thanksgiving</h3>
+
+<p><span class="smcap">Let</span> us play that we are really celebrating America's
+first Thanksgiving!</p>
+
+<p>You can see one of our long, rude puncheon tables spread
+out in the mild, sweet air of Indian summer, laden with
+delectable dishes of clam chowder, oysters, fish, turkey,
+duck, goose, venison pasties, turnips, dumplings of barley
+flour, corn bread, wheat cakes, pumpkin pies, grapes, plums,
+great flagons of cider, and "all manner of tasty eats."</p>
+
+<p>William Bradford, our good governor, with his old flintlock
+in hand, is just returning from a successful hunt for
+additional wild turkey. We shall need these, as ninety
+friendly Indians are to be our guests for three days and
+nights. Later they, too, will hunt and bring us wild deer.</p>
+
+<p>Elder Brewster, in his festive doublet and hose, has
+stopped a moment to speak to Master Bradford. Sitting
+at table, you can see Captain Miles Standish with arms
+outstretched in glad welcome as he calls more Indians to
+join the feast, while Massasoit, the mighty chief, stands
+at the table signalling with his arrow for the braves to approach.</p>
+
+<p>Already Quadquina and Hobomok are at the festive
+board, seated between Captain Miles Standish and John
+Alden. Squanto, who tells the boys how to trap game and
+teaches settlers how to plant corn, is resting on the ground
+with his feather-bedecked shield in one hand, and the
+calumet, or pipe of peace, in the other.</p>
+
+<p><span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_159.jpg" width="600" height="420" alt="photograph" />
+<div class="caption">The First American Thanksgiving Dinner in the year 1621.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
+
+<p>Now winsome Priscilla Alden comes, bearing on a pewter
+platter one of her savory hot baked turkeys, and her friend,
+Mary Chilton, is watching the delicious stew which simmers
+in the big iron pot over the outdoor fire.</p>
+
+<div class="figcenter" style="width: 480px;">
+<a id="Fig_184"></a>
+<img src="images/i_160a.png" width="480" height="153" alt="drawings" />
+<div class="caption">Fig.184 - Begin to make the pioneer in this way.</div>
+</div>
+<div class="figright" style="width: 184px;">
+<a id="Fig_185"></a>
+<img src="images/i_160b.png" width="184" height="242" alt="drawings" />
+<div class="caption">Fig.185 - Fold the husks
+across the centre.</div>
+</div>
+<p>Mistress Brewster, on her way to cut pumpkin pie, must
+needs stay her steps a moment to give ear to Governor
+Bradford's remarks, and Desire Minter is hurrying forward,
+ahead of the other young women, to serve the men at the
+feast.</p>
+
+<p>All this would be told you by one of the little corn-husk
+pioneers shown in the photograph if
+only they could speak.</p>
+
+
+
+<p>At all events, they can stand alone.
+They can be made to sit down, too,
+and their arms can be bent in any
+position. You may lift and place
+them in various parts of the grounds
+at pleasure. You might even imagine
+them to be the real characters
+they represent, and so live over again
+that Thanksgiving of 1621.</p>
+
+<p>The making of these little people
+is most interesting. Use the rather
+soft between-layers of corn-husks; about two husks for
+each pioneer.   If the husks seem brittle, soak them in<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+water and make them pliable. Lay one husk partially
+over the top of the other (<a href="#Fig_184">Fig. 184</a>), bend them across
+the centre (<a href="#Fig_185">Fig. 185</a>), and let the smoothest side be the
+front of the doll. Fold each side of the front to the back
+until the front somewhat resembles <a href="#Fig_186">Fig. 186</a>; then wind
+slender, soft string around to form the neck and head of
+the doll. Wind another soft string around lower down
+for the belt-line (<a href="#Fig_187">Fig. 187</a>).</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 159px;">
+<a id="Fig_186"></a>
+<img src="images/i_161a.png" width="159" height="435" alt="drawings" />
+<div class="caption">Fig.186 - The head and
+neck are made.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 194px;">
+<a id="Fig_187"></a>
+<img src="images/i_161b.png" width="194" height="412" alt="drawings" />
+<div class="caption">Fig.187 - Wind the waist
+with string.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<div class="figcenter" style="width: 448px;">
+<a id="Fig_188"></a>
+<img src="images/i_161c.png" width="448" height="52" alt="drawings" />
+<div class="caption">Fig.188 - Arms for the pioneer.</div>
+</div>
+
+<p>Make the arms of soft corn-husk (<a href="#Fig_188">Fig. 188</a>) by turning
+the lengthwise edges of the husk inward again and again,
+until the roll is of the desired size. Cut off the ends evenly<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
+and wind the arms with string at the centre and near each
+end.</p>
+
+<p>Run the small blade of a penknife through the shoulders
+of the doll from side to side. Turn the blade flat side uppermost
+and allow it to remain in this position while you
+slide in the arms and screw them through the opening,
+pushing them along on top of the flat side of the blade.
+When in place, withdraw the knife and your little woman
+will be ready for her costume.</p>
+
+<div class="figcenter" style="width: 405px;">
+<a id="Fig_189"></a>
+<img src="images/i_162.png" width="405" height="434" alt="drawings" />
+<div class="caption">Fig.189 - The pioneer is ready for his costume.</div>
+</div>
+
+<p>To make the man, cut <a href="#Fig_187">Fig. 187</a> up from the bottom to
+within a short distance of the belt, thus dividing the husk
+skirts into two equal parts. Wind each half with string
+at the top, middle, and near the end to form the legs (<a href="#Fig_189">Fig.
+189</a>).</p>
+
+<p>Use black tissue-paper for the loose knee-trousers. Cut</p>
+
+<p><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p>
+
+<div class="figcenter" style="width: 401px;">
+<a id="Fig_190"></a>
+<img src="images/i_163a.png" width="401" height="437" alt="drawings" />
+<div class="caption">Fig.190 - First leg of the trousers.</div>
+</div>
+
+<div class="figcenter" style="width: 410px;"><a id="Fig_191"></a>
+<img src="images/i_163b.png" width="410" height="440" alt="drawing" />
+<div class="caption">Fig.191 - The trousers are pushed into shape
+and coat is ready for its belt.</div>
+</div><p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+two strips of the paper, fit one strip over a leg (<a href="#Fig_190">Fig. 190</a>),
+push the paper up on the inside until it resembles <a href="#Fig_191">Fig. 191</a>,
+then fasten in place with strong paste.   Make the other
+trouser leg in the same way
+(<a href="#Fig_191">Fig. 191</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 261px;">
+<a id="Fig_192"></a>
+<img src="images/i_164a.png" width="261" height="100" alt="drawing" />
+<div class="caption">Fig.192 - Pattern of pioneer's
+collar.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 114px;">
+<a id="Fig_193"></a>
+<img src="images/i_164b.png" width="114" height="106" alt="drawings" />
+<div class="caption">Fig.193 - Make the hair of
+paper fringe.</div>
+</div>
+</td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 236px;">
+<a id="Fig_194"></a>
+<img src="images/i_164c.png" width="236" height="239" alt="drawings" />
+<div class="caption">Fig.194 - Crown of pioneer
+hat.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 119px;">
+<a id="Fig_195"></a>
+<img src="images/i_164d.png" width="119" height="149" alt="drawings" />
+<div class="caption">Fig.195 - Glue the hat
+crown on the man's
+head.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+
+<div class="figright" style="width: 259px;">
+<a id="Fig_196"></a>
+<img src="images/i_164e.png" width="259" height="256" alt="drawings" />
+<div class="caption">Fig.196 - How to slash the
+hat brim.</div>
+</div>
+
+<p>Cut the coat from a folded
+piece of dull-green tissue-paper,
+and just at the neck
+make a hole large enough for
+the man's head to slip through
+(<a href="#Fig_191">Fig. 191</a>). Paste the front
+edges of the sleeves over the back edges and lay the front
+edges of the coat over those of the back. Fit the coat in at
+the belt-line with your fingers. Cut a black belt of tissue-paper,
+fold it lengthwise, and belt in the fulness of the coat,
+then paste the belt ends together.   Be careful to make<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
+the belt loose, for men's waists are large. Make the collar
+(<a href="#Fig_192">Fig. 192</a>) of white paper and fasten it around the man's
+neck with a drop of paste in front.</p>
+
+<p>From black, brown, or drab-yellow tissue-paper cut a
+strip of fine fringe and paste it on the man's head for hair
+(<a href="#Fig_193">Fig. 193</a>). Then
+make his hat. To
+do this, roll a small
+square of stiff black
+paper into a cornucopia
+to fit the man's
+head, paste the edges
+together, and trim off
+the corner which
+hangs down at the
+bottom (<a href="#Fig_194">Fig. 194</a>).
+Glue the hat-crown
+on the man's head,
+cut off the sharp top
+peak, and tilt the
+crown back a little
+(<a href="#Fig_195">Fig. 195</a>).</p>
+
+<p>Now cut a disk of
+the black paper for
+the hat-brim, slash it
+across the centre into
+four points (<a href="#Fig_196">Fig. 196</a>),
+but only just far enough to make the opening fit over the
+hat-crown. Slide the brim on the crown, allowing the
+slashed central points to lie up against it, and fasten them
+there with paste (<a href="#Fig_197">Fig. 197</a>). Glue the pioneer's feet into
+holes cut part-way through a small piece of the corrugated
+flat pasteboard used for packing purposes. In this
+way the little man becomes independent and able to stand
+alone (<a href="#Fig_197">Fig. 197</a>).</p>
+
+<div class="figleft" style="width: 363px;">
+<a id="Fig_197"></a>
+<img src="images/i_165.png" width="363" height="499" alt="drawings" />
+<div class="caption">Fig.197 - The pioneer is fully dressed and
+wearing his hat.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p>
+
+<p>The corn-husk women also wear tissue-paper clothes.
+The waists are made in the same manner as the men's
+coats, only shorter and confined at the belt-line with paste.
+Straight dress skirts are slipped over the waists, and held
+in place at the belt by winding string around the pinched-up
+gathers. Long, severely plain white aprons, minus
+strings, are pasted to the waist-line, and white-bordered
+black caps and large white three-cornered neckerchiefs
+complete the costume.</p>
+
+<p>The cap is a straight piece of black tissue-paper with a
+narrow strip of white folded over the front edge. When
+ready, the white-bordered black strip is laid over the head,
+smoothly brought down on the sides, puckered together
+at the back and tied around the neck with a string. You
+have only to clip loose the outside layer of white close to
+the string at the neck-line to give the flare to the cap's white
+border.</p>
+
+<p>The crisp dress skirt forms sufficient support to enable
+the little women to stand alone.</p>
+
+<p>With the exception of Squanto, whose manly chest,
+back, and arms have no covering, the Indians wear suits
+of tan tissue-paper made on the same principle as the white
+men's costume, only the trouser-legs are narrow, long, and
+have the seam cut in fringe and run up on the outside. The
+bottom edge of the coat and the sleeve seams are also
+fringed. The coat is not wide and no belt is worn.</p>
+
+<p>Pieces of colored tissue-paper adjusted blanket fashion
+over the Indians, and fastened here and there with bits
+of paste to hold them in place, form the Indian blankets.</p>
+
+<p>The Indians' hair is merely a strip of black tissue-paper
+pasted over the top, back, and sides of the head with the
+ends loosely twisted and allowed to hang down in front on
+either side.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_167.jpg" width="600" height="350" alt="photograph" />
+<div class="caption">Governor Bradford, Priscilla, Chief Massasoit and Elder Brewster. Made of corn-husks.</div>
+</div>
+
+<p>The war-bonnet is cut from a strip of white writing-paper,
+the tips of the feathers are inked, and one end of<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a><br /><a name="Page_158" id="Page_158">[158]</a></span>
+the strip is then pasted around Massasoit's head, as shown
+in the picture.</p>
+
+<p>It is best to make a number of corn-husk people at one
+time. Put the two husks together for each pioneer and
+Indian, then wind a string around the neck of each to form
+the head (<a href="#Fig_186">Fig. 186</a>). Again tie a string around each at the
+belt-line (<a href="#Fig_187">Fig. 187</a>). Continue making the people in this
+way, step by step, until all are finished at the same time.
+Have ready as many arms as you have people, and run the
+arms through each, one after another.</p>
+
+<p>When bending the arms or legs of the little people do
+it slowly and gently. If they are inclined to spring back,
+tie them in position overnight and they will stay bent.</p>
+
+<p>When dressing the dolls, cut out all the men's collars
+at one time. You can do this by cutting through as many
+layers of paper as there are men. Adopt the same plan
+with the other parts of clothing for the men, women, and
+Indians, and your work will be rapid.</p>
+
+<p>With ink draw features on all. The women must have
+ink hair, parted in the middle.</p>
+
+<p>Remember when making Miles Standish to cut his hair
+of red paper, for he had auburn hair.</p>
+
+<p>The "sad" colors worn by the pioneers were really the
+cheerful autumn hues, rich, dull reds, greens, browns, and
+yellows. These will give you quite a variety of colors for
+the costumes of both men and women.</p>
+
+<p>Make the puncheon table of a flat, narrow piece of wood.
+With a gimlet bore holes through the board, slanting them
+toward the centre, one hole near each corner. Any kind of
+round sticks will do for the legs. Cut them all of the same
+length and glue one in each hole.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_169.jpg" width="600" height="289" alt="photograph" />
+<div class="caption">Pioneer puncheon table spread for America's First Thanksgiving Dinner.</div>
+</div>
+
+<p>The pewter dishes are made from one of the collapsible
+lead tubes used for oil-paints and various other things.
+Cut open the empty tube and smooth it out flat, then cut
+out round pieces for plates, mould the plates over the tops<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a><br /><a name="Page_160" id="Page_160">[160]</a></span>
+of wooden spools, and the flagons over a pen-handle or
+other round stick. Make the flagon-handles of slender
+strips of the tube bent into rings, and slip one end of the
+strip over the edge of the flagon.</p>
+
+<p>A piece of yellow paper pasted over the cover of a very
+small baking-powder can makes a pumpkin pie. The
+turkey is merely pinched-up paper with brown tissue-paper
+laid smoothly over the breast.   Its wings and legs
+are of bits of lighter-colored paper rolled and bent into
+shape, then pasted on the turkey.</p>
+
+<div class="figcenter" style="width: 560px;">
+<a id="Fig_198"></a>
+<img src="images/i_170.png" width="560" height="96" alt="drawing" />
+<div class="caption">Fig.198 - Corn-cob log for pioneer log cabin with notches
+cut and marked.</div>
+</div>
+
+<p>Fresh, green, uncooked corn-cobs from which the corn
+has been cut and scraped make delightful pioneer log-houses.
+Cooked cobs are too hard to cut. Choose slender
+cobs, long ones for the front and back of the house, shorter
+ones for the sides. Cut a notch, or saw it, if the cobs are
+dry and hard, on the tops of the ends of each of the two
+foundation logs (<a href="#Fig_198">Fig. 198</a>). Cut a notch on both top and
+bottom of each remaining log as indicated by the black
+lines in <a href="#Fig_198">Fig. 198</a>.</p>
+
+<p>Always make a larger notch in the small end of the cob
+than in the large end, so that the large end of another cob
+may fit in it; for, when building, it is necessary to place
+small ends and large ends together, and never two large
+ends or two small ends, or the house will be unevenly balanced.</p>
+
+<p>Lay the two foundation cobs down parallel to each other
+and a short distance apart; then bridge across the ends<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+with shorter cobs, fitting the notches into each other. Continue
+building in this log-cabin fashion until the house is
+of sufficient height.</p>
+
+<p>On the front of the house draw two straight lines down
+across the cobs, one for each side of the doorway. Then
+take your house apart and cut the doorway out from the
+marked cobs. Rebuild the house, gluing layer upon layer.
+Make the doorway jambs of straight pieces of corn-stalk,
+and glue them on each side of the open doorway.</p>
+
+<div class="figright" style="width: 460px;">
+<img src="images/i_171.jpg" width="460" height="412" alt="photograph" />
+<div class="caption">Pioneer log cabin made of corn-cobs.</div>
+</div>
+
+<p>Before the roof can be added, corn-cobs, graduated in<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+length and without notches, must be laid at each end of
+the house to support the roof and give it its gable ends.
+These graduated cobs are the "trap-logs." They rest
+upon long strips of corn-stalk, called "ribs," which are
+placed across from one end of the house to the other.
+Build the roof log-cabin fashion as you built the body of
+the house, laying a rib between the ends of each layer of
+graduated cobs, and as you build, fasten the parts together
+with glue.</p>
+
+<p>Cut enough clapboards of corn-stalk to cover both sides
+of the roof. Make them all of the same length and long
+enough to reach from the top of the roof to a trifle beyond
+its lower edge.</p>
+
+<p>The clapboards must be held down by means of "weight-poles"
+laid across, and to keep the weight-poles from rolling
+off use pegs called "knees."</p>
+
+<p>Make the knee-pegs of corn-stalk. Cut a hole near both
+ends of four of the clapboards and glue in pegs, slanting
+them upward. You will then have two pegged clapboards
+for the front of the roof and two for the back. Place them
+near the ends of the roof and glue all the clapboards in
+place. Cut four slender lengths of corn-stalk for weight-poles,
+and lay them across the roof, resting against the
+knee-pegs. Glue them to the roof only where they buck
+the knee-pegs. When finished, set the house aside until
+the glue is entirely dry. It may then be moved.</p>
+
+<p>Corn-tassels standing in empty spools make fine trees.</p>
+
+<p>It is fitting that the story of our country's first Thanksgiving
+should be retold this year by means of corn. You
+remember, of course, that friendly Indians showed the
+pioneers how to plant and cultivate corn, which, to them,
+was a new grain. Later, when a wonderful harvest had
+been gathered, our forefathers decided to set aside a day
+to thank God for His goodness. That was the first Thanksgiving.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p>
+
+
+
+
+<h2>PART VII<br />
+<small>FRUIT</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XXVI<br />
+<small>THE FUNNY ORANGE HEAD</small></h2>
+
+
+<p><span class="smcap">You</span> will hardly believe it is only an ordinary, everyday
+orange when you have made it into the head that I
+am going to tell you about.</p>
+
+<p>Select a small, firm, perfect orange and with a pencil
+mark features on it, first the eyes like <a href="#Fig_199">Fig. 199</a>. Carefully
+cut out the little spaces of skin between the lines,
+then mark the nose (<a href="#Fig_200">Fig. 200</a>); cut this and mark the mouth
+(<a href="#Fig_201">Fig. 201</a>); cut this and at each side of the head draw the
+ears like <a href="#Fig_202">Fig. 202</a>. You will see that the line of the ear
+does not continue all the way around; that means that
+you are simply to run your knife along the line, cutting
+through the skin so that the ears may be lifted up and
+peeled forward to stand out from the head; the front part
+remains attached (<a href="#Fig_203">Fig. 203</a>).</p>
+
+<p>Make the neck of a slender, strong, round stick sharpened
+to a point at one end. Push the point up into the
+under part of the orange, where the neck should be, by
+twisting the stick around as it goes in (<a href="#Fig_204">Fig. 204</a>).</p>
+
+<p>The orange is the head, but your hand and fingers are
+to be the body and arms to go with it. Look at <a href="#Fig_204">Fig. 204</a>.
+That will show you how to hold the stick firmly and at
+the same time leave your first finger and thumb free to
+use as arms.</p>
+
+<p><span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span></p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_199"></a>
+<img src="images/i_174a.png" width="245" height="248" alt="drawings" />
+<div class="caption">Fig.199 - Eyes marked on orange head.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_200"></a>
+<img src="images/i_174b.png" width="245" height="261" alt="drawings" />
+<div class="caption">Fig.200 - Eyes cut, nose marked.</div>
+</div></td></tr>
+<tr><td align="left" colspan='2'><div class="figcenter" style="width: 245px;">
+<a id="Fig_202"></a>
+<img src="images/i_174c.png" width="245" height="234" alt="drawings" />
+<div class="caption">Fig.202 - Ear marked, ready to cut and
+peel forward.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 238px;">
+<a id="Fig_201"></a>
+<img src="images/i_174d.png" width="238" height="254" alt="drawings" />
+<div class="caption">Fig.201 - Nose cut, mouth marked.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 266px;"><a id="Fig_203"></a>
+<img src="images/i_174e.png" width="266" height="267" alt="" />
+<div class="caption">Fig.203 - Mouth cut, ears cut and
+peeled forward.</div>
+</div></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p>
+
+<p>Pin a handkerchief, or other soft cloth, around Mr.
+Orange's neck, bring it around to cover your hand and
+then pretend he is talking while you move his arms and
+say as many funny things as you can think of. By moving
+the stick while you hold it in your hand, you can make the
+orange head turn in various ways (<a href="#Fig_205">Figs. 205</a> and <a href="#Fig_206">206</a>), and
+a little paper hat fitted on it will make it still funnier (<a href="#Fig_207">Fig.
+207</a>).</p>
+
+<div class="figcenter" style="width: 479px;">
+<a id="Fig_204"></a>
+<img src="images/i_175.png" width="479" height="575" alt="drawings" />
+<div class="caption">Fig.204 - Hold the orange this way.</div>
+</div>
+
+<p>The orange need not always be a man. You can play
+it is a little girl and make a cunning little wreath of flowers<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+for her small head; or pretend it is a baby and have it
+wear a baby's cap made of paper. If you want to turn it
+into a young lady, pierce the ears and fit in earrings made
+of violets. You do this simply by threading the flower-stems
+through the holes you have pierced, and drawing
+the blossoms up close to them. Then, you can make believe
+the orange is an old man and put a pipe in his mouth.
+Make the pipe of an acorn with a twig for the stem. If
+you want the baby to cry, squeeze the orange a little and
+tears of orange-juice will roll from its eyes and stream
+down its face. Little holes must first be punctured in the
+eyes to let the tears run out.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a id="Fig_205"></a>
+<img src="images/i_176.png" width="361" height="538" alt="drawings" />
+<div class="caption">Fig.205 - "Now I'll tell you a funny story."</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p>
+
+
+<h3>Things You Can Make of Orange-Skins</h3>
+
+<h4>A TOY JAPANESE STOOL</h4>
+
+<p>The soft, golden orange-skin, lined with silvery white,
+is fine material for moulding and making into different
+kinds of things to play with. Bring your orange and we
+will begin by making a toy stool for your doll-house (<a href="#Fig_208">Fig.
+208</a>). It will look very much like the real stools which
+the Japanese make for real people to sit on, though nothing
+is used for it but the orange-skin.</p>
+
+<div class="figcenter" style="width: 346px;">
+<a id="Fig_206"></a>
+<img src="images/i_177.png" width="346" height="551" alt="drawings" />
+<div class="caption">Fig.206 - "Can't remember what I was
+going to say."</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p>
+
+<p>First cut the orange across from side to side, making
+two halves, and after you have taken out the pieces of
+juicy fruit and enjoyed eating them, examine the two pretty
+yellow orange-skin bowls that are left. See how soft and
+pliable they are. Now take one of the bowls and pinch
+the edges of two opposite
+sides toward each other;
+hold them steady while,
+with your other hand, you
+pinch the other two sides
+toward each other. Hold
+all four sides bent inward
+for a moment, then let go
+of them and the sides will
+stay bent while you wind
+string across, first one way
+then the other, between the
+curved stool legs you have
+just made by bending
+the sides of the bowl
+inward.</p>
+
+<div class="figcenter" style="width: 297px;">
+<a id="Fig_207"></a>
+<img src="images/i_178a.png" width="297" height="512" alt="drawings" />
+<div class="caption">Fig.207 - "What a joke."</div>
+</div>
+
+
+
+<p>Set the stool away
+to dry and stiffen into
+shape; then, when it has become hard, take off the string
+and you will have a little Japanese stool quite as strong
+as if made of wood.</p>
+<div class="figcenter" style="width: 336px;"><a id="Fig_208"></a>
+<img src="images/i_178b.png" width="336" height="262" alt="drawing" />
+<div class="caption">Fig.208 - Japanese stool made of half an
+Orange peel.</div>
+</div>
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+
+<h4>A CANDY-BOX</h4>
+
+<p>A candy-box can be made in the same way of the other
+half of the orange-skin, but you must curve the sides in
+only a little for this; not nearly as much as for the stool.
+Stand the candy-box,
+with open part
+up, ready to be
+filled with candy.</p>
+
+
+<h4>A BASKET</h4>
+
+<p>An orange-skin
+basket is a substantial
+little affair
+when finished, and
+will hold almost
+anything you want
+to put in it. It
+looks like <a href="#Fig_209">Fig. 209</a>.
+For this you will
+again need half of
+an orange-skin.
+Bend in two opposite
+sides after first
+cutting a short slit in each side near the edge. Make
+the handle of strong paper, cutting it like <a href="#Fig_210">Fig. 210</a>, with a
+tongue at each end. Bend over the two side points of each
+tongue, and slide one tongue through the slit in one side
+of the basket, the other tongue through the slit in the
+other side, then open out the points again and they will
+make secure fastenings for the handle. You will see from
+the illustration that the tongues are put through the basket
+from the inside and show on the outside.</p>
+
+<p>Before setting away to dry, tie a string around the bent-in
+sides of the basket, and stuff the open part with crushed
+paper to keep it in shape.</p>
+
+<div class="figcenter" style="width: 414px;">
+<a id="Fig_209"></a>
+<img src="images/i_179a.png" width="414" height="321" alt="drawings" />
+<div class="caption">Fig.209 - Half of Orange skin used for
+a basket.</div>
+</div>
+
+<div class="figcenter" style="width: 333px;">
+<a id="Fig_210"></a>
+<img src="images/i_179b.png" width="333" height="56" alt="drawings" />
+<div class="caption">Fig.210 - Make the handle of paper.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p>
+
+
+<h4>ORANGE-SKIN BOWLS</h4>
+
+<p>When you have another orange save the two halves of
+the skin, pack each full of crumpled, clean, blank paper,
+flatten the bottom of the bowls so that they will stand
+firmly, then set them
+away to dry.</p>
+
+<p>If you do all this
+carefully the bowls will
+harden in good shape
+and you can use them
+to eat and to drink
+from.</p>
+
+<div class="figcenter" style="width: 374px;">
+<a id="Fig_211"></a>
+<img src="images/i_180.png" width="374" height="422" alt="drawings" />
+<div class="caption">Fig.211 - A little summer house made of
+half of an Orange skin.</div>
+</div>
+
+
+<h3>Other Things Made of
+Orange-Skins</h3>
+
+<p>Cunning little toy
+summer-houses may be
+made from an orange-skin
+in a moment's
+time (<a href="#Fig_211">Fig. 211</a>). Take
+half of an orange-skin
+and stick the sharp
+ends of four wooden
+toothpicks into the
+edge of its rim. Place the toothpicks upright, at equal
+distances apart, and they will form the pillars to support
+the golden, dome-shaped roof. Stand the little summer-house
+on the table, and you will think it charming.</p>
+
+<p>By slicing an orange you can have a number of little,
+yellow hoops for your dolls, made of the rind around each
+slice. When the hoops are carefully dried in perfect circles,
+you can roll them on top of a table or on the floor, and
+play the dolls are having great fun racing with their orange-skin
+hoops.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXVII<br />
+<small>APPLES AND APPLE FUN</small></h2>
+
+
+<p><span class="smcap">When</span> the apple-trees are in bloom, stand under one
+and look up through the wonderful tent of flowers at the
+little bits of blue sky peeping down at you between the
+blossoms. Isn't it delightful to see so many, many apple-blossoms
+all at once? How beautiful they are and how
+sweet they smell!</p>
+
+<p>Now, pick one little blossom and examine it carefully.
+Count the pretty pink-and-white petals. Five petals?
+Yes. Look again, see how they grow from the centre and
+notice their shape. Be very particular, so that you will
+remember exactly how the blossom looks; make sure you
+know, for I am going to tell you about the flower you can
+find inside the big, ripe apple after all the other apple-blossoms
+are gone.</p>
+
+
+<h3>Apple-Blossom in Apple</h3>
+
+<p>Cut the apple into thin slices from side to side through
+the core. Take one of the slices from near the middle of
+the apple and hold it up to the light, so that the light will
+shine through it, then look carefully and you will see in
+the centre a perfect pattern of the apple-blossom you
+gathered from the tree (<a href="#Fig_212">Fig. 212</a>). Apple-seeds form the
+centre of the flower. The petals, five in number, are of
+the flesh of the fruit. They are of the same shape and
+size as the real blossom.   Isn't it wonderful?</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 300px;">
+<a id="Fig_212"></a>
+<img src="images/i_182a.png" width="300" height="296" alt="drawings" />
+<div class="caption">Fig.212 - Apple blossom inside of
+the fruit.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 300px;">
+<a id="Fig_213"></a>
+<img src="images/i_182b.png" width="300" height="299" alt="drawings" />
+<div class="caption">Fig.213 - Design begun on apple slice.</div>
+</div></td></tr>
+<tr><td align="left" colspan='2'><div class="figcenter" style="width: 300px;">
+<a id="Fig_214"></a>
+<img src="images/i_182c.png" width="300" height="294" alt="drawings" />
+<div class="caption">Fig.214 - Design pierced through apple
+slice.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+<p>Now, take the seeds from their hard, glossy cases, again
+hold the slice up to the light and lo, in the centre of the<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a><br /><a name="Page_173" id="Page_173">[173]</a></span>
+slice, you will find a five-pointed star which twinkles as the
+light shines through.</p>
+
+<p>You can add to this and make a pretty, shining pattern
+in this way: Take a wooden toothpick, and with its pointed
+end pierce little holes all along the edge of the flower
+pattern; then make a loop of little holes above one of the
+petals (Q, <a href="#Fig_213">Fig. 213</a>), and still another above that one
+(R, <a href="#Fig_213">Fig. 213</a>). Pierce the edges of all the petals and make
+the same kind of double loops above them also, then the
+design will be like <a href="#Fig_214">Fig. 214</a>. Hold it up to the light, turn
+it this way and that and your slice of apple will look as if
+spangled with glittering diamonds. <a href="#Fig_215">Fig. 215</a> shows a wheel
+design which you can make of another slice.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a id="Fig_215"></a>
+<img src="images/i_183.png" width="300" height="300" alt="drawings" />
+<div class="caption">Fig.215 - Another design on apple slice.</div>
+</div>
+
+
+<h3>Apple Candle in its Candlestick</h3>
+
+<div class="figleft" style="width: 376px;">
+<a id="Fig_216"></a>
+<img src="images/i_184a.png" width="376" height="339" alt="drawings" />
+<div class="caption">Fig.216 - Apple candle ready for table.</div>
+</div>
+
+
+
+<p>When I was a little girl I used to make apple candles
+that stood up in their own candlesticks. I always ate the<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
+fresh, juicy slices as I cut them off. <a href="#Fig_216">Fig. 216</a> shows how
+the candles look when finished. The stem is the wick,
+and as it is usually dark at the end, it is a very good imitation
+of a candlewick
+that is partially
+burnt. The
+dotted lines on <a href="#Fig_217">Fig.
+217</a> show how to
+cut away the apple
+to leave the candle
+and its holder.</p>
+
+
+
+<p>First cut off a
+slice at the blossom
+end, so that
+the candle-stick
+will stand without tipping.
+The dotted line
+at the bottom of <a href="#Fig_217">Fig.
+217</a> indicates where
+this cut is to be made.
+Then run your knife
+around the apple without
+cutting all the way
+through to the core,
+where you see the middle
+dotted line on <a href="#Fig_217">Fig.
+217</a>. After that, begin
+at the sides and gradually
+shave down the upper part little by little, being
+careful not to cut below the slit you have made around
+the apple. When the middle part standing up around the<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+core is the size of a real candle it is time to stop cutting.
+Because of the core inside you cannot make your candle
+very slender, but you can
+cut off the sharp edges
+and make it round.</p>
+<div class="figcenter" style="width: 334px;">
+<a id="Fig_217"></a>
+<img src="images/i_184b.png" width="334" height="348" alt="drawings" />
+<div class="caption">Fig.217 - Cut away apple leaving candle
+in candle-stick.</div>
+</div>
+
+<h3>A Roasted Apple</h3>
+
+<p>Another thing I used to
+love to do with my apple
+when I was a little girl
+was to tie a long string
+to the stem and hang it
+before an open fire to
+roast. I think you will
+enjoy it too.</p>
+
+<p>Tie one end of the
+string securely to the
+stem of your apple, and
+don't break the stem off
+in doing it (<a href="#Fig_218">Fig. 218</a>);
+then tie the other end to
+something heavy on the
+mantel-shelf that will
+hold it securely. The apple
+should hang in front
+of a grate of glowing
+coals, or near the red-hot
+coals of a wood-fire.</p>
+
+<div class="figcenter" style="width: 298px;">
+<a id="Fig_218"></a>
+<img src="images/i_185.png" width="298" height="646" alt="drawings" />
+<div class="caption">Fig.218 - Roast your apple this way.</div>
+</div>
+<p>As soon as cooking begins, twist the string and make
+the apple spin round and round so that it may be roasted
+evenly on all sides; it is fun to do that. When the juice
+begins to run and drop from the apple, set a saucer under
+to catch the hot, sweet syrup. It is good poured over the
+apple when that is thoroughly cooked. Add sugar to the
+juice while it is hot if it is not sweet enough.</p>
+
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p>
+
+
+<h3>The Spice Apple</h3>
+
+<p>In New England, many years ago, there was always
+to be found in every household at least one spice apple.
+It sounds good to eat, doesn't it? But they were not made
+for eating, they were used for sweet-smelling ornaments,
+and for keeping away moths and other troublesome insects.
+Perhaps you will like to make a spice apple to give
+away; it will be a pretty and very sweet gift and will last
+for years.</p>
+
+<p>Choose a small, perfectly sound apple and have ready
+a lot of cloves. Stick the cloves into the apple as you would
+stick pins into a cushion, only the cloves must be put in
+very close together, touching each other and making the
+apple look like a large, prickly, brown nut. That is all,
+unless you want to hang the apple up. In that case run
+a wooden toothpick through one raised side at the top,
+across the little hollow where the stem grows, and out
+through the raised side opposite, after first breaking off the
+stem. Cross this toothpick with another pushed through
+the apple and also bridging the hollow. This will make
+a low handle in the form of a cross. At the middle, where
+the toothpicks touch, tie a bright ribbon, leaving a loop
+by which to hang it.</p>
+
+
+<h3>Other Things to Make of an Apple</h3>
+
+<p>When an apple is cut across into round slices, you can
+make a doll's table of the largest slice by using four wooden
+toothpicks for legs, pushing them into the apple at equal
+distances apart. Half of a slice, with halves of toothpicks
+for legs, makes a very suitable seat for this remarkable
+table.</p>
+
+<p>If you cut a thick flat slice from a small apple you can
+make it into a top that will spin by pushing a toothpick<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
+through the centre, leaving a long end on one side and a
+shorter end on the other. The short end is the peg upon
+which the top spins. Take the long, upper end of the
+toothpick between your thumb and first finger, give it
+a hard, quick twist and drop the top on a table having a
+hard, smooth finish, where it will spin merrily. The little
+fruit-top will not spin on a carpet or any rough, uneven
+surface.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a><br /><a name="Page_179" id="Page_179">[179]</a></span></p>
+
+
+<div class='bbox'>
+
+<div class='adtitle2'>THE BEARD BOOKS FOR GIRLS</div>
+
+<div class='adtitle1'>By LINA BEARD and ADELIA B. BEARD</div>
+</div>
+<div class='bbox'>
+<div class='adtitle2'>Handicraft and Recreation<br />
+for Girls</div>
+
+<div class='center'>
+<b>With over 700 illustrations by the Authors<br />
+8vo. &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;    $1.50 net</b><br />
+</div>
+
+<p>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.</p>
+
+<p>"The girl who gets this book will not lack for occupation and
+pleasure."&mdash;<cite>Chicago Evening Post.</cite></p>
+
+
+<div class='adtitle2'>What a Girl Can Make<br />
+and Do</div>
+
+<div class='adtitle4'>New Ideas for Work and Play</div>
+
+<div class='center'>
+<b>With more than 300 illustrations by the Authors<br />
+Square 8vo.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;$1.50 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+
+<p>"It would be a dull girl who could not make herself busy and
+happy following its precepts."&mdash;<cite>Chicago Record-Herald.</cite></p>
+
+<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p>
+
+
+<div class='adtitle2'>The<br />
+American Girl's Handy Book</div>
+
+<div class='adtitle4'>How to Amuse Yourself and Others</div>
+
+<div class='center'>
+<b>With nearly 500 illustrations<br />
+$1.50 net</b><br />
+</div>
+
+<p>The authors tell everything that girls want to know about
+sports, games, winter afternoon and evening amusements
+and work, in a clear, simple, entertaining way.</p>
+
+
+<div class='adtitle2'>Things Worth Doing and<br />
+How to Do Them</div>
+
+<div class='center'>
+<b>With some 600 drawings by the Authors that show exactly<br />
+how they should be done<br />
+$1.50 net</b><br />
+</div>
+
+<p>This book comprises an infinite variety of amusing things
+that are worth doing; for instance: "A Wonderful Circus
+at Home," "How to Weave without a Loom," "How to
+Make Friends with the Stars," "A Living Christmas
+Tree," etc.</p>
+
+
+<div class='adtitle2'>
+Little Folks' Handy Book</div>
+
+<div class='center'>
+<b>With many illustrations</b><br />
+<b>80 cents net</b><br />
+</div>
+
+<p>This book furnishes the means of gratifying the impulse
+toward self-expression that, properly directed, is a great
+factor in a child's development. It opens a large field of
+simple handicrafts for little folk by showing how toys
+can be made from such ordinary things as empty spools,
+clothes-pins, old envelopes, etc.</p>
+</div><div class='bbox'>
+<div class='center'>
+<b>CHARLES SCRIBNER'S SONS</b></div></div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span></p>
+
+
+
+<div class='bbox'>
+<div class='adtitle2'>THE BEARD BOOKS FOR BOYS</div>
+
+<div class='adtitle1'>By DAN C. BEARD</div>
+</div>
+<div class='bbox'>
+<div class='adtitle2'>Shelters, Shacks, and Shanties</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   <b>$1.25 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+<div class='adtitle2'>Boat-Building and Boating</div>
+
+<div class='adtitle4'>A Handy Book for Beginners</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    <b>$1.00 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+<div class='adtitle2'>The Boy Pioneers</div>
+
+<div class='adtitle4'>Sons of Daniel Boone</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<cite>The Interior.</cite></p>
+
+
+<div class='adtitle2'>The<br />
+Field and Forest Handy Book</div>
+
+<div class='adtitle4'>Or, New Ideas for Out of Doors</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<i>Chicago Record-Herald.</i></p>
+
+<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>
+
+
+<div class='adtitle2'>The Jack of All Trades</div>
+
+<div class='adtitle4'>Or, New Ideas for American Boys</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"Every boy who is handy with tools of any sort will enjoy this
+book."&mdash;<cite>Youth's Companion.</cite></p>
+
+<p>"Full of new ideas for active boys who like to use tools and see interesting
+things growing under their hands."&mdash;<cite>New York Tribune.</cite></p>
+
+<p>"A perfect treasure-house of things that delight the soul of a boy."&mdash;<cite>The Interior.</cite></p>
+
+
+<div class='adtitle2'>The Outdoor Handy Book</div>
+
+<div class='adtitle4'>For Playground, Field and Forest</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<cite>New York Tribune.</cite></p>
+
+
+<div class='adtitle2'>The<br />
+American Boys Handy Book</div>
+
+<div class='adtitle4'>Or, What To Do and How To Do It</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    <b>$1.50 net</b><br />
+</div>
+
+<p>"It tells boys how to make all kinds of things&mdash;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."&mdash;<cite>The Indianapolis Journal.</cite></p>
+</div><div class='bbox'>
+<div class='center'>
+<b>CHARLES SCRIBNER'S SONS</b><br />
+</div></div>
+
+
+<hr class="chap" />
+
+<div class='tnote'><div class='center'><b>Transcriber's Notes: </b></div>
+
+<p>Obvious punctuation errors repaired.</p>
+
+<p>Page 109, caption Fig.124, "Burdock-burs" changed to "Burdock-burrs"
+(house of Burdock-burrs)</p>
+
+<p>Page 111, caption Fig.132, "Burdock-burs" changed to "Burdock-burrs"
+(by Burdock-burrs)</p>
+
+<p>Page 114, caption Fig.137, same as above (Burdock-burr target.)</p>
+
+<p>Page 114, caption Fig.138, "bur" changed to "burr" (Hold the burr)</p>
+
+<p>Page 143, caption Fig.177, "ig" changed to "Fig" (Fig.177)</p>
+
+<p>Page 164, caption Fig.203, "pealed" changed to "peeled" (peeled forward)</p>
+</div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 44440 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #44440 (https://www.gutenberg.org/ebooks/44440)
diff --git a/old/44440-8.txt b/old/44440-8.txt
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+The Project Gutenberg EBook of Mother Nature's Toy-Shop, by 
+Lina Beard and Adelia B. Beard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Mother Nature's Toy-Shop
+
+Author: Lina Beard
+        Adelia B. Beard
+
+Release Date: December 16, 2013 [EBook #44440]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+[=Transcriber's Note:= This book was written in a time in which we
+didn't know what we know now. For example, we now know foxglove to be
+very poisonous and would not suggest children use the blossoms for
+fairy caps. Please use caution if attempting any of these crafts. And
+don't play with foxglove.
+
+As to this text version, italic text is surrounded by _underscores_ and
+bold text by =equal signs=.]
+
+
+
+Mother Nature's Toy-Shop
+
+By
+
+LINA BEARD AND ADELIA B. BEARD
+
+    With Many Illustrations
+    by the Authors
+
+    Charles Scribner's Sons
+    New York        Chicago      Boston
+
+
+
+
+    COPYRIGHT, 1918, BY
+    CHARLES SCRIBNER'S SONS
+
+    SPECIAL NOTICE
+
+    All the material in this book, both text and cuts, is
+    original with the authors and invented by them; and
+    warning is hereby given that the unauthorized printing
+    of any portion of the text and the reproduction of
+    any of the illustrations or diagrams are expressly
+    forbidden.
+
+
+
+
+PRESENTATION
+
+
+MOTHER NATURE is every bit as fond of the little folks in her human
+family as of the grown-ups, and while she prepares untold joys for
+lovers of the outdoors among men and women and larger boys and girls,
+she never forgets the little ones.
+
+For their benefit she keeps an open toy-shop full of marvellous
+playthings, all free to any child who wants them, and instead of the
+children paying her for what they take she pays them for coming to her
+by giving them rosier cheeks, brighter eyes, and stronger bodies. She
+puts more glee into their laughter and greater happiness into their
+trustful little hearts.
+
+As in the large department stores in big cities, the goods in Mother
+Nature's shop are changed for each season of the year; so the little
+shoppers have constant variety and hail every new season with fresh
+delight. This book is written to call attention to the beautiful and
+wonderful things to be found in Mother Nature's toy-shop and to tell
+what to do with them, for one must know how to use the amusing material
+that is furnished.
+
+After really getting into this most enchanting of all toy-shops with
+eyes open to see its wonders, we found that the difficulty to be met
+was not how to write about them, but how to stop writing. The display
+was so varied and so inviting, it seemed that we must tell the children
+about everything we saw, but if we had gone on seeing more and telling
+more there is no saying what size this book would have been.
+
+                                                     LINA BEARD,
+                                             ADELIA BELLE BEARD.
+
+
+
+
+CONTENTS
+
+
+    PART I--WILD FLOWERS
+
+    CHAPTER                                                   PAGE
+        I. DAISIES                                               1
+       II. JACK-IN-THE-PULPIT                                    5
+      III. RED AND WHITE CLOVERS                                 8
+       IV. CLOVER DESIGNS                                       12
+        V. OTHER WILD-FLOWER DESIGNS                            19
+       VI. PUSSY-WILLOWS                                        24
+      VII. ARRANGEMENT OF FLOWERS                               33
+
+
+    PART II--GRASSES
+
+     VIII. FAIRY-TREES MADE OF GRASSES                          40
+       IX. A HOUSE MADE OF GRASS                                45
+        X. GRASS DRESS AND GRASS HEAD-DRESS                     56
+
+
+    PART III--GREEN LEAVES
+
+       XI. OAK-LEAVES                                           61
+      XII. GRAPE-LEAF DRINKING-CUP                              68
+     XIII. GREEN-LEAF DESIGNS                                   71
+
+
+    PART IV--CULTIVATED FLOWERS
+
+      XIV. PHLOX                                                 76
+       XV. CULTIVATED FOXGLOVE                                   81
+      XVI. MISS HOLLYHOCK'S GARDEN-PARTY                         88
+     XVII. DAFFODILS                                             92
+
+
+    PART V--SEED-VESSELS
+
+    XVIII. SEED-VESSEL PLAYTHINGS                                96
+      XIX. BUCKEYE HORSE AND BUCKEYE RIDER                      103
+       XX. BURDOCK-BURRS                                        108
+      XXI. THINGS TO MAKE OF ENGLISH-WALNUT SHELLS              117
+
+
+    PART VI--VEGETABLES
+
+     XXII. THINGS YOU CAN MAKE OF LIMA BEANS                    123
+    XXIII. SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH  130
+     XXIV. GREEN-PEA TOYS AND A GREEN-PEA DESIGN                136
+      XXV. CORN-HUSKS AND CORN-COBS                             148
+
+
+    PART VII--FRUIT
+
+     XXVI. THE FUNNY ORANGE-HEAD                                163
+    XXVII. APPLES AND APPLE FUN                                 171
+
+
+
+
+Mother Nature's Toy-Shop
+
+
+
+
+_PART I_
+
+WILD FLOWERS
+
+
+
+
+CHAPTER I
+
+DAISIES
+
+
+What You Can Do with Them
+
+WILD flowers, like children, are up early. _They_ don't want to lie
+abed after their long winter's sleep; they want to be awake and see
+what is going on in the world. While you think it is still winter there
+is a stirring going on under the blankets of brown earth, and sometimes
+before the snow is off the ground you may find the little things
+working up through the stiff soil and opening their eyes to the gentle
+spring sunshine.
+
+It is remarkable the way the soft, tender sprouts force their way
+through hard ground that we would have to take a knife or trowel to dig
+into. But they do it. Not all at once with a great, blustering rush,
+but gently, steadily, and quietly they push and keep on pushing until
+their heads are above ground; then they begin to grow in good earnest,
+and pretty soon they laugh right out into blossom.
+
+The pleasure these earliest wild flowers give us is in going out to
+look for them and in gathering handfuls to carry home and put into
+little glass bowls to be "Oh'd" over and wondered at, to be admired and
+loved because they are lovely, and because they bring some of the sweet
+outdoors of spring into the furnace-heated house.
+
+They are too delicate and fragile, these anemones, hepaticas, and
+bloodroots, to be handled and played with, but later come the stronger,
+sturdier flowers and with many of these you can do all sorts of
+entertaining things. You don't have to look very far for them either.
+They are in the fields, by the roadsides, and even along the edges of
+the streets of a village or small town. You won't find them in the city.
+
+To begin with, there are the daisies. How white the fields are with
+them! If they are fine, large daisies on tall, strong stems they will
+reach up to your waist--that is, if you are a little girl. If you are
+bigger they will come well above your knees. There are a number of
+things that you can do with them. First, you can make a really beautiful
+
+
+Daisy Crown
+
+for a May queen, or to wear yourself just for the fun of it.
+
+[Illustration: Fig.1 - Begin the wreath in this way.]
+
+[Illustration: Fig.2 - Turn the stem of B under the stem of A.]
+
+Gather a whole lot of daisies with rather long stems. They will stay
+fresh longer if you put them into a pail of cool water and let them
+drink a little before using them; and if they have wilted while you
+carried them, the water will bring them up again as fresh as--why, as
+fresh as a daisy to be sure. This is the way to make the crown. It is a
+new way and a good way.
+
+[Illustration: Fig.3 - Bring B around and in front of it's own upright.]
+
+Take one daisy in your left hand and hold it, not upright but in what
+is called a horizontal position like the one marked A in Fig. 1, then
+with your right hand hold another daisy upright and place its stem in
+front of and across the stem of the first, as you see it in Fig. 1.
+
+[Illustration: Fig.4 - Let the stem of B rest on the stem of A.]
+
+This second daisy we will call B. Now turn the stem of B under the
+stem of A and up at the back as it is in Fig. 2. Bring this same stem,
+B, around and in front of its own upright part like Fig. 3. Turn it
+all the way around the upright part and let the stem of B rest on top
+of the stem of A. Fig. 4 shows this, but in the drawing the stems
+are separated a little so that you may see each one plainly. It is
+something like weaving, you see. And it is weaving of a sort.
+
+[Illustration: Fig.5 - Weave another daisy, C, on the first two stems.]
+
+Across the stems of the daisies A and B, two stems this time, place the
+stem of another daisy that we will call C, and weave it on the first
+two stems exactly as you wove B onto A (Fig. 5). The stem of the fourth
+daisy will have to cross three stems, A, B, and C. The fifth daisy-stem
+will cross four stems, but after that the end of the daisy-stem A will
+probably have been passed and you will be weaving on the others. It
+depends upon the length of the stems how many are woven over; sometimes
+there may be five. It is not well to have more than that number. You
+can cut a stem off when it seems to be going too far around the crown.
+
+[Illustration: Fig.6 - A new way to make a Daisy Wreath.]
+
+Place the daisies close enough together to have their petals touch,
+or even crowd a trifle, because when the crown is curved and the ends
+brought together the flowers will separate and leave wider spaces. When
+you have woven enough daisies to make your crown the proper size to fit
+your head, cut the last stems off about two inches from the last flower
+and, with a strong blade of grass or piece of string, tie them to the
+stem of the daisy A, just back of the flower. Fig. 6 shows what the
+daisy crown looks like when finished.
+
+
+
+
+CHAPTER II
+
+JACK-IN-THE-PULPIT
+
+
+ONE of the earliest wild flowers to show its head above ground is
+Jack-in-the-pulpit. It is an odd plant and what we call the flower is
+not the blossom at all, but a protecting leaf called a spathe which
+surrounds the tiny flowers growing on the club-shaped spike (or spadix)
+standing upright inside.
+
+That is a good thing to know and remember, but what concerns us now is
+that there is a pulpit with its curved sounding-board--or perhaps it is
+a striped awning--overhead, and that in the pulpit is Jack.
+
+He is a cheerful little preacher and his pulpit is somewhat gayer than
+we usually see, but no one ever told Jack that to be good he must be
+solemn and that to preach he must have a pulpit rich and sombre. The
+good God who made him gave him his pretty, striped pulpit with its
+striped awning to shelter it, and Jack goes on preaching his cheerful
+sermons from this as long as he lives. Hear what some one has said of
+him:
+
+    "Jack-in-the-Pulpit preaches to-day,
+     Under the green trees, just over the way;
+     Squirrel and Song-Sparrow high on their perch,
+     Hear the sweet lily-bells ringing to church.
+
+    "Come, hear what his reverence rises to say,
+     In his low, painted pulpit, this calm Sabbath day.
+     Fair is the canopy over him seen
+     Pencilled by Nature's hand, black, brown, and green."
+
+Some people who love the woods and the wild flowers can understand
+Jack's wild-wood language. They will tell you that over and over again
+he is saying: "Come into the clean, shady woods and learn to love
+all the wonderful living, growing things to be found here. Come into
+the green woods and hear what we can tell you of beauty and love and
+kindness; of courage and perseverance and strength, for plants must
+have courage and perseverance as well as strength in order to live."
+
+All the time these plants are working in the ground and above it to
+make their flowers perfect and their seeds fruitful. Sometimes it is
+difficult work, too, if the soil does not give them enough food, or a
+dry summer chokes them with thirst. Sometimes they must struggle hard
+to gain a footing between the rocks where they were told to grow, or to
+keep from being crowded out by stronger, coarser plants that are called
+weeds.
+
+But they keep on trying to do their part and to do it well; they work
+and love, and their children, the blossoms, laugh, laugh, laugh with
+the happiness of it all.
+
+[Illustration: Fig.7 - Cut a hole at the back of the Pulpit.]
+
+Now if Jack seems to you to stand too still in his pulpit while he
+preaches all this, why you can make him move around. He can turn first
+to one side then to the other, and he can lean forward over the front
+with extended arms as some preachers do when they are very much in
+earnest.
+
+For this you will first have to cut a hole at the back of the pulpit
+near the bottom, as is shown in Fig. 7, then, slipping your knife
+inside, cut Jack loose from the flower and drop him out from the top by
+turning the pulpit upside down.
+
+[Illustration: Fig.8 - The Spike.]
+
+Cut off the lower, thin part of the spike to which the arrow points in
+Fig. 8 and, after puncturing a deep hole in the end, push in a very
+slender twig or grass-stem. Fig. 9 shows how this is done. For arms
+that will make Jack seem more like a little man, push a short piece of
+grass-stem through the spike near the top where you see it in Fig. 9.
+Make a hole all the way through the spike with a pin so that the arms
+will slip in easily.
+
+[Illustration: Fig.9 - This is Jack.]
+
+When you are ready for Jack to preach put him in his pulpit, sliding
+the grass-stem through the hole at the back. While you hold the stem of
+the pulpit in one hand take the grass-stem in the other and, by moving
+it up and down, twisting it one way, then the other, and tipping it up,
+you can make him rise up tall and straight, then sink down; you can
+make him turn to the right and to the left and lean forward. That is
+being active enough in such a small pulpit, isn't it?
+
+
+
+
+CHAPTER III
+
+RED AND WHITE CLOVERS
+
+
+BY the roadside, through the meadows, on the farm, at the cottage
+door, and in your own yard those dear, familiar little friends, the
+clover-blossoms, come to greet you. Even in city parks you may find
+them, and always they are ready and glad to help you have a good time.
+Gather a lot of these flowers and sit in the shade under a tree with
+your lap filled with them while I tell you how to make a
+
+
+Clover Wreath
+
+Select some long-stemmed blossoms and leaves, bunch them and bind their
+stems together their full length with strong grass or string. Wind the
+grass around and around the stems, tucking the ends securely in under
+the last wind. You may need several long blades of grass for binding
+one bunch.
+
+In the same way make a second bunch and fit the flowers up close
+against the first bunch of blossoms, with their stems lying along the
+side of the first stems. Do not lap the flowers of one bunch over the
+flowers of another. Fasten the second bunch in place by binding the
+stems to those of the first bunch; then make a third bunch and bind
+it on next to the second bunch. Continue making these clover bunches
+and binding their stems to the stems of those already a part of the
+wreath until the strip is long enough to fit around your head. Try it
+on and, if it is the proper length, join the two ends by binding the
+last stems to the stems of the first bunches. Fig. 10 shows the clover
+wreath complete.
+
+[Illustration: Fig.10 - Wreath of freshly picked Clover.]
+
+You should also have a
+
+
+Clover Bracelet
+
+to wear with the wreath. Make this as you did the wreath but with much
+smaller bunches. Keep binding the bunches together until the strip for
+the bracelet fits your arm (Fig. 11), then join the two ends, and slip
+the pretty thing on your wrist. Of course, you will want
+
+
+Clover Earrings
+
+to match, and those two plump, full, fresh blossoms lying at the top of
+the others on your lap are exactly what you need.
+
+[Illustration: Fig.11 - Clover bracelet.]
+
+[Illustration: Fig.12 - Clover earring.]
+
+[Illustration: Fig.13 - Clover Blossom ring.]
+
+[Illustration: Fig.14 - Clover Blossom pendant on Clover necklace.]
+
+Take one of these clovers and fit it in tight between your cheek and
+the lobe of your ear (Fig. 12). Be careful not to break the long stem,
+for you must bring it up snugly just back of your ear along the line
+where the ear joins your head, and when this is done, bend the end
+of the stem down gently over the top of your ear. The stem will hold
+your earring in place. Make the other earring in the same way. The
+two clover-blossoms used for the earrings should be as much alike as
+possible both in size and shape. They should be matched carefully, as
+pearls and diamonds are matched in a pair of real earrings.
+
+Now for a "solitaire"
+
+
+Clover Ring
+
+Choose the finest clover for the jewel, and hold it against the back of
+your left forefinger while you wrap the stem once around the finger,
+loop it over the blossom and draw the loop tight. Fasten the end by
+tucking it under and over, and again under the stem ring on your
+finger. This clover ring is really very effective, and can be made of
+any colored clover. Fig. 13 gives an idea of how it looks.
+
+
+A Necklace of Clover
+
+will complete your beautiful set of flower jewelry. Make the necklace
+as you made the bracelet and fasten three pendant blossoms at the
+centre, allowing the middle clover to hang down a little below those on
+either side (Fig. 14).
+
+Now you are ready, with the addition of a long, straight twig, at the
+top of which you have fastened a bouquet of clover, to play that you
+are queen of all the clover fairies, and that your clover-tipped twig
+is your magic wand.
+
+
+Other Things of Clover
+
+The running, vinelike clovers are fine to use for climbing-roses
+on outdoor doll-houses. They can also be trained over the doll
+garden-frames and arches.
+
+
+
+
+CHAPTER IV
+
+CLOVER DESIGNS
+
+
+HAVE you ever admired the pretty patterns on wallpaper of flowers and
+green leaves? Have you ever embroidered dainty designs in colors on
+white linen, and do you love it all? If you do, you will like to make
+some designs yourself in a new way, and with real flowers and real
+leaves.
+
+You don't have to know how to draw or to paint in this designing, for
+the flowers are there ready for you to use, more exquisitely drawn and
+colored than the greatest artist could do them. Your part is to group
+and arrange them on a sheet of paper so that they will form beautiful
+designs; designs that will not only delight you, but that may be copied
+in embroidery or in other ways.
+
+Merely to place the flowers on the paper in some sort of a pattern is
+interesting, but the design won't last because the flowers won't stay
+in place. Your sleeve may wipe them all off, or a puff of air blow them
+away, so a method has been invented especially for you that will keep
+them where you want them to stay, and that method is simply to _paste_
+them there.
+
+You can make designs of almost any kind of flowers, the common
+pink-and-white clover that grows underfoot nearly everywhere makes
+a particularly pretty one. This is the long-stemmed, viny kind, and
+its name is alsike clover. Fig. 15 shows what the alsike clover looks
+like, and you will see that its leaves are rather pointed at the tip,
+and shaped more like the leaves of the large red clover than like the
+almost round ones of the little white clover.
+
+[Illustration: Fig.15 - The Alsike Clover. Deep rose color. The way it
+grows.]
+
+[Illustration: Fig.16 - Upright design of Alsike Clover.]
+
+The graceful, upright design (Fig. 16) was made of the alsike clover,
+the blossom of which was a deep-rose color, and the original design
+when finished looked like a piece of embroidery done in silks. It was
+so lovely I wish that it could be given in its natural colors here.
+
+[Illustration: Fig.17 - Parts of upright Clover design.]
+
+Look at Fig. 16 carefully and see that while the sprays of clover
+at the right and left appear to be exactly alike, though turned in
+opposite directions, they are not really so, and the little differences
+help to make the design interesting. They keep it from being what we
+call monotonous. Now look at D, E, and F, Fig. 17. These are tracings
+of the sprays of clover before they were grouped together to form the
+design Fig. 16. The spray on the left, marked D, is just as it grew
+and as it was used in the finished design; but F, on the right, had to
+have the little budded spray added at the place on the stem shown by
+the arrows to make it resemble and balance the other. This bud with its
+leaves was clipped from another clover-vine.
+
+[Illustration: Fig.18 - Running design of Clover.]
+
+The spray in the centre of the design was like E, Fig. 17, and it was
+necessary to give it the extra leaves shown at its right because,
+without them, it was not symmetrical, which means evenly balanced, and
+it would not have looked well in the design.
+
+[Illustration: Fig.19 - Parts of running design.]
+
+When all of the material was collected and ready to be put together,
+the central spray, E, was laid in the middle of a sheet of unruled,
+white paper with the lower end of the stem near the bottom edge, then
+the sprays D and F were placed on the right and left of the centre
+one and tried first in one position, then in another, until it was
+decided that they looked best arranged as in Fig. 16. After that the
+extra leaves for the middle spray, and the bud and its leaves for the
+right-hand spray, were put in place.
+
+[Illustration: Fig.20 - Large Red Clover design.]
+
+It all seemed charmingly satisfactory, so the design was taken apart
+that it might be fastened permanently in place. The middle spray had
+to be adjusted first, and a drop of good library paste was put on the
+under-side of the clover-blossom, a drop on the under part of each
+leaf, and on the under part of the stem at the lower end. Then the
+spray was laid in the middle of the paper just where it was at first,
+and pressed down to make it stick. Paste was put on the under part
+of each of the three leaves to be added and on the under part of their
+stem at the end, and they were pasted down to look as if growing on the
+main stem, opposite the other leaves.
+
+[Illustration: Fig.21 - Design of leaves and buds of Red Clover.]
+
+[Illustration: Fig.22 - Parts of leaf and bud design.]
+
+Next the left-hand spray was pasted in place in the same way, then the
+right-hand spray, to which was given its bud that curves in to almost
+touch the bud on the other spray. Paste was also put half-way down on
+the under part of the long stems of each of the side sprays.
+
+This completed the clover design and it was exceedingly pretty, but
+after it had been sufficiently admired it was placed between papers
+under several heavy books to press, that it might be more durable.
+It was after it had been pressed that it looked like a piece of silk
+embroidery.
+
+Pasted designs can be made without pressing; but while they are more
+beautiful they will not last as long as the others. You can enjoy your
+fresh designs for a while and then press them. Do not make the mistake
+of covering the entire under part of a flower or leaf with paste as if
+it were made of paper; a drop is all that is needed, more will spoil it.
+
+Flowers do not always grow exactly as you want them for your designs,
+but a too straight stem can be coaxed to curve by drawing it between
+your fingers, and leaves and sprays can be cut away or added as has
+been shown. All this changing about only makes it more fun to work out
+the design.
+
+Fig. 18 is a running design of clovers which can be used for a border.
+The little arrows on Fig. 19 show where the different parts are joined.
+
+The large red clover was used for the design Fig. 20 and the leaves
+and buds of the red clover for Fig. 21. Fig. 22 shows how the parts of
+Fig. 21 are put together. These drawings are all original from designs
+actually made of fresh clover-blossoms and their foliage.
+
+
+
+
+CHAPTER V
+
+OTHER WILD-FLOWER DESIGNS
+
+
+Daisy Fleabane Design
+
+ISN'T the design Fig. 23 what grown-ups call Japanesque? Doesn't it
+look as if it had been copied from a printed pattern on a piece of
+Japanese cotton cloth?
+
+[Illustration: Fig.23 - Daisy Fleabane design.]
+
+Well, it was not. It is from a design made especially for you of real
+wild flowers, freshly gathered. The name of the flower is the daisy
+fleabane which grows in almost all open grassy fields where daisies and
+buttercups and clovers are found.
+
+The illustration Fig. 24 shows how the daisy fleabane looks when first
+gathered. Sometimes the blossom is entirely white, sometimes it is
+tinged with purple, and it has a bright-yellow centre. Its petals are
+as fine as a fringe, like those of the asters that blossom in the fall.
+
+In making the design the full-blown flowers were pressed down flat,
+which makes them round like a sunflower, while the buds and partly
+open flowers were left as they naturally grew. The composition, or
+arrangement, of this design is like that used for the upright clover
+design (Fig. 16), that is, it has two tall side sprays and a shorter
+middle spray; but see how very different the two designs are in
+appearance. The clover is all graceful curves, the daisy fleabane is
+stiff and formal with straight lines and angles.
+
+If you use the white flower, make the design on a sheet of tinted
+paper, else the flower will not show. All white flowers should have
+tinted paper for a background.
+
+
+Wild Mustard Design
+
+The small, yellow blossoms of the wild mustard and its compound leaves
+make very dainty designs. Fig. 25 is one of them.
+
+[Illustration: Fig.25 - Wild Mustard design.]
+
+[Illustration: Fig.26 - Wild Mustard.]
+
+[Illustration: Fig.24 - The Daisy Fleabane grows like this.]
+
+From the drawing of the wild mustard (Fig. 26) you will see that the
+flowers do not grow close to the leaves as they are placed in this
+design, but on tall stems which lift them far above the scattered
+leaf-sprays. The design Fig. 25 was made by cutting off a number of
+flower-clusters and leaves, and grouping first one flower-cluster and
+one leaf-spray together, with the ends of their stems touching, then
+another flower-cluster and another leaf-spray. The arrows in Fig. 27
+show where the stems are brought together, and the design Fig. 25 shows
+how the joining of the first two is covered with one of the small
+leaves of the second leaf-spray, and how the joining of the second two
+is hidden under a leaf of the third leaf-spray, and so on.
+
+[Illustration: Fig.27 - Parts of Wild Mustard design.]
+
+There are four flower-clusters and five leaf-sprays in the design. You
+can have as many as you wish but must end them with a leaf-spray.
+
+[Illustration: Fig.28 - Buttercup design.]
+
+
+Buttercups--a Design
+
+Buttercups are so beautifully golden, so glossy and bright, you would
+think they could be made into many nice things, a gold necklace for
+instance. And so they could if they only would not wilt almost as soon
+as they are gathered. To be sure, they will revive and freshen up when
+put in water if they are not too much wilted, but we cannot make them
+into jewelry while their stems are in water.
+
+Still there is something buttercups can be used for, and that is
+designs. Fig. 28 is a drawing from the simplest kind of a buttercup
+design but a pretty one. It shows five wide-open blossoms placed in a
+row at equal distances apart with a little spray of leaves and bud at
+the lower end of each stem. These sprays do not grow as they are in the
+design but are added after the flowers are placed in a row.
+
+As in all other designs, each flower, bud, and stem is touched with
+paste on the under-side to hold it in place on the paper. A design like
+Fig. 28 should be pressed after it is arranged, and it will last a long
+while and keep its bright color. A number of other and very beautiful
+designs can be made of the common wild buttercup.
+
+
+
+
+CHAPTER VI
+
+PUSSY-WILLOWS
+
+
+WE all welcome and love the dear little pussy-willows (Fig. 29) whose
+fur is so soft and silvery. How pretty they look sitting along the
+slender, bare branches of the small American willow-tree which is their
+home. The pussies like to come early to assure us that spring is here.
+They are very tame little kitties, and will allow you to carry them
+away to your school or to your home.
+
+[Illustration: Fig.29 - Pussy-Willows.]
+
+Sometimes pussy-willows turn into little rabbits, squirrels,
+bumblebees, and mice, but they need your help, they cannot make the
+magic change alone. It will be lots of fun helping them if you do it
+this way.
+
+[Illustration: Fig.30 - The Rabbit and the Rabbit's ears, enlarged.]
+
+[Illustration: Fig.31 - The Pussy-Willow Bunnies.]
+
+[Illustration: Fig.32 - Pussy-Willow Squirrel, enlarged.]
+
+[Illustration: Fig.33 - Paper tail, enlarged, for squirrel.]
+
+
+Pussy-Willow Rabbits
+
+Take a small branch of the very largest pussies you can find, have
+ready some scraps of smooth, fresh writing-paper, a piece of cardboard,
+pair of scissors, and some good paste. It only requires long ears
+to change the pussy-willows into bunnies. Cut the ears from your
+writing-paper like the pattern Fig. 30. Put paste on the strip
+between the letters G and H, then take a pussy from the branch and
+stick the paste-covered strip just above the small end of the pussy,
+which will be the bunny's head. The arrow I, Fig. 30, points to the
+place for the ears. When the paste has dried bend the ears up like the
+ears of the rabbits in Fig. 31. Make three or four rabbits to keep each
+other company and paste them in a row on your piece of cardboard.
+
+[Illustration: Fig.34 - The Pussy-Willow Bumble-Bee.]
+
+
+A Pussy-Willow Squirrel
+
+This little gray squirrel (Fig. 32), sitting up in such a lifelike
+pose, must be made of a slightly bent, rather long, slender pussy.
+Pull forward some of the fur near the small end so that it will
+look like the front legs of the squirrel when he holds a nut in his
+hand-like front paws, and push up two tufts on the head for ears. The
+pussy from which Fig. 32 was made already had these tufts for legs and
+ears, and it looked so much like a squirrel one simply had to add the
+tail and let it be a squirrel.
+
+[Illustration: Fig.35 - Parts of bumble-bee.]
+
+[Illustration: Fig.36 - Draw the legs of the bee like this.]
+
+Cut the paper tail like the pattern Fig. 33, fringe it along the edge
+and bend forward the little lap at the bottom which is separated from
+the tail by the dotted line. Curve the tail backward, put paste on top
+of the lap, and stick the lap to the under part of the large end of the
+pussy; then paste the finished squirrel to a piece of pasteboard cut
+round or square as you like best.
+
+
+Pussy-Willow Bumblebee
+
+Mr. Bumblebee (Fig. 34) needs one whole pussy for his body, one-half
+of a pussy for his big, round throat, and a small piece of the pussy
+for his head (Fig. 35). On the piece of cardboard which is to hold the
+bee, draw his legs like Fig. 36, then paste the three parts--body,
+throat, and head--on top of the legs. Fig. 37 shows how it would look
+underneath if you could see through the paper, so you will know exactly
+where to paste first the throat, then the head, and lastly the body.
+The edges of these parts where they join must be pushed close together.
+
+[Illustration: Fig.37 - Paste the three parts of the bee on top of the
+legs.]
+
+[Illustration: Fig.38 - Mr. Bumble-Bee, enlarged, ready for his wings.]
+
+A bumblebee has slightly curved spikes extending from his head which
+are called antennæ. Fig. 38 shows you where to draw them. You will also
+see on the same diagram how to widen the six legs, making them thicker
+and more lifelike. Cut paper wings the shape of Fig. 39, making them
+the proper size to fit your bee. Remember that a bumblebee has small,
+short wings compared to the size of its body. Bend the lap at the
+bottom of the wing along the dotted line, and paste the lap of each
+wing onto the sides of Mr. Bumblebee's chest. The wings turn back over
+the laps and hide them. (See Fig. 40). The finished bee is shown in
+Fig. 34.
+
+[Illustration: Fig.39 - Pattern of bumble-bee wing.]
+
+[Illustration: Fig.40 - Showing lap of wing bent back.]
+
+If you cut a leaf out of green paper and put your bumble-bee on that
+instead of on the cardboard, he will look, with his extended wings, as
+if just ready to fly, and will make a fine addition to your collection
+of things made of outdoor material.
+
+[Illustration: Fig.41 - Pussy-Willow Mouse, enlarged.]
+
+
+Pussy-Willow Mouse
+
+Then there is the pussy-willow mouse (Fig. 41). He is a nice little
+gray mouse with a long tail.
+
+Choose a large pussy-willow for this mouse, ruffle the fur up on top of
+the head and it will look like ears. The head is at the small end of
+the pussy. Paste one end of a piece of cotton string under the large
+end of the mouse, and that will be his tail. The string should be white.
+
+[Illustration: Fig.42 - Jumping Pussy-Willow Game-Board.]
+
+Finish by pasting the mouse to a round or square piece of pasteboard.
+
+
+Jumping Pussy-Willows--a Game
+
+This is a good game and it will make you laugh to see the pussies leap
+up in the air, sail along a short distance, and land on a numbered
+square of the game-board.
+
+The board (Fig. 42) should be ten or twelve inches square. Cut it from
+a flat, even box lid or any other pasteboard you happen to have. Draw
+straight lines from top to bottom about one inch apart, then more
+straight lines from side to side one inch apart. This will divide the
+board into squares like a checker-board. Each of these squares must
+be numbered and you can draw or paste them in. Fig. 42 shows how the
+game-board should look.
+
+To play the game, lay the board down on a flat surface, a stone will
+do if you are out-of-doors, or even the ground; and a table, if in the
+house. In front of the board draw a short line for the starting-post.
+The line should be ten or more inches from the board according to the
+distance you can make the pussies jump. Any number of players may join
+in the game and each player should have his own jumping pussy.
+
+[Illustration: Fig.43 - Place your finger on the Pussy-Willow and make
+it jump.]
+
+Fig. 43 shows how to place the pussy under the tip of your right
+forefinger, with the large, blunt end standing a little out beyond the
+finger-tip. When ready to shoot, press down suddenly on the pussy and,
+as your finger slides off the small end, away jumps pussy and lands
+on a square of the game-board. Each player plays in turn, always, of
+course, placing the pussy on the starting-line when shooting. The
+player whose pussy lands on the highest number wins the game. Jumping
+pussy-willow can also be played by dividing the players into two even
+sides; then the side which has the highest score, after the numbers won
+by them have been added up, is the winner.
+
+
+Pussy-Willow Bouquet
+
+A nice, big bunch of pussy-willows makes an attractive bouquet, and a
+very welcome one early in the spring. "The pussies are out!" we hear
+some one say, and then the boys and girls vie with one another in their
+effort to be the first to find and bring home branches of the little
+catkins as proof that spring has come and they were the first to see
+her.
+
+
+
+
+CHAPTER VII
+
+ARRANGEMENT OF FLOWERS
+
+
+THE arrangement of flowers is interesting and means a great deal. It
+means that this chapter will tell you what wild flowers look prettiest
+on the dinner-table and in bowls and vases in other parts of the house;
+what flowers and vines will keep fresh longest, and the kind that do
+not need water but are beautiful when dry. It means that you can learn
+not to force a tightly packed handful of all sorts of flowers into a
+small vase and expect them to look well. Flowers don't like crowding
+and are quite particular about their associates.
+
+If you come in hot and tired after your walk, put the flowers you have
+gathered into a pail of fresh water and let them stay there until you
+have rested and are ready to sort them out and make each kind look its
+very best. All flowers do not appear well in stiff, straight vases; all
+do not look well in bowls. That is the first thing to learn, and the
+next is that while some flowers seem to smile upon and nestle lovingly
+up to some others, there are kinds that they seem to draw away from
+and frown upon. Only a few examples can be given here. If you love the
+flowers you will find out more for yourself.
+
+
+The Wild Morning-Glory
+
+In your walks through the fields and along the country roadsides have
+you ever noticed the wild morning-glory? Of course, you have seen it
+and, perhaps, gathered some blossoms, only to find them in a short time
+wilted in your hand or turned into little, long bags, puckered at the
+top as if drawn up with a string.
+
+[Illustration: Fig.44 - This is the way the Wild Morning Glory looks.]
+
+When I say noticed, I mean have you thought about the flowers while you
+looked at them? Have you noticed their shape and beautiful color, and
+have you seen the great difference between the green leaf of the wild
+morning-glory and that of the cultivated one?
+
+The wild morning-glory leaf (Fig. 44) is more beautiful in shape, the
+vine is more graceful, and the blossom just as lovely as the cultivated
+morning-glory, and all this beauty need not be left behind when you
+gather the wild flowers which are to make the rooms of your home
+charming.
+
+While I write this, July 7, there stands on a table in our living-room
+a tall glass vase, wide at the top and holding plenty of water. It is
+filled with a mass of wild morning-glory-vines, and there are four new,
+entirely open, pink and white blossoms while others are just twisting
+open.
+
+[Illustration: Fig.45 - The Wild Morning Glory blossomed after it was
+gathered.]
+
+Four days ago, when out for a walk in the country, I gathered the vine
+by the roadside where it grew in the company of daisies, buttercups,
+and wild mustard. Lifting themselves up into the light, where the
+warmth of the morning sun could open the buds and where the leaves
+could breathe in the fresh air, some of these trailing vines had wound
+themselves in masses around tall, strong weed-stalks.
+
+I gathered the vines, weed-stalks and all, breaking them off close to
+the ground; and now these stalks hold most of the vines upright in the
+vase, while other sprays droop gracefully over the edge and hang down
+almost to the table-top. Only one or two flowers were in bloom when I
+found the vines, but there were quantities of green buds which I hoped
+would open later, and that is just what they are doing. It is like
+having wild flowers growing in one's window. And as for decoration,
+nothing can be more beautiful (Fig. 45).
+
+Trailing vines always make pretty decorations, and many wild ones keep
+fresh a long while when given plenty of water. Some have flowers, some
+have not, but in any case they are worth gathering when you have large
+vases to fill.
+
+
+The Wild Balsam-Apple
+
+or as some people call it, the wild cucumber, is very decorative.
+That means it has beautiful curves and twists, and its small, white
+flowers, prickly, egg-shaped fruit, and long tendrils twisted spirally,
+like a steel watch-spring let loose, make us love to look at it. The
+leaves are pretty, too, being shaped almost like a five-pointed star.
+Sometimes this vine is cultivated and you will find it trained up on
+strings to shade the porch, or over the kitchen-door of a farmhouse.
+Wherever you find it, it is beautiful. A large jar filled with sprays
+of the wild balsam makes a good centrepiece for the table, or a tall
+vase holding some upright and some drooping sprays looks very pretty
+when placed near a window where the light will fall on it. Do not mix
+other flowers with it, its own blossoms are sufficient.
+
+
+Wild Clematis
+
+The wild clematis is another beautiful vine, and you will find it
+clambering over fences and bushes along the country road. Its masses of
+white flowers fill the air with a sweet, spicy perfume that delights
+you.
+
+You can gather the clematis when it is in blossom, and keep it fresh in
+water for some time if you put it in root ends down. This vine does not
+wilt as you carry it. Later in the season, when the white flowers have
+turned into balls of silvery fringe, the vine is lovely in a different
+way. Then you can gather great armfuls and take it home to hang over
+mirrors or picture-frames, letting it become quite dry. It is best to
+strip the leaves off the sprays at first because they are not beautiful
+when dry. In a day or two after hanging up your clematis the balls of
+fringe will become a mass of soft down which will cling to the vine for
+many weeks. Later, when it becomes dusty, take it down.
+
+
+Bittersweet
+
+Then there is bittersweet, another wild vine that we gather in the
+fall. It covers fences and bushes as the clematis does, but instead
+of turning into fringe balls its small, creamy white flowers become
+bunches of berries.
+
+The berries are yellow at first; when ripe they split open and curl
+back to show the brilliant red seeds inside that look like coral beads.
+
+Gather the bittersweet while the berries are yellow, strip off the
+green leaves, and hang the vine up dry or put it in a large vase
+without water. Then the berries will open and last all winter.
+
+
+Snapdragon and Wild Carrot
+
+Both of these are pretty flowers and worth gathering. The snapdragon
+(perhaps you call it butter-and-eggs) does not mind at all where
+it grows. Field, roadside, or even the village streets may be its
+home, but wherever it lives, it makes the spot shine joyously with
+its stalks of yellow blossoms. Snapdragons combine well with the wild
+carrot, whose other name is Queen Anne's lace, and together they make a
+delicate and beautiful bouquet.
+
+If you have a large glass fish-globe fill it with fresh water, and put
+in the snapdragon and wild carrot in a loose bouquet. Nothing could be
+prettier for the August lunch-table than this.
+
+
+Wild Roses
+
+look best in a low glass bowl, for they have no stems to speak of.
+Short-stemmed flowers do not belong in tall vases. The roses wilt
+quickly out of water and should have plenty of it.
+
+Do not put any other kind of flowers in the bowl; the roses won't
+like it; neither will you when you see how much better they look by
+themselves.
+
+
+Daisies and Buttercups
+
+so friendly in the fields, look pretty when arranged in a deep jar
+together, but I would not mix daisies with any other flowers, unless it
+is the lacy wild carrot. Buttercups look well with the carrot, too, and
+buttercups look pretty mixed with grasses. You see they all know each
+other very well, growing in the fields together.
+
+
+The Wild Flag, or Iris
+
+whose home is along the banks of ponds and small streams, should be
+put into a tall clear glass vase or pitcher, where its stems will show
+through, that it may look its best.
+
+There is the yellow iris, the white and the purple, and they are
+very beautiful when combined but not crowded. Always put some of the
+long-spiked leaves in with the flowers.
+
+
+Clover Bouquets
+
+Clover bouquets make delightful centrepieces for the table. Arranged
+loosely with its own green foliage, the rose-colored clover is
+especially beautiful in a clear, green glass bowl of water. The sprays
+should be brought over the edges of the bowl, and allowed to droop
+down, resting partly on the table.
+
+Yellow clover and its foliage mingled with white clover makes a
+charming combination as a bouquet for almost any occasion. The name of
+the yellow clover is hop-clover. It is not as common as the other kinds.
+
+
+Green Bouquets
+
+When there are no flowers to be had you can have bouquets and
+centrepieces of green leaves, ferns, and vines, and you will be
+surprised to find what pretty ones can be arranged and how much they
+will be admired.
+
+Ferns will wither soon unless taken up with the roots and the soil
+surrounding them; but if they have the roots and soil they will last
+a long while, provided you put them in a bowl or jar and keep them
+_always wet_. That does not mean to water them as you would any other
+growing plant, but to keep them _standing_ in water _all the time_.
+Maidenhair-fern kept in this way makes a delicate and beautiful
+centrepiece for the table.
+
+Sometimes you will find varieties of foliage that are full of color. In
+early summer the young leaves of the scrub-oak are very brilliant in
+reds and yellows, and I have made bouquets of nothing but leaves from
+the rose-bushes. These are often tinged with red and purple. Sprays of
+the barberry-bush with its rows of dangling red berries are pretty in
+a green bowl. Be careful of the thorns when you gather this. Cut the
+stems; do not try to break them.
+
+
+
+
+_PART II_
+
+GRASSES
+
+
+
+
+CHAPTER VIII
+
+FAIRY-TREES MADE OF GRASSES
+
+
+SOME of our grasses appear like very large trees to the little grass
+fairies who, we like to pretend, hide in their midst; while other
+grasses, with their jointed, bamboo-like stems, seem to these tiny
+people to be tall forests of real bamboo.
+
+Why not play that you are a little fairy and live among the grasses?
+But to see the grasses as the fairies see them you must lie down and
+bring your eyes very near the ground; so stretch yourself out flat,
+face down, with your head lower than the grass tops; then look steadily
+ahead through the tall grass stems. What do you see?
+
+The five fairy-trees standing by themselves in Fig. 46 are four
+short-stemmed tops of the Scribner's panic-grass. Fig. 47 shows
+exactly how the grass looks before you pick it, and Fig. 48 gives a
+simple design that you can make by placing the tips of the four grass
+tops together, allowing the stems of two heads to lie in a straight
+horizontal line (that means a line running from left to right), and the
+stems of the other two heads to lie in a straight line vertically (that
+means up and down).
+
+While you are playing with the grasses you can begin to learn something
+about them. The beard-grass, which some people call the little
+blue-stem (Fig. 49), has near relatives named forked beard-grass and
+bushy beard-grass. These are stiff and angular, with bamboo-like stems,
+just the thing for trees in a little Japanese garden which some time
+you will want to make. You may run across them anywhere, for they are
+common in all parts of our country.
+
+[Illustration: Fig.46 - Trees of Scribner's Panic-Grass.]
+
+[Illustration: Fig.47 - Scribner's Panic-Grass as it grows, Panicum
+Scribnerianum.]
+
+Make friends with these and with other grasses. As you find them learn
+their names just as you would learn the names of new playmates. Take
+the grasses home, show them to your father and to your mother; if they
+do not know their names, carry them to school and ask your teacher
+about them. In case she cannot tell you, go to the public library with
+your grasses and persuade the librarian at the desk to help you find
+their pictures and names in some of her books. All grasses have names,
+so [Illustration: Fig.49 - You will run across these anywhere.] keep
+asking and hunting until you know what to call them. When you know
+their names you will be glad to see your friends, the pretty green
+grasses, whenever you find them.
+
+In Chapter XVIII, which tells how to make a burdock-burr house, you
+will find more about grasses.
+
+[Illustration: Fig.48 - Scribner's Panic-Grass. Design made of four
+grass heads.]
+
+
+
+
+CHAPTER IX
+
+A HOUSE MADE OF GRASS
+
+
+REAL people live in grass houses way off in the Philippine Islands.
+That is, their houses are made of bamboo, which is a kind of giant
+grass. It must be a pretty airy, comfortable house in summer, and it is
+always summer in the Philippines, but we never see that kind of houses
+here. One reason is because in most of our country a grass house would
+be very cold in winter, and another reason for not building them is
+because the bamboo grows only in the extreme south, and even down there
+people want more substantial homes.
+
+A prettier playhouse, though, could not be devised, and if you could
+see a Filipino house you would want it immediately, but since you
+cannot have a real one you can have the fun of making a little doll
+Filipino house, and of making it exactly as the little brown Filipino
+men make theirs. Suppose you gather some grass and twigs now, and build
+the little house for your doll.
+
+Some of the queer little people whose home is in the Philippine Islands
+perch their houses like birds' nests up in the trees, but often they
+are built on stilts to lift them high from the ground. Our little house
+(Fig. 50) shall be on stilts. We will make the floor first. If you do
+not understand how to measure by inches, ask an older person to help
+you.
+
+
+The Floor
+
+Find two straight, round sticks, not quite as large round as a
+lead-pencil. The sticks must be cut six and a half inches long, then
+two sticks of the same kind five inches long; after that there must be
+six more sticks five inches long. Split these last six sticks in half
+lengthwise.
+
+The Philippine people do not use nails, or screws, or glue, and not
+even wooden pegs, in building their houses; they bind and tie the parts
+together with rattan, and as we are going to build just as they do we,
+too, will tie the parts of our house together, but will use raffia in
+place of the rattan.
+
+[Illustration: Fig.50 - The little Grass House you can make.]
+
+Hold one of the six-and-a-half-inch sticks (letter J, Fig. 51) upright
+in your hand while you cross it a short distance below the top with a
+five-inch-round stick (letter K, Fig. 51). The distance from the top
+of the upright stick to the crossing and the distance from the short
+end of the other stick to the crossing must be the same.
+
+[Illustration: Fig.51 - Begin binding them together.]
+
+[Illustration: Fig.52 - Carry the raffia over and between the two ends
+of the sticks.]
+
+Begin binding them together as shown in Fig. 51. Then carry the raffia
+(string will do if you cannot get raffia) over and between the two
+ends of the sticks (Fig. 52), and wind it opposite ways several times
+around the sticks, bringing the raffia between as well as over them.
+This will lash them firmly together. Now turn this beginning of your
+floor around so that the short stick will be upright and the long one
+extend from side to side. Do not let the binding loosen; hold it tight
+and cross the long stick with one of the split five-inch sticks (Fig.
+53). Be sure that the flat side of the split stick is next to the
+long stick, and that you leave a slight opening between it and the
+first crosspiece. Pull the raffia tight and bind it over this second
+crosspiece (Fig. 54), then back, crossing it as in Fig. 55.
+
+[Illustration: Fig.53 - Turn the sticks, bringing J in horizontal
+position.]
+
+[Illustration: Fig.54 - Bind raffia over second stick.]
+
+[Illustration: Fig.55 - Then bring raffia across front of second stick.]
+
+Bind on the next split crosspiece in the same way, and go on adding
+crosspieces until they reach almost to the end of the long stick, then
+let the last crosspiece be the second unsplit five-inch stick. When
+all the short crosspieces are properly bound onto the long stick,
+bind the other six-and-a-half-inch long stick under the opposite ends
+of the crosspieces in the same way, and just as carefully (Fig. 56).
+This makes the floor and we must lash it to the stilts, which are four
+upright sticks, each seven and one half inches long. Fit the stilts in
+the outside corners made by the crossing of the end and side sticks of
+the floor, and, holding the floor about four and a half inches above
+the lower ends of the stilts, bind floor and stilts together (Fig. 57).
+Of course you can put the stilts on only one at a time.
+
+
+The Walls
+
+Make the framework for the walls by binding and tying onto the stilts
+near the top two sticks, each six and a half inches long, one stick on
+each side. Across these sticks, from stilt to stilt, at each end, bind
+a five-inch-length stick (Fig. 58).
+
+[Illustration: Fig.56 - Make the floor this way.]
+
+
+The Roof
+
+To support the roof there must be two upright sticks, each seven inches
+long, and these sticks must be bound and tied to the middle of the end
+sticks of the floor and the end sticks of the wall. They are lettered L
+and L in Fig. 59
+
+[Illustration: Fig.57 - Lash the floor to the stilts.]
+
+[Illustration: Fig.58 - Bind on four more poles making framework for
+walls.]
+
+Fig. 60 shows the framework of the house without the bindings, so
+that you may see exactly how the sticks are put together. There is
+a ridge-pole which forms the top ridge of the roof. This must be a
+stick about seven inches long, and it is to be tied to the uprights
+lettered L and L that you have just fastened on the two ends of the
+house. (See Fig. 59, L and L.) Four other sticks, M and M and N and N,
+long enough to reach from the ridge-pole, crossing above it, to the
+side crosspieces of the wall, you must tie to the ridge-pole and the
+side-wall sticks, placing them slanting, as you see them in Fig. 60, at
+each end.
+
+
+The Porch
+
+Like many other people, the Filipino wants a porch to his house.
+Perhaps he sits there to smoke his curious little pipe, which is not
+much larger than the one you make of an acorn. I have never seen him
+on his porch, but I have seen him smoke and afterward tuck his pipe
+away in his long, fuzzy hair, where it remained in safety even while he
+leaped and pranced about in the wild dance he loves so much.
+
+[Illustration: Fig.59 - End poles are added to hold up the roof.]
+
+[Illustration: Fig.60 - This is the way the house is put together.]
+
+But we must not forget the porch. If the Filipino has one to his
+house, we must have a porch to ours. We won't make it separately and
+add it to the part already built, but, as the Filipino does, we will
+use part of the house-floor for the floor of the porch, and let the
+roof cover that as well as the house. To do this we must separate the
+house part from the porch part by putting up two more uprights, one on
+each side, a little way back from the front of the house, and these
+uprights will form the boundary-line. Letters O and P in Fig. 60 are
+these last uprights, the sticks which form them being long enough to
+reach from the wall side-piece to the floor, and extend a little above
+and below where they cross the upper and lower sticks.
+
+[Illustration: Fig.61 - Fresh grass instead of palms over one side
+wall.]
+
+[Illustration: Fig.62 - Strips of wood to bind down the grass on wall.]
+
+
+Thatching
+
+Now we come to the real grass part of the house, for we have had to
+use small sticks for the framework instead of bamboo, and where the
+Filipino uses palm-leaves we will use grass.
+
+Gather some long, coarse, fresh blades of grass for thatching both
+the roof and walls, and begin with the walls. Bunch the grass evenly,
+the stem ends all together, bend the bunch at the centre, then spread
+it out at its centre, and hang it thickly over one side-wall beam,
+which is the upper stick (Fig. 61). Have the stem ends inside the house
+hang down as long as the tip ends on the outside, and let the outside
+ends hang down below the edge of the floor; then take a flat strip of
+wood and place it near the top of the grass-covered wall, bend the
+ends a little and slide them back of the uprights (Fig. 62). Smooth
+the grass down evenly and put in another flat stick, this time at the
+bottom (Fig. 62). If you want the inside of the house as perfect as the
+outside, slide in two other strips on the inside of each wall to hold
+the grass down. Fig. 62 shows the grass partially trimmed off to make
+it even at the bottom.
+
+[Illustration: Fig.63 - Pole rafter being thatched for roof.]
+
+[Illustration: Fig.64 - Shows exactly how the raffia is tied.]
+
+[Illustration: Fig.65 - Hang grass over ridge pole of roof.]
+
+To thatch the roof you will need two more sticks for rafters. Over one
+stick, near the end, tie a bunch of grass into a tassel, using a piece
+of raffia to bind it; hang more grass over the stick or rafter, and tie
+it into another tassel, and with the same piece of raffia tie a third
+tassel (Fig. 63). Fig. 64 shows exactly how the raffia is tied. Make
+the tassels rather thick and put them close together so that there
+will be no space between.
+
+When this rafter (the stick) is covered with thatch lay it across the
+side of the roof half-way between the ridge-pole (top stick on the
+roof) and the stick forming the side wall of the house, and tie the
+ends securely to the slanting sticks of the roof. Thatch another rafter
+and fasten it on the opposite side of the roof, then cover two shorter
+sticks with thatch and tie one across the front, the other across the
+back peak of the roof on a line with the thatched rafters on the sides.
+
+Fasten more thatch at the front and back peak of the roof, tying it
+to the ridge-pole, also to the two slanting sticks. Allow the grass
+to hang down far enough to cover the top of the thatch below it (Fig.
+50). This thatch must entirely fill up the ends of the roof made by the
+peak. Now hang grass over the ridge-pole at the top of the roof as you
+would hang your doll's little sheets on your toy clothes-line (Fig.
+65), and bring the ends down over the thatched rafters on each side of
+the roof. Hold this top thatch in place by laying sticks across the
+grass just below the ridge-pole on each side of the roof. Bind and tie
+these sticks at each end to the framework of the house (Fig. 50).
+
+If grass cannot be had for thatching, soak hay in water to make it
+soften and take the stiffness out, then use that. Raffia dyed green
+might do, or should all else fail, take fine broom-straws softened in
+hot water for the thatch, and use loosely twisted string for binding
+and tying. Of course the string should not be white, but you can dip it
+in coffee and dry it; the color will then be like the color of rattan.
+
+
+The Ladder
+
+The spry little Filipinos use ladders instead of stairs to reach their
+living-room, so we must make a rustic ladder for our house.
+
+Cut two slender sticks about six and one-half inches long for the
+sides; then cut seven or eight short sticks for the crosspieces or
+rungs. The rungs should be one and three-quarter inches long. Bind
+and tie the ends of the rungs to the side sticks (Fig. 66), placing
+them about three-quarters of an inch apart. The ends of the rungs must
+cross the side sticks and extend out about one-quarter of an inch. If
+properly tied, your little ladder will be firm and strong.
+
+[Illustration: Fig.66 - The ladder will be strong and firm.]
+
+Place the ladder one end resting on the ground, the other end on the
+front edge of the porch, then stand off and admire your work. It is
+certainly worth admiring, for the house will be a perfect miniature
+Filipino home, and you may imagine you can see tall cocoanut-palms and
+many other strange and beautiful trees and plants that grow in the hot
+Philippine Islands. You might copy some of these with grasses and small
+flowering wild plants.
+
+If you have a Noah's ark it will be a good idea to select some of
+the animals that live in the Philippines and put them in the little
+rattan and bamboo jungles which you have made of grasses. A piece of
+looking-glass or plain window-glass can represent water not far from
+the house, and here you should have a crocodile sunning himself on the
+bank. Let a wild boar be plunging out of the jungle, and deep in the
+bamboo grove you might hide the tremendously large snake called a boa.
+I don't think there will be a boa in your Noah's ark, but you can make
+one of bread dough, or of clay. With all these dangerous creatures
+prowling round, do you think it strange that the Filipino people put
+their houses on stilts?
+
+If this were a real house in the real Philippines you might see a
+number of natives, wearing little or no clothes, coming toward you
+bringing small snakes which they had caught to sell in the towns for
+rat-catchers. And near the house there would be most wonderful flowers,
+some of them orchids, the flowers that live on air; while all around
+would be strange and rare birds.
+
+At one side of the house, some distance away, there would, perhaps, be
+a wet rice-field where the queer water-buffalo, called a carabao, would
+be drawing a strange-looking plough, the driver, a little brown man,
+wearing an immense umbrella-like hat woven of palm-leaves.
+
+Listen! Do you hear that deep, booming sound? It comes from the
+peculiar tree which a native is striking with his big club in slow,
+heavy blows on one of its immense, wall-like roots. The sound goes
+rolling far over the land, telephoning to other natives that white
+people are coming.
+
+
+A Doll Filipino Woman
+
+To make the little house seem more real, dress a doll in genuine
+Philippine costume and stand her near the ladder with arms extended as
+if in welcome. The dress must be a white waist with flowing sleeves,
+a light-colored skirt, a large gay handkerchief, called a _pañuelo_,
+folded around the doll's neck, and an overskirt made of a square of
+dark cloth drawn tightly around her body from waist to knees. No
+stockings are needed, but you can give her heelless slippers with only
+a narrow strip over the toes to keep them on.
+
+
+
+
+CHAPTER X
+
+GRASS DRESS AND GRASS HEAD-DRESS
+
+
+LOOK at the little girl in the photograph who is wearing her new grass
+dress made of the wavy hair-grass and playing that she is a wood-nymph.
+She feels very proud and is greatly pleased with her pretty costume.
+
+[Illustration: Fig.67 - Bring the long end of string across front of
+second bunch and form loop A.]
+
+[Illustration: Fig.68 - First loop, A, on front of grass and string
+passed around back of grass forming second loop, B.]
+
+[Illustration: Fig.69 - String brought forward again and slipped
+through first loop, A.]
+
+Almost any kind of long, slender grasses can be used for a dress of
+this kind, but you must gather an armful or more. It takes a good deal
+of material, for the fringe must be close and thick. [Illustration:
+She is greatly pleased with her pretty grass costume.]
+
+Divide the grass into bunches, each bunch about as thick as your thumb,
+and have the heads of all the grasses together at one end of the bunch,
+and the stem ends together at the other end.
+
+[Illustration: Fig.70 - Use a strong string for tying the grass fringe.]
+
+Tie a strong string around the stem ends of one bunch. Hold this tied
+bunch under your left arm, stem ends to the front, and take up another
+bunch (Fig. 70). Bring the long end of the string across the front of
+the second bunch and form a loop (A, Fig. 67). Hold the loop while you
+pass the string around the back of the bunch (Fig. 68), then slide the
+end through the loop A, Fig. 69. Draw this loop-fastening very tight
+and it will hold. Now place the second bunch under your arm with the
+first bunch, and make a loop-fastening around the third bunch. Keep
+on adding bunches of grass in this way, always drawing the last bunch
+close to the one before it, and holding them all together under your
+arm as in the photograph (Fig. 70). In this picture the grass bunches
+are purposely left far apart that you may see exactly how to make the
+fringe.
+
+[Illustration: Fig.71 - Bristle-spiked Cyperus grass used for
+head-dress. See photograph.]
+
+The grass dress will be finished when you have made a strip of fringe
+long enough to reach around your waist, for the skirt--it needs no
+waist--is really only a fringe of grasses to be worn over a light
+summer dress.
+
+
+Grass Head-Dress
+
+The grass head-dress to be worn with the wood-nymph skirt is quite as
+wild-looking, but is simply a band of grasses, with bunches of the
+bristle-spiked cyperus grass (Fig. 71) hanging downward on each end.
+The band goes across over the top of the head, and the grass side
+ornaments fall over the ears.
+
+Wear the grass costume and carry a light branch of green leaves in
+each hand when you give your next outdoor fancy dance, or take part in
+outdoor tableaux where you could represent either a wood-nymph or the
+spirit of the grasses.
+
+
+
+
+_PART III_
+
+GREEN LEAVES
+
+
+
+
+CHAPTER XI
+
+OAK-LEAVES
+
+
+TO dress up and pretend is something every little girl, and boy too,
+for that matter, likes to do, and there is no better place for having
+this kind of fun and no greater storehouse for dress-up material than
+the wide, sunny fields and green, shady forest on a summer's day.
+
+[Illustration: Fig.72 - The Robinson Crusoe Hat.]
+
+If you want to be a wood-nymph, a fairy, or a pioneer; if you would
+be a fashionable lady decked in jewels rare, or a rollicking cowboy,
+or Robinson Crusoe, it is all the same to Mother Nature's department
+store. Fields, Woods & Co. can furnish all you need. If the goods are
+not always ready to wear, they are at least ready to be made up into
+what you want.
+
+Why, you can even be a little savage and wear a skirt made of a fringe
+of long grasses, like the wood-nymph's dress, and bracelets of slender,
+golden-brown rootlets, if that pleases you; all the materials are ready
+to your hand. And you can make a
+
+
+Robinson Crusoe Hat
+
+of the large leaves of the scrub-oak--a pretty and becoming hat and
+one that will keep your head cool though you walk under the hottest of
+noonday suns.
+
+The photograph given here shows one little girl who likes immensely to
+wear her Crusoe hat, and Fig. 72 shows just how the hat looks when not
+on her head.
+
+It won't take more than five minutes to make the hat, but first you
+must gather the leaves. Ordinary oak-leaves are too small to use; it is
+on the scrub-oak that you will find them large enough. The scrub-oak
+grows low, like a bush, and the leaves will be quite within your reach.
+Like a good shopkeeper, this kind of oak shows his customers leaves of
+various sizes, but it is the very largest that you must take, and only
+the ones that are dark-green in color. The pretty new light-green or
+brownish leaves will soon wilt and curl on the edges, while a hat made
+of the older, tougher ones will last in good condition several days if
+left out in the dew at night or kept damp in the house.
+
+[Illustration: The Robinson Crusoe Hat is pretty and becoming.]
+
+The number of leaves needed depends upon the size of the leaves and the
+size of your head. It is well to have at least a dozen and a half; then
+you can select the best. The largest leaves are not always perfect,
+but unless very much torn or eaten away by insects they will answer.
+To gather all you need you will probably have to visit several of the
+little scrub-oaks.
+
+If you are at home when you make your hat, use broom-straws to pin the
+leaves together; if you are in the woods find some smooth, slender
+twigs, break them in short pieces, and they will take the place of the
+straws.
+
+Begin by pinning two leaves together as they are in Fig. 73. These
+leaves are lettered U and V. You see that U is lapped over V and then
+pinned to it in two places, first near the stem and then through the
+lower side lobe. The next leaf would be letter W, and W would be pinned
+to U just as U is pinned to V. Make the stems meet at the top and keep
+adding leaves, pinning one to another, until the hat is large enough to
+fit your head comfortably, then pin the last leaf to the first.
+
+[Illustration: Fig.73 - Pin the leaves together in this way.]
+
+Do not make the hat too flat; if you find it flattening out, lap the
+leaves over more at the bottom. When finished it should be shaped like
+Fig. 72.
+
+
+Oak-Leaf Mask
+
+Among other frolics in the woods you can have a masquerade--a real
+one, where you wear a mask, and that mask made of one of the largest
+leaves of the scrub-oak. Not even a pair of scissors will be needed to
+make this mask, and it is a funny one too (Fig. 74). See the turned-up
+eyelids and the wide nose tilted at the end.
+
+When you have found a leaf large enough (the one in the drawing was
+nine inches long and seven inches wide) use your thumb-nail to cut out
+the eyes and nose. The outlines at the top of Fig. 74 show how to shape
+them, and the dotted lines show where they are bent up.
+
+[Illustration: Fig.74 - The Oak Leaf Mask.]
+
+There is no mouth, none is needed, for the leaf, below the nose, drops
+down loosely over your mouth like the curtain on a mask one buys at a
+shop. The oak-leaf mask will stay on your face if you wet the under
+parts of each side and stick them to your cheeks.
+
+Another way to make the mask is to turn the leaf around, stem down,
+and then cut the eyes and nose in the wide part, leaving the narrower
+stem end for a long chin. This kind you can hold in front of your face
+by taking the stem in your hand. It requires so short a time to make a
+mask that when one wears out or is lost you can have another to replace
+it in a minute or two.
+
+[Illustration: Fig.75 - The little Oak Leaf Dog.]
+
+[Illustration: Fig.77 - This shows how the dog was made.]
+
+[Illustration: Fig.76 - The leaf the dog was made of.]
+
+
+The Little Oak-Leaf Dog
+
+He has the funny expression of a real dog when he is making up his mind
+what to do next, even if he is only an oak-leaf. It was an ordinary
+leaf four inches long which was, by tearing a little here and bending a
+little there, transformed into his absurd dogship (Fig. 75).
+
+Fig. 76 is the tracing of the leaf actually used for the dog. Fig. 77
+shows the same leaf with its stem nipped off and the other end torn up,
+not very evenly, where the dotted lines are in Fig. 76. This makes the
+little dog's tail. The tear on either side reaches to the mid-rib of
+the leaf, but does not cross it, and the mid-rib being unbroken holds
+the tail out stiff and straight.
+
+The two hind legs are bent down just where the tear ends in making
+the tail. The dotted line in Fig. 77 shows this. The other two legs,
+formed by the side lobes of the leaf, are bent down as the dotted lines
+indicate. The tip of the lobe on the left side had to be torn off
+because that leg was longer than the opposite one.
+
+In making the neck the narrow part of the leaf was bent up and then
+down, the two dotted lines show where. Then the ears were bent up and
+the little oak-leaf dog was placed standing as you see him in Fig. 75,
+to have his picture drawn.
+
+
+
+
+CHAPTER XII
+
+GRAPE-LEAF DRINKING-CUP
+
+
+A WILD-GRAPE leaf will do quite as well as a cultivated one for a
+drinking-cup if it is large enough. You want a large leaf, because a
+small one will hold only a sip of water, and when one is really thirsty
+that is certainly not enough.
+
+Whether wild or cultivated, the grape-leaf should be washed in clean
+water to take off dust and any possible insects that may be on it.
+Where there is water to drink there is water for washing the leaf,
+so there can be no difficulty about that, and the large green leaf,
+freshened by the water, looks very cool and inviting.
+
+It is simply a matter of folding, first one way, then the other, that
+turns the grape-leaf into a cup. Fig. 78 is a tracing of the leaf from
+which the cup (Fig. 79) was made. It measured eight inches at its
+widest part, almost seven inches from tip to stem, and the cup held a
+good supply of water.
+
+Begin to fold by bringing the two lower lobes of the leaf together in
+the way shown in Fig. 80. This makes the middle bend that is indicated
+by the dotted line in Fig. 78. Then bring the two lobes around to the
+left, or to the right if that comes easier, hold them close together
+and lap them over the upper lobe on that side. That makes the two side
+bends which join at the middle bend (Fig. 78), and rounds the cup into
+shape.
+
+[Illustration: Fig.78 - The drinking cup was made of a leaf like this.]
+
+[Illustration: Fig.79 - A fine drinking cup made by folding a Grape
+leaf.]
+
+[Illustration: Fig.80 - Bring the two lower lobes of the leaf together.]
+
+The bottom of the cup is pointed, as you see, and, of course, will not
+stand; then, too, the cup falls apart when you loosen your hold, but
+neither of these things are of any consequence, for you can let your
+cup lie flat and fold it again very quickly when it is needed. As
+long as the folds are held tight in your fingers, the cup will keep
+its shape and hold water without leaking a particle. Use the upper, or
+green, side of the leaf for the inside of the cup; the under, or light,
+side is fuzzy and may harbor small insects even after it is washed. Be
+sure you look into the water before drinking it. This should be done no
+matter what you drink from or where you get the water.
+
+
+
+
+CHAPTER XIII
+
+GREEN-LEAF DESIGNS
+
+
+Beech-Leaves
+
+REMARKABLY pretty designs can be made entirely of green leaves; also
+with leaves and their seed-pods, their nuts and berries. You can press
+a design of leaves alone, but one having seed-pods, berries, or nuts
+cannot be pressed. It is fun to make it, even if it cannot be preserved
+by pressing, and you will like to do it.
+
+[Illustration: Fig.81 - Two twigs broken off a Beech Tree made this
+design.]
+
+Fig. 81 is the drawing of a charming design made of two twigs broken
+off a beech-tree. On one twig were two beechnuts in their pretty green,
+spiky outer shells; on the other was just one nut. Each twig had three
+leaves. Nothing was cut off and nothing was added for this design; the
+twigs were used exactly as they came from the tree. The stems were
+simply crossed, with the lower leaf of one twig falling over the stem
+of the other twig, and that finished it. The easiest thing in the world
+to do if you happen to think of it.
+
+
+Violet-Leaves
+
+There is one thing about the green leaves of the violet which makes it
+a joy to use them in a design, and that is, the stems are so pliable,
+so easily bent and curved, you can do almost anything with them.
+
+[Illustration: Fig.82 - Design made of Violet leaves.]
+
+See how the stems add to the beauty of the violet-leaf design Fig. 82.
+
+[Illustration: Fig.83 - The stem curves naturally.]
+
+[Illustration: Fig.84 - Under side of the small leaf in the design.]
+
+The curve of the stem of Fig. 83 is a natural one for it to take, and
+you can probably find a leaf with its stem curved very much like it,
+but it is another thing to come across one of the same size which has a
+stem curved in the opposite direction, and such a stem is necessary for
+a design like Fig. 82.
+
+Very well! Since the stem does not naturally curve the way we want it,
+we will make it do so. All we have to do is to draw it through our
+fingers several times and, by pressure, gently persuade it to turn as
+we wish.
+
+Fig. 84 is the under-side of the small leaf at the bottom of the design
+(Fig. 82), and shows how the stem loop above the leaf was made.
+
+[Illustration: Fig.85 - This is the way the curling Ground-Pine grows.]
+
+First a violet-leaf with stem curved like the one in Fig. 83 was laid
+down on a sheet of paper, then another leaf of the same size, with stem
+_made_ to curve in the opposite direction, was placed beside but not
+touching the first leaf, and with its stem crossing the other stem. The
+two stems meeting at the bottom formed a pear-shaped loop. The small
+leaf, after its stem had been formed into a loop and the end tucked in
+at the back, was fitted on top of the stems of the large leaves, as you
+see it in Fig. 82.
+
+[Illustration: Fig.86 - Beautiful, tiny, green Pine-Tree made of a
+curling branch of the Ground-Pine.]
+
+Violet-leaves are seldom flat; they are apt to curl at the edges; some
+are so curled as to form little cornucopias. Choose the flattest you
+can find for a design like Fig. 82, and paste them to the paper with a
+touch of paste on the under-part of the tip and of the two lobes at the
+bottom of each leaf. Paste the stems down also with a touch of paste
+here and there.
+
+The violet-leaf design can be pressed.
+
+
+Ground-Pine
+
+Deep in the shadowy woods, often where pine-trees are growing, you
+will find the ground-pine. Clinging close to the ground, curling in
+feathery, green clusters on its vine-like root, it runs for yards over
+the surface, while its root, lying along the top, sends down slender
+rootlets into the earth. Push away the dry leaves or pine-needles that
+usually cover the root, and you can pull up long strips and soon gather
+enough to make the prettiest kind of festive decorations.
+
+Festoons of the ground-pine are very pretty on walls, stair-banisters,
+porch-railings, over picture-frames, and hanging from chandeliers, and
+this ready-made evergreen rope is as suitable for outdoor as for indoor
+decoration, as beautiful in summer as in winter.
+
+When you want to "dress-up" in the woods use the ground-pine for
+trimmings. Loop it over your skirt and make a wreath for your
+hair. Last summer at camp we used the ground-pine in this way and
+the little girls, arrayed for a dance, never looked prettier. For
+table decorations at camp and for decorating the tent doorways the
+ground-pine is charming.
+
+Fig. 85 shows how the short, curled clusters grow on the long root, and
+Fig. 86 gives a wee pine-tree made of one cluster picked off the root
+and planted in an outdoor doll's garden.
+
+This is what our American writer and poet, Ralph Waldo Emerson, said of
+the ground-pine:
+
+    "As I spoke, beneath my feet
+     The ground-pine curled its pretty wreath."
+
+
+
+
+_PART IV_
+
+CULTIVATED FLOWERS
+
+
+
+
+CHAPTER XIV
+
+PHLOX
+
+
+Phlox Tower and Phlox Design
+
+IN a great bunch of garden-flowers given me by a friend I found some
+pink-and-white phlox (Fig. 87), and from it I made first a
+
+
+Phlox Tower
+
+As you know, the blossom is trumpet-shaped and flares at the open end
+into five petals. The tube part is long and narrows to a point, so
+it is easy to push one flower into another. That is what you do in
+building the phlox tower. You pull the blossom off its stem and out of
+the little green calyx which holds it, then you push the end of the
+tube part into the round red eye in the centre of another flower as far
+down as it will go. Then you push another blossom into that one and
+build up until your tower is as high as you want it, or as high as it
+will stand without toppling over. A bud stuck in the top flower makes a
+good finish (Fig. 88).
+
+
+Phlox Design
+
+The design Fig. 89 was made by first putting three blossoms together,
+sticking one inside the other as for the tower, to form the long side
+sprays, and afterward arranging three blossoms below the side sprays
+and one above with their stems meeting at the middle, as they are in
+Fig. 89. On each side of the upper flower was placed a sprig of buds;
+then the tube part of a blossom was cut off and the petal part fitted
+in the centre of the design to cover the ends of the other flowers
+where they met.
+
+[Illustration: Fig.87 - Blossoms of the Phlox.]
+
+[Illustration: Fig.88 - Build your Phlox Tower like this.]
+
+The tube parts of three more flowers were cut away, and the petal parts
+arranged in the position shown in Fig. 89. This formed a scattered
+design quite different from any of the others made of flowers.
+
+Touches of paste on the under part held all the flowers in place. The
+phlox design is a good one to preserve by pressing.
+
+
+The Tiger-Lily Leopard
+
+[Illustration: Fig.89 - This phlox design should be pressed.]
+
+From the brilliant-orange tiger-lily, with its dark-brown or black
+spots, we are going to make a--tiger? No, a leopard. Tiger-lilies may
+have spots, but tigers, you know, are striped.
+
+It is really wonderful how much this little animal, made of parts of a
+beautiful flower and broom-straws, looks like the stealthy, prowling,
+wild creature which lives in Africa and Asia. The yellow coat of the
+live leopard is covered with black spots, and so is that of our flower
+leopard. The fierce living animal has a long tail that it moves slowly
+back and forth in anger or when it threatens to attack another animal
+or a man. Our little leopard also has a long tail which, if it does
+not really move, looks as if it were just going to. But while the live
+animal is ferocious and will kill, we can only pretend that of the
+tiger-lily leopard. Though he looks dangerous, he cannot even nibble a
+green leaf.
+
+The illustration of the tiger-lily given here is a drawing of the one
+from which the lily leopard (Fig. 90) was made. You will notice that
+at the right of the flower (Fig. 91) there is the stem and pistil of a
+blossom that has fallen apart.
+
+[Illustration: Fig.90 - The stealthy, prowling Leopard.]
+
+[Illustration: Fig.91 - The leopard is made from a Tiger Lily like
+this.]
+
+When we make the leopard we cut off this lily-stem close to the stalk,
+leaving the pistil attached, to use for the back-bone and tail. Four
+broom-straws, about an inch and a half long and sharpened at one end,
+we use for legs. The pointed ends of two of the legs are pushed into
+the stem at the front, and the other two in part of the pistil at the
+back, as shown in Fig. 92. That makes the skeleton.
+
+[Illustration: Fig.92 - This is the skeleton of the leopard.]
+
+[Illustration: Fig.93 - The leopard's spotted coat.]
+
+Now we have to fit on the skeleton the leopard's spotted coat. After
+pulling the perfect flower apart we select the petal best suited for
+this purpose (Fig. 93), and then take the curl partially out of it by
+pressing it down on the table with our fingers. The tip of the petal
+will have to be cut off because it comes down too far over the tail.
+
+The blunt end of the petal will be the leopard's head, and it can be
+rounded up and moulded with your fingers until it looks like the head
+of the leopard in Fig. 90. Small ears of bits of broom-straw, pointed
+at one end, we must stick in the head where they belong and then, in
+order to make the coat stay in place, we will pin it to the skeleton at
+the neck, in the middle of the back, and again at the tail, with fine
+broom-straws. So we have the little leopard complete.
+
+
+
+
+CHAPTER XV
+
+CULTIVATED FOXGLOVE
+
+
+Fairy-Caps
+
+[=Transcriber's Note:= Foxglove is poisonous. Do not play with
+foxgloves.]
+
+DO you know the cultivated foxglove with its tall spikes of
+thimble-shaped flowers, prettily spotted inside? (Fig. 94.) And do you
+know that these flowers will fit on the ends of your fingers like tall
+caps on the heads of little fairies?
+
+Perhaps there are foxgloves growing in your garden now. If there are,
+pick five blossoms off the stalk, selecting a large one for your thumb
+and a small one for your little finger; the others should be of a size
+in between these two.
+
+Turn these blossoms upside down and they at once become fairy-caps. Fit
+the caps on all five fingers of your left hand. Then on your fingers,
+just below the caps, draw little faces with pen and ink. Now you have
+five living, moving fairies who will do all sorts of things and be very
+spry about it (Fig. 95). They will nod at you joyously, they will bend
+low in solemn salute, and they will put their little heads together to
+plan some piece of mischief.
+
+They can be fairy children at school, if you like, with the short, fat
+thumb fairy for the teacher; and you can make the fairy pupils stand
+close together, shoulder to shoulder, then at a word from the teacher,
+separate and stand alone again.
+
+It will be fun to name the fairies, such names as Pepper-grass,
+Mustard-seed, and Catnip, and with the teacher standing before his
+class, have him call the roll and have each fairy bob his head as he
+answers to his name.
+
+[Illustration: Fig.94 - "Do you know the cultivated Fox Glove?"]
+
+Perhaps you will want the teacher to require each pupil to sing a
+little song or recite a short verse. When a fairy does that, he moves
+forward in front of the others, and stays in that place until he has
+finished. Here is a pretty verse for a flower-capped fairy to recite:
+
+    "I wonder what the Clover thinks,
+     Intimate friend of the Bobolinks,
+     Lover of Daisies, slim and white,
+     Waltzer with Buttercups at night.
+
+           *       *       *       *       *
+
+     Oh, who knows what the Clover thinks?
+     No one! Unless the Bobolinks."
+
+
+Sweet Pea--the Peacock
+
+[Illustration: Fig.95 - Five living Fairies.]
+
+You use a little pretended magic when you turn a sweet-pea blossom into
+a peacock, and that makes it seem more mysterious and more interesting.
+It doesn't take a second but while you are doing it you must repeat
+this transformation rhyme:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock.
+     I turn two down,
+     And you're a peacock."
+
+Pick out a fine, large sweet-pea blossom. It doesn't matter about the
+color. If you have a number to choose from, suit yourself. Hold the
+flower in your left hand by its stem and recite the first two lines:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock."
+
+[Illustration Fig.96: - "Sweet Pea, Sweet Pea, Your petals unlock."]
+
+[Illustration Fig.97: - "I turn two down and you're a Peacock."]
+
+Then as you reach around to the back of the flower with your right hand
+and put your thumb on one curled petal, X, and your first finger on the
+other curled petal, Y (Fig. 96), finish the rhyme:
+
+    "I turn two down,
+     And you're a peacock."
+
+and at the same time turn these petals down as they are in Fig. 97. You
+will see right away that the turned-down petals at the sides are the
+wings, the upright petal at the back is the tail, and the closed middle
+part is the body. The tipped-up point of the body part makes a very
+good head for the little sweet-pea peacock.
+
+[Illustration: Fig.98 - The blossoms of the cultivated Snapdragon are
+large.]
+
+
+Snapdragon--Lady's Head and Lion's Head
+
+The magic that turns a blossom of the large, cultivated snapdragon into
+a little lady's head, upon which rests a dainty, ruffled sunbonnet, or
+into a ferocious-looking lion's head, is the magic of pen and ink, not
+of rhyme.
+
+[Illustration: Fig.99 - The Snapdragon Lady's Head.]
+
+[Illustration: Fig.100 - The Snapdragon Lion's Head.]
+
+The blossoms of the cultivated snapdragon are very much larger than
+those of its wild cousin, called by some people butter-and-eggs, but
+the cultivated flowers grow on a stalk in the same way as the wild
+ones. You would hardly recognize the cultivated flowers as snapdragons
+because of their size and wonderful colors. A sure test is to pinch
+one; if it opens its mouth it is a real snapdragon; if it doesn't it
+is not; but you must know how to pinch it, else it may refuse to snap.
+
+The illustration (Fig. 98) shows a stalk of the cultivated flower, and
+looking at the blossoms in that position you can see neither the lady's
+head nor the lion's, yet they are there.
+
+
+LADY'S HEAD
+
+Pick a blossom off its stalk, leaving the little stem attached, and
+turn it around until you discover the sunbonnet and see that it looks
+like Fig. 99, then with pen and ink draw eyes, nose, and mouth on the
+part under the bonnet that is the face. This part is white, while the
+sunbonnet is sometimes a dainty pink and sometimes a gorgeous scarlet
+or orange, with deeper color on the edges.
+
+
+LION'S HEAD
+
+Turn another blossom upside down and the crown of the bonnet becomes
+the lower jaw and beard of the lion, while the other part is the lion's
+face. On the face you must make two fierce eyes like those in Fig. 100.
+When you take hold of the lion's jaws at the back and pinch them he
+will open his great, wide mouth as if to send out a tremendous roar,
+only to snap it shut again without a sound as you stop pinching. Fig.
+100 shows how to hold the flower to open the lion's mouth.
+
+The pink snapdragon is best to use for the lady's head and the
+orange-colored one for the lion's. If you would rather call it a
+dragon's head, you can, you know, but it looks more like a lion.
+
+
+
+
+CHAPTER XVI
+
+MISS HOLLYHOCK'S GARDEN-PARTY
+
+
+[Illustration: Fig.101 - Miss Hollyhock gives a garden party.]
+
+WHEN Miss Hollyhock gives a garden-party the scene is a gay one.
+All the ladies, and you can have as many as you want, are in their
+freshest, crispest summer gowns. There are dainty pink ones, white,
+rose-colored, and deep red; there are light yellow and orange; there
+are gowns almost brown and others almost black, but whatever the color
+of the skirt the waist is always green. Green waists are the style
+where Miss Hollyhock lives, and she and all her friends follow the
+style very closely.
+
+[Illustration: Fig.102 - Cut the Pistil out of the flowers.]
+
+The hats these little ladies wear to the party are of the same silky
+material as their skirts and are usually of the same color, though
+sometimes a lady in white will appear in a pink or yellow hat, or a
+pink lady can be seen wearing a white hat, and the lady in rose knows
+how well she looks in a hat that is almost black. When there are two
+or more gowns of the same color the hollyhock ladies prefer to have
+different colored hats so that they will not all look alike.
+
+Fig. 101 shows how Miss Hollyhock and her friends are made from the
+flowers of that name. When you have gathered the flowers you must cut
+off the stem of each close to the green calyx which is Miss Hollyhock's
+waist, and then cut out the pistil which grows inside the blossom. This
+pistil is shaped something like a little club, and is covered with the
+yellow grains of pollen (ask some one what pollen is). It looks like
+Fig. 102. The pollen will make the flower wilt quickly. That is why it
+is best to take the pistil out.
+
+[Illustration: Fig.103 - This is the way to make Miss Hollyhock.]
+
+Now select a nice, round, hard, green bud for a head and leave its stem
+on for the neck. Turn the sharp point of your scissors around in the
+top of the hollyhock calyx to make a little round hole, then push the
+stem of the bud into the hole, screwing it round and round until the
+bud almost, but not quite, touches the calyx. If you push it all the
+way down your lady will have no neck; her head will grow directly out
+of her shoulders.
+
+[Illustration: Fig.104 - Miss Hollyhock's Tea Table.]
+
+[Illustration: Fig.105 - Teapot and cups for the Hollyhock tea table.]
+
+Wooden toothpicks are used for legs, arms, and support, but strong
+broom-straws will answer as well, or straight, slender twigs. Push
+three toothpicks, twigs, or broom-straws up into the centre of the
+flower, two in front and one at the back as you see them in Fig. 103.
+The dotted lines show where they go inside the blossom. Be sure to have
+all three the same length so that the little lady will stand firmly.
+The arrows on Fig. 103 show where to insert the arms. Cut sharp points
+on the broom-straws to make them slide in easily. Blunt ends will tear
+the flower.
+
+With pen and ink make the eyes, nose, and mouth on the head, and use
+a petal of another hollyhock for a hat. Pin the hat to the top of the
+lady's head with a pin or short broom-straw.
+
+A garden-party would not be complete without
+
+
+A Tea-Table
+
+Make the tea-table of the hollyhock's round cake of unripe seeds which
+most children call a cheese. This is covered with a green case which
+is easily taken off and then you have a round, white disk like a
+little table-top turned up at the edge. Select the largest one you can
+find and push the ends of three toothpicks or broom-straws into the
+under-side for the table legs (Fig. 104). Now the tea-table must have a
+
+
+Teapot and Cups
+
+Find a green bud for a teapot shaped like Z (Fig. 105). Push two short
+straws into the bud in the places shown by the arrows in Z (Fig. 105),
+one for the spout and one for the handle. Cut the tops off smaller buds
+to make them into teacups (A and B, Fig. 105). A drop of paste at the
+bottom of the teapot and the cups will keep them in place on the table.
+
+
+
+
+CHAPTER XVII
+
+DAFFODILS
+
+
+Dancing Flowers and Whirligigs
+
+DAFFODILS, yellow as sunshine, always come with the beautiful
+springtime. The blossoms of the single daffodils, with their tall,
+golden cups resting in the saucers of lighter-colored petals, are
+the daintiest, though both single and double are so like a song of
+cheerfulness it is a joy to have them near. They look as if they wanted
+to dance for sheer happiness and, wonder of wonders, you can actually
+make them dance.
+
+[Illustration: Fig.106 - The Daffodil Dancer.]
+
+[Illustration: Fig.107 - The Daffodil Animal.]
+
+Gather a few of the single daffies, leaving on them the very short
+stems which hold them to the main stalk. These little green stems will
+be the stiff ornaments at the top of the dancers' green caps when you
+turn the flowers upside down, which is right side up for the dancers.
+
+
+Daffodil Dancers
+
+To make a flower stand alone and give it feet to dance on, push three
+wooden toothpicks firmly up under the little yellow skirt into the
+centre of the blossom. It doesn't matter if a flower has three feet;
+like an insect, it may have more than two and it won't stand on two.
+Spread the bottom ends of the toothpicks out a trifle like a tripod to
+make the flower stand steady (Fig. 106).
+
+When you have made several dancers, stand them on a tin tray, and they
+will be a group of "daffy-down-dillies just come to town," arrayed in
+their best gowns and ready to take part in the dance. Tap the tray
+gently from underneath and the dancers will begin to move. Tap a little
+harder and they will begin to dance. Tip the tray slightly forward and
+they will dance toward you; tip it backward and they will dance away
+again.
+
+[Illustration: Fig.108 - Daffodil stalk for you to turn into a
+whirligig.]
+
+[Illustration: Fig.109 - The Whirligig.]
+
+
+A Daffodil Animal
+
+Queer little animals that come only from Daffy land can be made of the
+single daffodil-blossoms. Take one of the flowers and carefully cut
+away the outstanding petals, leaving the perfect, long cup. Hold the
+cup in your left hand with the short, green stem hanging down; the stem
+is the animal's head; then break off about half an inch from the blunt
+ends of four wooden toothpicks and use the longest parts for legs. Push
+the pointed ends of the tooth pick legs up into the under-side of the
+long, slender cup as it is held in your left hand. Keep the legs of an
+even length and the animal will stand firmly. This little fellow, with
+his green head and long green nose, is very comical (Fig. 107). He can
+dance on the tin tray too, and run about when you tip it.
+
+The daffodil toys will keep their color a long while even after the
+blossoms are dry. Do not take off the brown calyx which is lightly
+wrapped around the bottom of each flower. It represents the hair of the
+dancers and the ears of the animal.
+
+
+The Whirligig
+
+You can have some fun with the daffodil stalk, too, after taking off
+the flowers.
+
+Fig. 108 is a daffodil stalk; look at it closely, then look at Fig.
+109. They are really the very same though they appear to be so
+different. One seems to have a blossom at the top, and you know that
+the other has not.
+
+If you want to do the trick and make a stalk blossom, select a stalk
+like Fig. 108, hold the stem closely between your open hands and roll
+it rapidly by first sliding your right hand forward while the left
+slides backward, then the left forward and the right hand back. This
+makes a whirligig of your stalk, and the flower will appear at the top
+as you see it in Fig. 109.
+
+Try making whirligigs of other kinds of stems; of grasses, twigs, and
+leaves.
+
+
+
+
+_PART V_
+
+SEED-VESSELS
+
+
+
+
+CHAPTER XVIII
+
+SEED-VESSEL PLAYTHINGS
+
+
+WHEN the flowers have gone then come the seed-vessels, equally as good
+for playthings but very different.
+
+Of course, you know the rose-haws, the little red and yellow and green
+apples that you find on the rose-bushes in the fall. They are the
+seed-vessels of the rose, and every rose which is allowed to remain on
+the bush until it fades and falls apart leaves a seed-vessel to take
+its place.
+
+[Illustration: Fig.110 - Rose-haw apples for your doll's table.]
+
+[Illustration: Fig.112 - The bronze-green Rose-haw.]
+
+[Illustration: Fig.111: - This necklace is made of Rose-haws and
+Plantain Lily seed pods.]
+
+
+The Doll's Fruit Piece
+
+The rose-haws look very much like little apples. Rosy-cheeked Baldwins,
+yellow harvest-apples, and greenings, and they will make a fine
+fruit-piece for the centre of your doll's table. Pile them up on one
+of the toy dishes and put the smallest of green rose-leaves around the
+edge (Fig. 110).
+
+
+Rose-Haw Necklace
+
+But the rose-haws can be used for something besides toy apples; you can
+pretend they are jewels and string them for a real necklace.
+
+One necklace can be entirely of the haws and another like Fig. 111,
+which is made of bronze-green haws (Fig. 112), and the long, green
+seed-pods of the plantain (Fig. 113). The blossoms of the plantain
+are pale purple or lavender, and hang from the stalk as the seed-pods
+do. They are bell-shaped and about an inch long. The leaf is like a
+lily-leaf.
+
+[Illustration: Fig.113 - The long, green seed pods of the Plantain
+Lily.]
+
+[Illustration: Fig.114 - The seed pod earring.]
+
+As you see, the haws and seed-pods are strung alternately; first a
+haw, then a seed-pod, again a haw and so on. Thread your needle with
+strong thread and be sure the thread is long enough for the necklace.
+Measure it around your neck, letting it droop as much as you wish; then
+allow several inches at each end for tying. If you cannot find the
+large, brownish-green haws use yellow or red ones, but the green haws,
+when strung with the green seed-pods, are more beautiful.
+
+[Illustration: Fig.115 - This necklace is made of Barberries and
+Plantain Lily Stalk.]
+
+[Illustration: Fig.116 - A branch of the Barberry Bush.]
+
+
+Seed-Pod Earrings
+
+To match the necklace, make long, green earrings of the plantain
+seed-pods. Fig. 114 shows a seed-pod earring. You see it is strung on
+a thread and the ends of the thread are then tied to form a loop. The
+loop must be just large enough to fit comfortably over your ear, and
+when you wear the earring, the green jewel will hang down and dangle
+delightfully. The upper end of the seed-pod should almost touch your
+ear.
+
+[Illustration: Fig.117 - Make the earring in this way.]
+
+
+Necklace of Barberries and Plantain-Stalk
+
+Plantain is very useful in making jewelry because you can use the stalk
+as well as the seed-pods.
+
+Fig. 115 is a necklace made of the plantain-stalk cut in short pieces,
+all the same length, and the coral-red berries of the barberry-bush.
+The crooked branches of the barberry-bush grow very close together and
+are covered with thorns which stand out straight and sharp like pins.
+That is why it is so often used for hedges; nothing can get through it
+without being terribly scratched. From the branches the red berries
+hang down like coral drops. Fig. 116 shows the way they grow. To make
+this necklace, string first a piece of the plantain-stalk, pushing the
+needle through lengthwise, then string a barberry and again a piece of
+the green stalk; after that a barberry. Keep on in this way until the
+necklace is as long as you want it.
+
+[Illustration: Fig.118 - Maple seed vessel used as bird wings.]
+
+The berries are exceedingly pretty strung as you see them, hanging down
+in their natural way, and really, you cannot string them any other way.
+The upper part of the berry is the only part through which you can
+pass your needle because of the large, hard seed which fills the space
+below.
+
+
+Plantain-Stalk and Barberry Earrings
+
+How to make the earrings to complete this set of jewelry is shown
+in Fig. 117. First you string a piece of the plantain-stalk, then a
+barberry; then you put your needle back through the stalk and tie the
+thread at the top. After that you make the loop to put over your ear as
+you did in making the seed-pod earring.
+
+
+Birds of Maple-Tree Seed-Vessels
+
+You see it is not only the seed-vessels of flowers that can be turned
+into playthings. The trees also furnish abundant material for toys.
+
+[Illustration: Fig.119 - Maple seed vessel bird.]
+
+Gather the winged seed-vessels that fall from the maple-trees, Fig.
+118 is a maple seed-vessel, and let us sit on the dry, sun-warmed
+grass and turn them into odd little birds like Fig. 119. These birds
+are very near the size of our ruby-throated humming-birds, a trifle
+larger perhaps, but they do not in the least resemble the beautiful,
+jewel-colored, long-beaked wild bird, either in looks or habits.
+However, they are nice, tame, quiet little birds and never object
+to being handled, played with, and placed on any bush or low tree
+where you may happen to want to put them. You cannot say that of the
+humming-bird, can you?
+
+You will need two seed-vessels for each bird. Divide one through the
+centre, separating the two wings, and use one of these wings for the
+body of the bird, as you see in the diagram Fig. 120. Clip off the two
+corners of the square end where the arrows point to shape it like a
+bird's head, then carefully bend up the seed-vessel pair of wings, and
+fit the body down in between them, resting it on the centre part that
+holds the wings together. One or two stitches with needle and thread,
+passed through wings and body, will keep them close and secure.
+
+[Illustration: Fig.120 - Bird's body.]
+
+When your bird is finished (Fig. 119), thread a needle with black
+thread, tie a good-sized knot in the end of the thread, and push the
+needle from underneath up through the back of the bird where it will
+come out between the wings. Draw the knot up close to the body and tie
+the other end of the thread to a low branch of a tree. When you stand
+off a little distance you cannot see the thread and your bird will seem
+to be hovering in mid-air. A gentle breeze will stir the bird and make
+it look as if flying. If there is no breeze, you can blow on it, or fan
+it until the little thing flutters about almost as if alive.
+
+Be careful to string the thread through the bird at a place that will
+make it evenly balanced.
+
+
+
+
+CHAPTER XIX
+
+BUCKEYE HORSE AND BUCKEYE RIDER
+
+
+All children love the clean, glossy, brown horse-chestnuts or buckeyes.
+There are so many buckeye-trees in Ohio that it is called the Buckeye
+State, and many villages of Long Island are full of them. They are
+used for shade-trees and often line the streets, where they send
+down showers of their nuts, pretty but not good to eat. Everywhere
+the children gather basketfuls and take them home to play with, and
+in other Beard books we have told of some things that can be made of
+buckeyes, but the buckeye horse and rider which you see here have just
+arrived.
+
+He is a very remarkable-looking horse with his funny round head and
+stiff legs and tail, though not more remarkable than the little man
+who rides him. Both are made simply of buckeyes and slender twigs. The
+head and body of the horse and of the man are buckeyes. The neck, ears,
+tail, and legs of the horse are smooth, straight twigs; the neck, arms,
+and legs of the man are also twigs.
+
+
+The Buckeye Horse
+
+When you make a horse let the light-colored part of the buckeye be his
+face. This part usually has a dark spot on it which looks like an eye.
+You will see it in Fig. 121. He will have only one eye unless you put
+in another with lead-pencil or pen and ink, but very frequently horses
+are blind in one eye, so it will not matter whether he has two eyes or
+one.
+
+Stick two short pieces of twigs in the head for ears and a longer
+twig for the neck. You will have to sharpen the ends of the twigs
+to a point so that they will go in easily. The neck twig will need
+sharpening at both ends.
+
+Before putting the head on the body of the horse, which should be as
+large a buckeye as you can find, push in four twigs for the legs. The
+front legs must slant forward, the hind legs slant backward. This will
+make him stand firmly. Then choose a slender twig for the tail, and
+split it several times at one end to show that it has hair on it, as
+in Fig. 121. Fasten the tail on and then push in the neck twig. This
+finishes the horse.
+
+[Illustration: Fig.121 - He is a remarkable looking Horse.]
+
+
+The Buckeye Man
+
+For the body of the man who sits astride the horse, choose a buckeye
+which is rather flat on one side. A round buckeye will roll off. Find a
+small buckeye for the man's head and give him a twig neck (Fig. 122).
+Do not make his twig arms stand out straight at his sides; push them in
+slantingly so that he will hold them out in front. Put his twig legs in
+far apart and slant them a little forward.
+
+Now place the man on the horse, and if he does not fit, change the
+position of his legs until he sits securely. Your buckeye man and
+buckeye horse will then look like Fig. 122.
+
+
+Pine-Cones. Pine-Cone Forest
+
+Of course you like to gather the rich-brown pine-cones that lie
+scattered on the ground under the pine-trees; we all do. Collect
+a number of those which have loosened and opened out their little
+leaf-like scales, then stand them up like trees in an open space on the
+ground. They look so much like toy trees we immediately want to play we
+are foresters, way off in the wild western lands, planting forest-trees
+for Uncle Sam.
+
+[Illustration: Fig.122 - The Buckeye Horse and Rider.]
+
+We can make our forest as large as we want it and plant trees every day
+if we like, or we can gather up our nice, clean, dry cones and take
+them into the house to use in some other way. They make nice playthings.
+
+
+A Fruit-and-Vegetable Market
+
+If you find small, short cones, not fully opened out, notice how
+much they look like little pineapples; you must save these for
+our fruit-and-vegetable market, where we sell fat, short acorns
+as hazelnuts, the long acorns as pecans, and the buckeyes, or
+horse-chestnuts, all shiny, dark, and smooth, as eggplants, and
+rose-haws as apples.
+
+There are other things in our store, too. String-beans, which are
+really locust-pods, and heads of white cauliflower made of bunches of
+the wild carrot or Queen Anne's Lace blossoms, tied together so that
+the pretty white flowers of the wide-spreading clusters lie evenly with
+edges touching. A number of these clusters are used for one head of
+cauliflower, and around each head are arranged green leaves with their
+tops cut off just as you see them around the real vegetable.
+
+
+Cone Card-Rack
+
+Save one of your fine, large-sized, wide-open cones and make a
+card-rack of it like the one shown in the photograph Fig. 123.
+
+[Illustration: Fig.123 - Card rack and pin box combined.]
+
+You must have a small, round or square wooden box for the base and glue
+the flat bottom of the cone on the lid. The box can be filled with
+small brass clips for holding sheets of paper together, or with pins,
+and it will then make a fine birthday or Christmas present for some
+one. The cone card-rack is very useful on a writing-desk.
+
+If you make a number of these cone-racks they will be something new for
+your next fair. Remember to stick some pretty cards in each rack.
+
+
+Christmas-Tree Ornaments
+
+Perhaps you would like to keep some of your cones for Christmas-tree
+ornaments; they make very pretty ones.
+
+Gild several until they shine like gold, then silver others, and they
+will look as if covered with white frost. If you have collected any of
+the prickly sweet-gum balls that look as if they were carved in little
+starry patterns, gild and silver these, too, and let them dangle from
+the tree on long gilt or silver cords.
+
+These natural, outdoor ornaments are not easily broken, and may be kept
+from year to year for your Christmas tree.
+
+
+
+
+CHAPTER XX
+
+BURDOCK-BURRS
+
+
+The Little House of Burrs
+
+NOW let us build a little woodsy house of burrs (Fig. 124) and put
+it in a little garden. Gather two heaping handfuls of large-sized
+burdock-burrs, small ones are not strong enough, and begin building.
+These burrs grow on a bush; they are about the size of a marble, are
+almost round, are prickly, and are pinkish at the top.
+
+Make the roof first (Fig. 125). Stick ten or twelve burrs together in a
+row with pink heads all pointing in the same direction. Place this row
+on a flat, smooth surface, a board, flat stone, table, or, perhaps, the
+hard earth, and attach another row of burrs along the side edge of the
+first row. Continue to add more burrs until you have six or seven rows
+fastened into one flat piece.
+
+Be sure that this piece does not bulge out or sink down in places, for
+the roof must be perfectly flat. Make the two side walls (Figs. 126 and
+127) and the back wall of the house as you made the roof; the back wall
+must be the length of the roof and the height of the side walls (Fig.
+128). The side walls must each fit on the ends of the roof and be high
+enough to look well.
+
+The front wall of the house must have a doorway and a window (Fig.
+129). But first make it solid, exactly like the back wall and exactly
+the same size, then lay it down on the flat surface that you are using
+for a table, and open a hole for the doorway by taking out five or six
+burrs, counting from the bottom up, and two or three burrs, counting
+from side to side. That will make about ten or twelve burrs to be
+removed. Take out the burrs for the window and make the opening three
+or four burrs high and two burrs wide. (See Fig. 129).
+
+Use four burrs for each side of the hollow square chimney (Fig. 130),
+which is open at top and bottom.
+
+[Illustration: Fig.124 - The little woodsey house of Burdock-burrs with
+ornamental trees of grass.]
+
+To put the different parts of the house together lay the roof down flat
+and stick the edge of the back wall on top of the outer row of burrs
+which forms one of the long edges of the roof. Fasten one side wall on
+one short edge of the roof in the same way and press the edge of the
+back wall and the edge of the side wall together, making the corner
+firm and square. Next attach the second side wall, and lastly fit in
+the front wall.
+
+[Illustration: Fig.125 - Roof of house of Burs.]
+
+[Illustration: Fig.130 - Chimney of house of Burs.]
+
+[Illustration: Fig.126 - Side wall of house of Burs.]
+
+[Illustration: Fig.128 - Back wall of house of Burs.]
+
+[Illustration: Fig.127 - Side wall of house of Burs.]
+
+[Illustration: Fig.129 - Front wall of house of Burs.]
+
+Now lift the house carefully, place it right side up on the ground, and
+adjust the chimney to the roof. As you work keep the picture of the
+house in front of you so that you may see at a glance whether you are
+building it correctly or not. If you cannot find large burrs, let the
+sides and the roof of the house be two layers of burrs stuck firmly
+together. Make a path leading up to the door of very small shells,
+sand, or fresh earth.
+
+[Illustration: Fig.131 - Cat-tail for little pond made of
+Timothy-Grass.]
+
+[Illustration: Fig.132 - Cat-tail held upright by Burdock-burrs.]
+
+
+Pond, with Water-Lilies, in the Garden
+
+Would you like to have a little pond near the house, with white
+water-lilies floating on its surface and wee cattails growing here and
+there in and near the water's edge?
+
+You can easily make such a pond. Sink a shallow pan in the ground, a
+hole must be dug to fit it, you know, and fill the pan with water.
+Cover the edges with moss or earth and plant short-stemmed heads of
+timothy-grass (Fig. 131) and slender, stiff grass-blades in scattered
+groups near the water. It is timothy-grass that looks so much like
+cattails, and also the grass called foxtail.
+
+[Illustration: Fig.133 - The play Water-Lily made of a White Clover
+floating on water.]
+
+[Illustration: Fig.134 - Cut leaves for the water lilies from a Maple
+leaf as shown here.]
+
+Some of the cattails can be made to look as if they were growing in the
+pond if you make a flat-bottomed ball of burrs around the ends of the
+stems to hold them upright (Fig. 132), and put some small stones on top
+of the ball to weight it down in the water.
+
+For the little water-lilies select perfect white clover-blossoms (Fig.
+133), and for the leaves, or lily-pads, use any rather small, smooth,
+round leaves. The marsh-marigold leaf will answer, or you can cut out
+water-lily leaves from oak or maple. Make them the shape of the pattern
+Fig. 134. The pattern here is laid on a maple-leaf ready to cut out a
+leaf for the water-lily. Make a number of lilies and float them and the
+leaves on top of the water.
+
+[Illustration: Fig.135 - Pea-pod Canoe.]
+
+[Illustration: Fig.136 - Cut open the pea-pod along dotted line.]
+
+
+A Pea-Pod Canoe
+
+You might add a pea-pod canoe (Fig. 135), with a tiny American flag
+standing proudly erect at the bow.
+
+When you make the canoe, open the pod where you see the dotted line
+in Fig. 136. To keep the pod open make little braces of broom-straws,
+and put them in crosswise with one end against each side of the canoe.
+There are four braces in the canoe (Fig. 135), but you may not need
+that many.
+
+
+The Trees
+
+In the picture given here the tree on the left of the little house
+of burrs is just two stalks of the common grass called meadow
+muhlenbergia, which are held up as if really growing, by several green
+burrs left from building the house. The burrs are squeezed up tight to
+the grass-stems and then pressed down tight to the ground. You can find
+the grass for these trees almost any place; it is very social and loves
+to make its home with other grasses.
+
+[Illustration: Fig.137 - Burdock-burr target.]
+
+The graceful, drooping tree on the right of the house is made of the
+grass called brome-grass. Keep your eyes open and you will find it some
+time while playing out-of-doors. As soon as you see it, run to the
+brome-grass and whisper its name. You will be glad to discover it and
+will remember its name afterward whenever you see the grass.
+
+Look at the picture again and notice the odd plants near the
+brome-grass tree. Their name is Bermuda-grass. See how they spread out
+their long, slender fingers. They look very much like a grass named the
+small crab-grass, and another the large crab-grass, and like another
+still called the wire-grass; but if you put all these side by side and
+examine them closely you will see how they differ.
+
+
+Burdock-Burr Game
+
+Besides making things of burdock-burrs, you can play a game with them.
+The game is something like archery, only, instead of shooting arrows at
+a target, you throw burrs at it.
+
+Get a good-sized piece of woollen cloth or some kind of material with a
+rough surface to which the burrs will cling. Tack this up on the fence
+or on a board; then, with a large piece of chalk that will make a wide
+mark, draw four circles, one inside the other like Fig. 137. It doesn't
+matter if your circles are not perfect. Do the best you can and finish
+your target. Number the spaces between the circles 1, 2, 3, 10. The
+outer space is 1, the next, 2, next to the centre 3, and the centre 10.
+The centre, being the bull's-eye, counts most.
+
+[Illustration: Fig.138 - Hold the burr this way when you throw it at
+the target.]
+
+Have ready a lot of burrs for each player; mark a boundary-line on
+the ground, beyond which no one must step in throwing the burrs, and,
+standing at the boundary-line, let each player in turn throw three
+burrs at the target. The burrs that stick to the target make the score
+if they are in the numbered spaces. Fig. 138 shows how to hold the
+burr. Suppose one burr sticks to the space numbered 2, and the two
+others are in number 1, the player would then have two ones and one two
+which, added together, make four; her score then would be four.
+
+Always pull the burrs of one player off the target before the next
+player takes her turn, and there will be no question as to who should
+claim them. After each player has had three turns, let every one add up
+her scores. The player who has the highest wins the game. If divided
+into sides, the players on the side having the highest score are the
+winners and they should be given a hearty cheer by the losing side.
+Even very little girls and boys should learn to be good losers and to
+help celebrate the victory of others.
+
+
+
+
+CHAPTER XXI
+
+THINGS TO MAKE OF ENGLISH-WALNUT SHELLS
+
+
+NUTS are the seed-vessels of the nut-trees; did you ever think of that?
+They do not grow only that we may have something delicious to eat. They
+ripen and fall on the ground, where some of them take root and grow up
+into trees themselves. If you plant a hickory-nut a little hickory-tree
+should come up, and it will if the conditions are all right. If you
+plant a walnut it will be a walnut-tree that will appear; so you see a
+nutshell is the seed-vessel of the nut-tree.
+
+English walnuts do not grow wild in this country, but are cultivated
+here and you all know what the English walnut is like. Our American
+walnut is very hard to crack; its shell is rough and deeply grooved,
+but the English-walnut shell is smooth and without sharp edges, though
+its surface is uneven. There is a shallow groove running round the
+shell, like a seam, and the shell cracks open along this seam evenly
+and easily.
+
+
+To Open an English Walnut
+
+The easiest way to open an English walnut so that the shell will be
+in two perfect halves is to push the tip of a penknife-blade into the
+groove at the large end of the nut, and then slowly and carefully turn
+the knife to pry the halves apart. When opened this way the shell is
+never broken (Fig. 139).
+
+After you have opened several nuts and taken out the kernels, use the
+knife to cut away the thin, papery divisions inside the shells. You
+will then be ready to make
+
+
+The Professor
+
+and one half-shell is to be his head. Draw a face on the shell like
+the face of the professor (Fig. 140). The narrow part of the shell is
+his chin, the wide part, the top of his head. He has an intellectual
+forehead, high and broad, with furrows of thought showing plainly on it.
+
+[Illustration: Fig.139 - This is the way to open the shell.]
+
+
+The Professor's Robe
+
+As a rule professors wear black robes when they wear any, but our
+nutshell professor wears white because it is more becoming to his dark
+complexion, and because it is more effective and draws attention to
+him.
+
+[Illustration: Fig.140 - The English Walnutshell Professor.]
+
+[Illustration: Fig.141 - The Professor's Robe.]
+
+To make the robe, fold an oblong piece of white paper into a square,
+which makes the square double. The edges should measure about four
+inches. If you have a large white envelope cut off one end to make it
+square and use that. Fold the square diagonally across from point to
+point, as is shown by the dotted line in Fig. 141. Now turn back first
+one side point, then the other side point, and make them meet over the
+first fold to form a fanlike pleat, wider at the bottom than at the
+top. The dotted lines on either side of the middle one in Fig. 141 show
+where the folds should come. The middle fold is bent out, or toward
+you; the side folds are bent in, or away from you. The side points now
+extending toward you are the wide, flowing sleeves of the professor's
+gown.
+
+Take the robe in your hand at the bottom point, holding it from the
+back, and on the top point hang the professor's nutshell head (Fig.
+140).
+
+[Illustration: Fig.142 - The Nutshell Mouse.]
+
+[Illustration: Fig.143 - Ear for the mouse.]
+
+While the head balances quite securely on the point, you can make it
+wag from side to side, make it shake and tremble when the professor
+grows very earnest in his discourse, and make the chin thrust itself
+forward when he is emphatic. You do all this merely by shaking
+and tipping the paper robe. He is an amusing little lecturer, this
+English-walnut shell professor, and seems very much alive.
+
+
+English-Walnut Shell Mouse
+
+It is a far cry from a lecturer to a little mouse, yet one
+English-walnut shell will make both, half a shell for each.
+
+This is a nice, cosey-looking little mouse who crouches down
+comfortably and does not show his legs (Fig. 142).
+
+The point of the shell is the nose of the mouse; above it make two
+round, black eyes and then paste on two brown-paper ears. Cut the ears
+like Fig. 143, bend back the little stems at the bottom, put a touch
+of paste on each stem and stick the ears to the mouse's head in the
+position shown in Fig. 142. Cut a piece of string about three inches
+long for the tail and paste one end of it on the inside edge of the
+shell at the large end.
+
+[Illustration: Fig.144 - The Nutshell Thimble Box.]
+
+[Illustration: Fig.145 - Tie a ribbon around the nut.]
+
+If you make three of these mice and glue them to a piece of cardboard
+they will look very cunning. Or you can glue one mouse to a small card
+and use it for the top of a Christmas pen-wiper.
+
+
+English-Walnut Shell Thimble-Box
+
+A pretty way to give a small present at Christmas or on a birthday is
+to put it into an English-walnut shell box. A thimble fits in the box
+beautifully (see Fig. 144).
+
+Open the shell of an English walnut in the way described (Fig. 139).
+Cut away the inside partitions and, with jeweller's cotton, make a
+soft little bed in one-half of the shell. Press down the cotton in the
+middle to make a hollow, and in this hollow fit the new thimble. Put a
+layer of cotton over the top of the thimble and tuck in the edges. The
+way to close the box is to cover the edges of the other half-shell with
+glue and then fit it on the half that holds the thimble, just as it was
+before you opened it.
+
+Now you have a whole nut again, but the meat inside is very different
+from that which you took out. You can gild the nutshell after the
+glue has hardened or leave it as it is. Its own brown color is pretty
+enough. In either case you must have a piece of narrow ribbon to tie
+around the box and form a loop by which to hang it (Fig. 145).
+
+Pass the ribbon under the small end of the nutshell, then bring it up
+and tie it securely at the top of the large end. The ribbon should not
+be over the seam but should pass across the middle of each half-shell.
+It will then hold the two parts together and keep the glue from
+loosening. After the ribbon is tied at the top of the nut, make a long
+loop above it and tie again in a bow-knot.
+
+
+
+
+_PART VI_
+
+VEGETABLES
+
+
+
+
+CHAPTER XXII
+
+THINGS YOU CAN MAKE OF LIMA BEANS
+
+
+[Illustration: Fig.146 - The Lima Bean Fish will swim.]
+
+[Illustration: Fig.147 - The pod for the fish must be open at the
+bottom.]
+
+VEGETABLES are good to eat, certainly, and you know what they are like
+when cooked and on the dinner-table; but many are also good to play
+with. You can make fine toys of them, toys that are entirely different
+from any you have ever seen. Here is the
+
+
+Swimming Fish Made of a Lima-Bean Pod
+
+A fish that really swims, not on top of the water but in it, is the
+little fish (Fig. 146). You won't find that in a shop or anywhere
+else, for I have only just discovered how to make it myself.
+
+A paper tail and two paper fins must be added, but that won't take
+five minutes when you know how to do it. The tail and fins make it
+wonderfully lifelike, for when the fish swims around in a big basin
+or dish-pan, the tail sways this way and that, the fins move back and
+forth exactly as they do on a living fish in a real lake or in the
+great ocean.
+
+[Illustration: Fig.148 - The fin of Bean-pod Fish.]
+
+[Illustration: Fig.149 - Tail of Bean-pod Fish.]
+
+Choose a good, firm bean-pod, one as flat and even as you can find,
+open it carefully along the straight edge and take out the beans. Save
+the beans, for you can make something of them too. Do not let the pod
+close again after the beans are out. It must be open about half an
+inch, or maybe a little more, at the middle. You can widen the opening
+by pushing your finger in. Be careful not to split it along the upper
+edge. It should be like Fig. 147, which shows the opening at the bottom.
+
+With the small blade of a pocket-knife make a slit on each side of the
+pod at the large end where it is marked C in Fig. 147.
+
+[Illustration: Fig.150 - The Lima Bean Man will stand.]
+
+These slits are to hold the fins. Directly on the curved edge of the
+small end of the pod, at the place marked D, cut another short slit.
+Don't let it reach the lower edge. This is to hold the tail.
+
+From writing-paper, not the very heavy kind, cut two fins like Fig.
+148. Double the paper and cut out both at once so that they may be
+exactly alike. From the same kind of paper cut the tail like Fig. 149.
+All you have to do now is to push the sharp point of one paper fin into
+the slit on one side of the pod, the other fin into the slit on the
+other side of the pod, and the sharp point of the tail into the slit
+in the edge of the pod, and there is your fish. You see the fins and
+tail are not pasted on and they really seem a living part of the fish.
+Notice that the top of fins and tail are different from the bottom, and
+be sure to have the top edge up when you put them in the slits.
+
+[Illustration: Fig.151 - Parts of Lima Bean Man]
+
+The way to make the lima-bean fish swim is to place it, open edge down,
+in a large basin of water; then with a stick or spoon begin at the
+centre to stir the water gently and gradually round and round until
+it all moves faster and faster, and keeps on moving after you stop
+stirring. Then your little green fish will swim. Round and round the
+basin he will go, his tail waving and his fins moving so naturally you
+will shout with delight.
+
+If at first the fish insists upon turning over on his side and floating
+about like a dead fish, don't give him up. He is only playing 'possum.
+He _can_ swim and he _will_ if you are patient and keep setting him
+upright until he gains his balance and becomes used to the water.
+Remember to put the fish _in_ the water, not on top.
+
+Don't let the beans, that you have taken out of the pod when making the
+fish, get dry and hard. They can be turned into a
+
+
+Lima-Bean Man
+
+Three beans and several strong, straight broom-straws you will need for
+making this comical little fellow, who, upright and independent, stands
+squarely on his own feet. That is a good thing for any one to do, let
+alone a little bean man (Fig. 150).
+
+The beans should be of different sizes. A large one for the body, next
+in size for the feet and a smaller one for the head. Some beans have a
+little point that stands out on one edge and looks like a tiny nose,
+while below it there is a round hollow that looks like a little open
+mouth. That is the kind of bean to choose for the little man's head.
+
+The broom-straw for Mr. Bean's arms should be quite four inches long,
+if he is to be four inches tall. Cut one end of this broom-straw
+slanting to a point like E in Fig. 151, and push the point through the
+upper part of the body bean and out far enough on the other side to
+make the arms of equal length; then bend one arm up at the middle where
+the elbow should be, and the other arm down as you see them in the
+drawing of the man (Fig. 150).
+
+The broom-straws for the legs must be two and a half inches long and
+cut pointed at both ends, for one end of the leg is pushed into the
+lower part of the body bean and the other end into the half bean which
+is the foot. Split the foot bean in half to make two feet and push the
+leg straw into the rounded side. The flat side is the bottom of the
+foot.
+
+[Illustration: Fig.152 - The beans are not taken out of the pod for the
+Lima Bean Pig.]
+
+A short piece of broom-straw, hardly an inch long, is the neck. Cut
+this straw pointed at each end, push one end into the top of the body
+bean and the other end into the lower part of the head bean. Use
+one-half of the outer skin, that comes off the foot bean when you split
+it, for a hat. Being curved like a rose-petal, it fits the head very
+nicely, but a drop of paste on the little man's head will make it more
+secure.
+
+Your lima-bean man may be a farmer and own
+
+
+A Lima-Bean Pig
+
+--a funny pig with fat sides and a turned-up snout (Fig. 152).
+
+Look over all your bean-pods that still have beans in them, and select
+the one shaped most like Fig. 153. Do not take the beans out of the
+pod; they make the pig fat and solid. The stem end forms the snout and
+the head.
+
+[Illustration: Fig.153 - Choose a bean-pod shaped like this for your
+pig.]
+
+Cut four broom-straws about one and a half inches long for the legs.
+Sharpen each of these straws at one end and push the pointed end into
+the lower part of the body, two on each side, in the places shown by
+small rings on Fig. 153.
+
+From part of another bean-pod cut two ears like F, Fig. 154, and pin
+them on the pig's head with a short straw as they are shown in the
+picture of the pig. Run the straw through one ear near the bottom,
+through the head and then through the other ear on the other side of
+the head.
+
+[Illustration: Fig.154 - Make these of a bean-pod or of paper.]
+
+Pull a narrow strip from the edge of a bean-pod for the tail (G, Fig.
+154). Curl it by drawing it lightly over the blade of the scissors.
+Punch a small hole with the point of the scissors in the upper edge of
+the pig's back at the place marked by the arrow on Fig. 153, and push
+one end of the tail into the hole. Make small round dots with a pencil,
+or pen and ink, for the eyes. The ears and tail may be made of paper if
+you find that easier to use.
+
+
+
+
+CHAPTER XXIII
+
+SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH
+
+
+IF you have ever seen an alligator, a long-tailed sweet potato will
+make you think of one immediately.
+
+Fig. 155 is a baby alligator with a sweet-potato body and paper head
+and legs. It is just the size of the little alligators they sell for
+pets down in Florida. That is, the alligator from which the drawing was
+made is the size of the live ones; the drawing is, of course, smaller.
+
+[Illustration: Fig.155 - The Baby Alligator made of a Sweet Potato.]
+
+[Illustration: Fig.156 - Find a potato shaped like this for the
+alligator.]
+
+Find a potato shaped like Fig. 156. Cut a slit in the large end and
+two slits on each side where you see them in Fig. 156. When you make
+the side slits push your knife in with the blade slanting upward and
+backward for the front legs, and slanting downward and backward for
+the back legs. This will allow the paper legs to slide in without
+bending.
+
+[Illustration: Fig.157 - Make the alligator's head like this.]
+
+[Illustration: Fig.158 - Cut two front legs by this pattern.]
+
+[Illustration: Fig.159 - Make the two hind legs by this pattern.]
+
+Use brown paper, as near the color of the potato as you can get, for
+the alligator's head and legs. Make the head like Fig. 157, cutting
+along the heavy lines and bending along the dotted ones. Bend down the
+sides of the head and of the neck, then bend the head first up, then
+down, to lift it above the neck (Fig. 155.)
+
+The eyes of a baby alligator are large and prominent. Draw them on the
+head as you see them in Fig. 157. That is as near as we can come to the
+real eyes.
+
+[Illustration: Fig.160 - The Radish Imp is a decorative little fellow.]
+
+Cut out of the same paper used for the head two fore legs like Fig.
+158, and two hind legs like Fig. 159. Slide the fore legs into the
+slits nearest the large end of the potato and the hind legs into the
+slits near the tail. Push the point of the paper neck into the slit at
+the large end of the potato. That finishes the baby alligator, which is
+wonderfully true to life.
+
+
+What to Make of a Radish
+
+A crisp, fresh, clean radish is very tempting, but don't eat it this
+time; turn it into something else by the magic your ten fingers can
+work.
+
+
+The Radish Imp
+
+Fig. 160 shows a round white radish which, with its long, slender root
+and leaves still on it, has been changed into a queer little radish imp
+by using strong broom-straws to stiffen his leaf arms, his leaf legs,
+and his leaf body. His eyes are bits of broom-straw, his mouth is a
+slit with a broom-straw tongue, and his absurd, stand-out ears are also
+pieces of stout broom-straw.
+
+The root growing out of the top of his head is like a Chinaman's queue
+standing on end with little, crinkly separate hairs at its base.
+
+[Illustration: Fig.161 - Cut two broom-straws for the arms and two for
+the legs.]
+
+When you make your radish imp cut two broom-straws about four inches
+long for his arms; point these at the ends. Cut two more strong
+broom-straws a little longer than the distance between the radish and
+the tips of the two longest leaves. Point these at both ends (Fig.
+161). Now choose two leaves of even length, nearest the radish, for the
+arms. Don't take them off but push a broom-straw through each leaf,
+first in, then out, then push the other end of the straw into the thick
+part of the stems just under the radish. Look at Fig. 160 and see how
+this is done.
+
+[Illustration: Fig.162 - White Mouse.]
+
+[Illustration: Fig.163 - These belong to the mouse.]
+
+The leaves with the longest stems must be used for the legs. If there
+are more than two long-stemmed leaves, cut off all except those wanted
+for the legs. Bend the long, stout broom-straws at one end, as in Fig.
+161, and push the other end up through the thick part of the stems and
+into the radish; then with a piece of string or strong blade of grass
+tie the stems of the leaves to the straws, as shown in Fig. 160. This
+forms a little belt at the waist-line. Leave a large leaf with short
+stem loose at the back for a cape and run the bent ends of the long
+straws in and out of the leaves intended for the feet.
+
+Cut a curved slit in the radish for a mouth and push in a small piece
+of broom-straw for a tongue, then put in bits of straw for eyes, nose,
+and uplifted ears.
+
+
+A White Mouse
+
+You can make a most amusing little white mouse of a white radish; not
+a round one like that used for the imp, but egg-shaped, like Fig. 162.
+The long root is the tail of the mouse and the other end of the radish
+is his head. Cut two paper ears like H, Fig. 163. Make two slits in the
+head and slip the pointed ends of the ears into the slits.
+
+For whiskers (all mice have whiskers) find two sprays of fine branching
+broom-straws (I, Fig. 163), cut them the proper length, and push a
+spray into the head on each side of the nose. Put bits of broom-straw
+in for eyes and then cut four thick straws like J, Fig. 163, and push
+the pointed ends slantingly in the lower part of the radish for the
+feet of the mouse. His legs are not seen because he is crouching. The
+drawing of the mouse shows where to put the feet.
+
+
+
+
+CHAPTER XXIV
+
+GREEN-PEA TOYS AND A GREEN-PEA DESIGN
+
+
+PRESS your thumb on the rounded edge of a fresh, fat green pea-pod,
+and, pop! it goes splitting open at the top. Then push your thumb into
+the opening, run it down the pod and the two halves separate, showing
+a row of fine, large peas that look like great green pearls in a soft,
+silk-lined case made expressly for them.
+
+[Illustration: Fig.164 - The Green Pea Greenies, cousins of the
+Brownies.]
+
+You have done this ever so many times when helping mother, haven't you?
+And you know that the next thing to do when the pod is open is to run
+that same little thumb down again and scoop out all those round green
+peas, letting them fall with a patter into the pan in your lap.
+
+Now as a reward for such helpfulness suppose you ask mother or the cook
+to give you a good big handful of peas which have not been shelled, and
+ask also for some wooden toothpicks such as are used in the kitchen
+for fastening meat together; or a number of nice, straight, strong
+broom-straws if there are no wooden toothpicks. Take all these out
+on the porch if the day is fine and sit down comfortably to make the
+remarkable things which I am going to tell you how to make. It is a
+good plan to have a box and its cover to hold the shelled peas and
+their pods, but it does not really matter except that the round peas
+are apt to roll away and get lost if you put them in your lap.
+
+[Illustration: Fig.165 - Parts of the Greeny Girl and how to put them
+together.]
+
+
+The Greeny Girl
+
+The little green-pea greenies, cousins of the brownies, shown in the
+illustration are funny, aren't they? But the drawing is not as funny
+as the real greenies, and you can make them in all sorts of absurd
+positions.
+
+Two little men and a widely smiling greeny girl are given here (Fig.
+164). The large green peas that come late in the season are used to
+make these little people. In fact, it is only the large peas that
+can be used for any of the things described. Fig. 165 shows how the
+greeny girl is put together. Her arms, legs, and neck are made of
+broom-straws. Her body and head are green peas. Her dress is one end of
+a pea-pod and her feet are bits of a pea-pod cut the shape you see in
+Fig. 165.
+
+First cut short pieces of broom-straws for the legs and point them at
+both ends so that they will be easy to push into the peas and pods. Cut
+another piece the same length, pointed at the top end for the support.
+Push the legs and support into the large pea used for the body as you
+see them in Fig. 165. Now cut another piece of broom-straw pointed at
+both ends for the neck and push one end into the pea you have selected
+for the head.
+
+[Illustration: Fig.166 - Begin the tent in this way.]
+
+[Illustration: Fig.167 - The Greenies' Pea-pod tent.]
+
+Cut off the stem of a large pea-pod, leaving the little leaves at the
+top, which were the calyx of the pea-blossom, for a collar, and then
+cut the pea-pod dress the proper length to fit the little woman. When
+that is done put the dress on over the headless body and push the lower
+end of the broom-straw neck in at the top, down through the collar,
+and into the pea which forms the body. With a pin make a hole on each
+side just under the collar and push a broom-straw arm in each of the
+armholes you have made. Bend one straw in the middle, as in Fig. 165,
+to give the bent elbow.
+
+Last of all cut two three-cornered feet like the one in Fig. 165 from
+a pea-pod and push a foot on the end of each leg. Turn the toes in and
+the little figure will look very comical. To give her a face, dip a pen
+in black ink and make two round eyes in the head, a round nose, and a
+wide mouth turned up at the corners. The pen must be pushed through the
+skin of the pea to do this. When the greeny girl stands up, her dress
+hides the support at the back so that it cannot always be seen, and she
+looks as if she stood on her two feet just as you stand on yours.
+
+
+The Greeny Men
+
+The illustration (Fig. 164) shows how the greeny men are put together.
+The little dancing fellow must have two supports because one foot is
+lifted. The tiny ridiculous cap on the head of the other man is the
+little cap that holds the pea to the pod and sometimes clings to the
+pea after it is shelled.
+
+
+Pea-Pod Tents
+
+The greenies' little tents are made of pea-pods and it takes three pods
+for each tent. After you have taken out the peas split the pods up
+along the back edge, but leave the two halves fastened together at the
+stem. Stand up two pods by pushing the stem end of one pod between the
+two halves at the top of the other, as they are shown in Fig. 166. Then
+separate the halves of the third and longest pod and place it astride
+the first two (Fig. 167). This will make quite a strong tent, and, if
+you like, you can have a whole camp of them.
+
+
+The Green-Pea House
+
+The greenies need not always live in tents. Like other people, they can
+have houses as well.
+
+It is best to use the wooden toothpicks in making the house. They are
+stronger than broom-straws and all the same length. Begin by putting
+the front of the house together. Make the peak first. Choose a large
+pea, push the end of a toothpick into it, then not far from that push
+in the end of another toothpick slantingly so that the lower ends will
+be separated as you see them in Fig. 168. On each of these lower ends
+stick a pea like Fig. 169. That is the peak for the roof. Now make a
+long upright for each side by using a pea to join two sticks (Fig.
+170), and push the upper end of each upright into the peas at the lower
+ends of the peak (Fig. 171).
+
+[Illustration: Fig.168 - Begin the peak in this way.]
+
+[Illustration: Fig.169 - Stick a pea on the lower ends of each
+toothpick to finish the peak.]
+
+Shorten two toothpicks by breaking half an inch off each of them, then
+join them as you did the uprights by pushing one end of each stick
+into a large pea (Fig. 172). This is the front joist or crosspiece of
+the upper floor of the house, and you must fit it in between the two
+uprights of the front by pushing the ends of the crosspiece into the
+peas at the middle of the uprights (Fig. 173).
+
+[Illustration: Fig.170 - The long upright.]
+
+[Illustration: Fig.171 - Add the uprights to the peak.]
+
+[Illustration: Fig.172 - This is the front joist.]
+
+[Illustration: Fig.173 - Fit the joist in between the two uprights.]
+
+[Illustration: Fig.174 - The back of the house.]
+
+The back of the house is made in the same way with a third upright
+added which runs down through the middle from the point of the peak
+to the bottom of the house. This third upright is made by shortening
+two toothpicks and joining them with a pea, then fitting them in
+between the pea at the top of the peak and the pea at the middle of
+the crosspiece. A whole toothpick with the upper end pushed into the
+lower part of the pea at the middle of the crosspiece finishes the long
+upright (Fig. 174).
+
+[Illustration: Fig.176 - The Greenies' little house.]
+
+When the front and back are made all there is to do to finish the frame
+of the house is to put in the crosspieces to hold them together. Fig.
+175 shows all these crosspieces or joists. One crosspiece between the
+two peas at the top of the front and back peaks for the ridge-pole (K,
+Fig. 175), one on each side between the peas at the bottom of the peaks
+(L and M), one at each side between the peas at the ends of the front
+and back crosspieces (N, O), and one between the two peas at the middle
+of the front and back crosspieces (P).
+
+[Illustration: Fig.177 - The first bar of the fence.]
+
+[Illustration: Fig.175 - This is the frame of the house.]
+
+
+Now you have the frame of a two-storied house or a house with only
+an upper story, but it needs a roof and a floor. Split some of your
+pea-pods in half and lay one at a time across the ridge-pole at the
+top and the crosspiece at the bottom of the peak. Put half of a pod on
+one side of the peak, half a pod on the other side of the peak, then
+another half pod on the first side, and the next one on the second
+side, and so on until the space is covered and the house is roofed in.
+The stem ends of the pods must be up. The stems lock together and hold
+the roof in place.
+
+Make the loosely laid floor also of the split pea-pods, putting them
+across from front to back.
+
+[Illustration: Fig.178 - Push in two uprights.]
+
+Your little house (Fig. 176) now looks like those which strange people
+in far-away, hot countries build for themselves. They have no lower
+story or what we call a first floor, but are lifted on posts far above
+the sometimes very damp ground, and out of reach of any wild animals
+that may be prowling around.
+
+
+The Fence
+
+You can make a fence to put around the house in this way: Push a large
+pea on each end of a whole toothpick like Fig. 177, then break a
+toothpick exactly in half, stick one end of each half into the lower
+parts of the peas to form uprights, and push the lower end of each of
+these uprights into another pea as shown in Fig. 178. For the slanting
+crosspiece stick one end of another toothpick into the upper pea at the
+left-hand side, and the other end into the lower pea at the right-hand
+side (Fig. 179). Add a toothpick between the two lower peas, and one
+section of the fence is finished (Fig. 180).
+
+[Illustration: Fig.179 - Put in a slanting crosspiece.]
+
+[Illustration: Fig.180 - The finished section and the way to begin a
+new section of the fence.]
+
+Begin another section by sticking one end of a toothpick into a new pea
+and the other end into the upper pea at the left side of the section
+you have just finished (Fig. 180), then put in half a toothpick for
+the upright, a pea on the bottom of that, a whole toothpick for the
+slanting crosspiece, and another whole toothpick for the bottom.
+
+In this way you can keep on adding section after section and make your
+fence any length. To turn a corner all you have to do is to push the
+toothpicks which form the upper and lower crosspieces of a new section
+in at the back of the top and bottom peas of an end section of the
+fence.
+
+
+The Tropical Plant
+
+You will notice that in the illustration there is a plant growing at
+the side of the house which looks something like a cactus and adds to
+the tropical, or hot-country look of the little greeny people's home.
+
+[Illustration: Fig.181 - Draw curves like these for the design.]
+
+[Illustration: Fig.182 - The Green Pea design.]
+
+Seven half pea-pods are used to make this plant, four to stand up and
+three to lie down flat. Wrap and tie the stem ends of the four half
+pods together with a bit of string. Push a toothpick for a flower-stem
+through the middle of the bunch. Cut away the stem of a pea-pod, then
+cut off the calyx, or circle of little leaves, with the knob below
+attached. This is to be the blossom of the strange plant. Stick the
+flower on its toothpick stem, knob down, as you see it in the picture.
+
+To make the plant stand firmly lay the three extra half pods down flat
+with the stem ends one on top of the other and the outer ends at equal
+distances apart, and force the toothpick flower-stem through the pods
+where they cross. These three flat pods make a base which holds the
+rest of the plant upright, while they look as if they were a part of it.
+
+
+A Pretty Design of Green Peas
+
+This is not a toy, but you will like to make it just the same, and
+afterward, perhaps, you will want to try another design all by
+yourself. If you can draw at all, with a soft pencil make some curves
+on a piece of white paper like Fig. 181, only ever so much larger,
+then a straight line up from the centre. The distance between the two
+largest curves at their widest part should be about eight inches. If
+you cannot draw these curves, ask some older person to do it for you.
+
+[Illustration: Fig.183 - Do not open the pods wide.]
+
+Lay your paper with the pattern drawn on it flat on the table before
+you, shell some peas and carefully place them on the pencil lines of
+the curves. Begin with the largest peas at the centre of the design and
+finish with the smallest at the ends of the curves. Fig. 182 shows how
+this is done. Put the first pea on the curve at the place shown by the
+arrow in Fig. 181.
+
+You won't be able to keep the peas in place unless you stick them to
+the paper with paste. Hold the tube of paste in your left hand, squeeze
+out a very little, take it off the tube with one of the peas and push
+the pea, paste side down, onto the paper where it belongs.
+
+When the peas are all placed on the curves open two pea-pods as you
+did for the greenies' tent, slide one pod between the two halves of the
+other, and with a little paste on the stem ends and the tips, fasten
+them in the middle above the curves of peas as they are shown in Fig.
+182. The two halves of each pod are not opened wide but are like Fig.
+183. Above the pods, on the straight, upright line, place four more
+peas, beginning at the bottom with a large pea and ending with one much
+smaller.
+
+The success of this design will depend upon making one side just like
+the other and in keeping it equally balanced. That is, one side must
+not sag down below the other and the pods at the top must fit exactly
+on the line, half on one side, half on the other.
+
+The peas, you see, do not touch each other, but are separated by little
+spaces, and the spaces are all of the same length.
+
+
+
+
+CHAPTER XXV
+
+CORN-HUSKS AND CORN-COBS
+
+
+How to Make American History Seem Real--Our First Thanksgiving
+
+LET us play that we are really celebrating America's first Thanksgiving!
+
+You can see one of our long, rude puncheon tables spread out in the
+mild, sweet air of Indian summer, laden with delectable dishes of clam
+chowder, oysters, fish, turkey, duck, goose, venison pasties, turnips,
+dumplings of barley flour, corn bread, wheat cakes, pumpkin pies,
+grapes, plums, great flagons of cider, and "all manner of tasty eats."
+
+William Bradford, our good governor, with his old flintlock in hand,
+is just returning from a successful hunt for additional wild turkey.
+We shall need these, as ninety friendly Indians are to be our guests
+for three days and nights. Later they, too, will hunt and bring us wild
+deer.
+
+Elder Brewster, in his festive doublet and hose, has stopped a moment
+to speak to Master Bradford. Sitting at table, you can see Captain
+Miles Standish with arms outstretched in glad welcome as he calls more
+Indians to join the feast, while Massasoit, the mighty chief, stands at
+the table signalling with his arrow for the braves to approach.
+
+Already Quadquina and Hobomok are at the festive board, seated between
+Captain Miles Standish and John Alden. Squanto, who tells the boys how
+to trap game and teaches settlers how to plant corn, is resting on the
+ground with his feather-bedecked shield in one hand, and the calumet,
+or pipe of peace, in the other.
+
+[Illustration: The First American Thanksgiving Dinner in the year
+1621.]
+
+Now winsome Priscilla Alden comes, bearing on a pewter platter one of
+her savory hot baked turkeys, and her friend, Mary Chilton, is watching
+the delicious stew which simmers in the big iron pot over the outdoor
+fire.
+
+[Illustration: Fig.184 - Begin to make the pioneer in this way.]
+
+Mistress Brewster, on her way to cut pumpkin pie, must needs stay her
+steps a moment to give ear to Governor Bradford's remarks, and Desire
+Minter is hurrying forward, ahead of the other young women, to serve
+the men at the feast.
+
+All this would be told you by one of the little corn-husk pioneers
+shown in the photograph if only they could speak.
+
+[Illustration: Fig.185 - Fold the husks across the centre.]
+
+At all events, they can stand alone. They can be made to sit down, too,
+and their arms can be bent in any position. You may lift and place them
+in various parts of the grounds at pleasure. You might even imagine
+them to be the real characters they represent, and so live over again
+that Thanksgiving of 1621.
+
+The making of these little people is most interesting. Use the rather
+soft between-layers of corn-husks; about two husks for each pioneer.
+If the husks seem brittle, soak them in water and make them pliable.
+Lay one husk partially over the top of the other (Fig. 184), bend them
+across the centre (Fig. 185), and let the smoothest side be the front
+of the doll. Fold each side of the front to the back until the front
+somewhat resembles Fig. 186; then wind slender, soft string around to
+form the neck and head of the doll. Wind another soft string around
+lower down for the belt-line (Fig. 187).
+
+[Illustration: Fig.186 - The head and neck are made.]
+
+[Illustration: Fig.187 - Wind the waist with string.]
+
+[Illustration: Fig.188 - Arms for the pioneer.]
+
+Make the arms of soft corn-husk (Fig. 188) by turning the lengthwise
+edges of the husk inward again and again, until the roll is of the
+desired size. Cut off the ends evenly and wind the arms with string at
+the centre and near each end.
+
+Run the small blade of a penknife through the shoulders of the doll
+from side to side. Turn the blade flat side uppermost and allow it to
+remain in this position while you slide in the arms and screw them
+through the opening, pushing them along on top of the flat side of the
+blade. When in place, withdraw the knife and your little woman will be
+ready for her costume.
+
+[Illustration: Fig.189 - The pioneer is ready for his costume.]
+
+To make the man, cut Fig. 187 up from the bottom to within a short
+distance of the belt, thus dividing the husk skirts into two equal
+parts. Wind each half with string at the top, middle, and near the end
+to form the legs (Fig. 189).
+
+Use black tissue-paper for the loose knee-trousers. Cut
+
+[Illustration: Fig.190 - First leg of the trousers.]
+
+[Illustration: Fig.191 - The trousers are pushed into shape and coat
+is ready for its belt.] two strips of the paper, fit one strip over a
+leg (Fig. 190), push the paper up on the inside until it resembles Fig.
+191, then fasten in place with strong paste. Make the other trouser leg
+in the same way (Fig. 191).
+
+[Illustration: Fig.192 - Pattern of pioneer's collar.]
+
+[Illustration: Fig.193 - Make the hair of paper fringe.]
+
+[Illustration: Fig.194 - Crown of pioneer hat.]
+
+[Illustration: Fig.195 - Glue the hat crown on the man's head.]
+
+[Illustration: Fig.196 - How to slash the hat brim.]
+
+Cut the coat from a folded piece of dull-green tissue-paper, and
+just at the neck make a hole large enough for the man's head to slip
+through (Fig. 191). Paste the front edges of the sleeves over the back
+edges and lay the front edges of the coat over those of the back. Fit
+the coat in at the belt-line with your fingers. Cut a black belt of
+tissue-paper, fold it lengthwise, and belt in the fulness of the coat,
+then paste the belt ends together. Be careful to make the belt loose,
+for men's waists are large. Make the collar (Fig. 192) of white paper
+and fasten it around the man's neck with a drop of paste in front.
+
+From black, brown, or drab-yellow tissue-paper cut a strip of fine
+fringe and paste it on the man's head for hair (Fig. 193). Then make
+his hat. To do this, roll a small square of stiff black paper into a
+cornucopia to fit the man's head, paste the edges together, and trim
+off the corner which hangs down at the bottom (Fig. 194). Glue the
+hat-crown on the man's head, cut off the sharp top peak, and tilt the
+crown back a little (Fig. 195).
+
+Now cut a disk of the black paper for the hat-brim, slash it across
+the centre into four points (Fig. 196), but only just far enough to
+make the opening fit over the hat-crown. Slide the brim on the crown,
+allowing the slashed central points to lie up against it, and fasten
+them there with paste (Fig. 197). Glue the pioneer's feet into holes
+cut part-way through a small piece of the corrugated flat pasteboard
+used for packing purposes. In this way the little man becomes
+independent and able to stand alone (Fig. 197).
+
+[Illustration: Fig.197 - The pioneer is fully dressed and wearing his
+hat.]
+
+The corn-husk women also wear tissue-paper clothes. The waists are
+made in the same manner as the men's coats, only shorter and confined
+at the belt-line with paste. Straight dress skirts are slipped over
+the waists, and held in place at the belt by winding string around the
+pinched-up gathers. Long, severely plain white aprons, minus strings,
+are pasted to the waist-line, and white-bordered black caps and large
+white three-cornered neckerchiefs complete the costume.
+
+The cap is a straight piece of black tissue-paper with a narrow strip
+of white folded over the front edge. When ready, the white-bordered
+black strip is laid over the head, smoothly brought down on the sides,
+puckered together at the back and tied around the neck with a string.
+You have only to clip loose the outside layer of white close to the
+string at the neck-line to give the flare to the cap's white border.
+
+The crisp dress skirt forms sufficient support to enable the little
+women to stand alone.
+
+With the exception of Squanto, whose manly chest, back, and arms
+have no covering, the Indians wear suits of tan tissue-paper made on
+the same principle as the white men's costume, only the trouser-legs
+are narrow, long, and have the seam cut in fringe and run up on the
+outside. The bottom edge of the coat and the sleeve seams are also
+fringed. The coat is not wide and no belt is worn.
+
+Pieces of colored tissue-paper adjusted blanket fashion over the
+Indians, and fastened here and there with bits of paste to hold them in
+place, form the Indian blankets.
+
+The Indians' hair is merely a strip of black tissue-paper pasted over
+the top, back, and sides of the head with the ends loosely twisted and
+allowed to hang down in front on either side.
+
+[Illustration: Governor Bradford, Priscilla, Chief Massasoit and Elder
+Brewster. Made of corn-husks.]
+
+The war-bonnet is cut from a strip of white writing-paper, the tips
+of the feathers are inked, and one end of the strip is then pasted
+around Massasoit's head, as shown in the picture.
+
+It is best to make a number of corn-husk people at one time. Put the
+two husks together for each pioneer and Indian, then wind a string
+around the neck of each to form the head (Fig. 186). Again tie a string
+around each at the belt-line (Fig. 187). Continue making the people in
+this way, step by step, until all are finished at the same time. Have
+ready as many arms as you have people, and run the arms through each,
+one after another.
+
+When bending the arms or legs of the little people do it slowly and
+gently. If they are inclined to spring back, tie them in position
+overnight and they will stay bent.
+
+When dressing the dolls, cut out all the men's collars at one time. You
+can do this by cutting through as many layers of paper as there are
+men. Adopt the same plan with the other parts of clothing for the men,
+women, and Indians, and your work will be rapid.
+
+With ink draw features on all. The women must have ink hair, parted in
+the middle.
+
+Remember when making Miles Standish to cut his hair of red paper, for
+he had auburn hair.
+
+The "sad" colors worn by the pioneers were really the cheerful autumn
+hues, rich, dull reds, greens, browns, and yellows. These will give you
+quite a variety of colors for the costumes of both men and women.
+
+Make the puncheon table of a flat, narrow piece of wood. With a gimlet
+bore holes through the board, slanting them toward the centre, one hole
+near each corner. Any kind of round sticks will do for the legs. Cut
+them all of the same length and glue one in each hole.
+
+[Illustration: Pioneer puncheon table spread for America's First
+Thanksgiving Dinner.]
+
+The pewter dishes are made from one of the collapsible lead tubes
+used for oil-paints and various other things. Cut open the empty tube
+and smooth it out flat, then cut out round pieces for plates, mould
+the plates over the tops of wooden spools, and the flagons over a
+pen-handle or other round stick. Make the flagon-handles of slender
+strips of the tube bent into rings, and slip one end of the strip over
+the edge of the flagon.
+
+A piece of yellow paper pasted over the cover of a very small
+baking-powder can makes a pumpkin pie. The turkey is merely pinched-up
+paper with brown tissue-paper laid smoothly over the breast. Its wings
+and legs are of bits of lighter-colored paper rolled and bent into
+shape, then pasted on the turkey.
+
+[Illustration: Fig.198 - Corn-cob log for pioneer log cabin with
+notches cut and marked.]
+
+Fresh, green, uncooked corn-cobs from which the corn has been cut and
+scraped make delightful pioneer log-houses. Cooked cobs are too hard
+to cut. Choose slender cobs, long ones for the front and back of the
+house, shorter ones for the sides. Cut a notch, or saw it, if the cobs
+are dry and hard, on the tops of the ends of each of the two foundation
+logs (Fig. 198). Cut a notch on both top and bottom of each remaining
+log as indicated by the black lines in Fig. 198.
+
+Always make a larger notch in the small end of the cob than in the
+large end, so that the large end of another cob may fit in it; for,
+when building, it is necessary to place small ends and large ends
+together, and never two large ends or two small ends, or the house will
+be unevenly balanced.
+
+Lay the two foundation cobs down parallel to each other and a short
+distance apart; then bridge across the ends with shorter cobs, fitting
+the notches into each other. Continue building in this log-cabin
+fashion until the house is of sufficient height.
+
+On the front of the house draw two straight lines down across the cobs,
+one for each side of the doorway. Then take your house apart and cut
+the doorway out from the marked cobs. Rebuild the house, gluing layer
+upon layer. Make the doorway jambs of straight pieces of corn-stalk,
+and glue them on each side of the open doorway.
+
+[Illustration: Pioneer log cabin made of corn-cobs.]
+
+Before the roof can be added, corn-cobs, graduated in length and
+without notches, must be laid at each end of the house to support
+the roof and give it its gable ends. These graduated cobs are the
+"trap-logs." They rest upon long strips of corn-stalk, called "ribs,"
+which are placed across from one end of the house to the other. Build
+the roof log-cabin fashion as you built the body of the house, laying a
+rib between the ends of each layer of graduated cobs, and as you build,
+fasten the parts together with glue.
+
+Cut enough clapboards of corn-stalk to cover both sides of the roof.
+Make them all of the same length and long enough to reach from the top
+of the roof to a trifle beyond its lower edge.
+
+The clapboards must be held down by means of "weight-poles" laid
+across, and to keep the weight-poles from rolling off use pegs called
+"knees."
+
+Make the knee-pegs of corn-stalk. Cut a hole near both ends of four of
+the clapboards and glue in pegs, slanting them upward. You will then
+have two pegged clapboards for the front of the roof and two for the
+back. Place them near the ends of the roof and glue all the clapboards
+in place. Cut four slender lengths of corn-stalk for weight-poles, and
+lay them across the roof, resting against the knee-pegs. Glue them to
+the roof only where they buck the knee-pegs. When finished, set the
+house aside until the glue is entirely dry. It may then be moved.
+
+Corn-tassels standing in empty spools make fine trees.
+
+It is fitting that the story of our country's first Thanksgiving should
+be retold this year by means of corn. You remember, of course, that
+friendly Indians showed the pioneers how to plant and cultivate corn,
+which, to them, was a new grain. Later, when a wonderful harvest had
+been gathered, our forefathers decided to set aside a day to thank God
+for His goodness. That was the first Thanksgiving.
+
+
+
+
+PART VII
+
+FRUIT
+
+
+
+
+CHAPTER XXVI
+
+THE FUNNY ORANGE HEAD
+
+
+YOU will hardly believe it is only an ordinary, everyday orange when
+you have made it into the head that I am going to tell you about.
+
+Select a small, firm, perfect orange and with a pencil mark features on
+it, first the eyes like Fig. 199. Carefully cut out the little spaces
+of skin between the lines, then mark the nose (Fig. 200); cut this and
+mark the mouth (Fig. 201); cut this and at each side of the head draw
+the ears like Fig. 202. You will see that the line of the ear does not
+continue all the way around; that means that you are simply to run your
+knife along the line, cutting through the skin so that the ears may be
+lifted up and peeled forward to stand out from the head; the front part
+remains attached (Fig. 203).
+
+Make the neck of a slender, strong, round stick sharpened to a point at
+one end. Push the point up into the under part of the orange, where the
+neck should be, by twisting the stick around as it goes in (Fig. 204).
+
+The orange is the head, but your hand and fingers are to be the body
+and arms to go with it. Look at Fig. 204. That will show you how to
+hold the stick firmly and at the same time leave your first finger and
+thumb free to use as arms.
+
+[Illustration: Fig.199 - Eyes marked on orange head.]
+
+[Illustration: Fig.200 - Eyes cut, nose marked.]
+
+[Illustration: Fig.202 - Ear marked, ready to cut and peel forward.]
+
+[Illustration: Fig.201 - Nose cut, mouth marked.]
+
+[Illustration: Fig.203 - Mouth cut, ears cut and peeled forward.]
+
+Pin a handkerchief, or other soft cloth, around Mr. Orange's neck,
+bring it around to cover your hand and then pretend he is talking while
+you move his arms and say as many funny things as you can think of.
+By moving the stick while you hold it in your hand, you can make the
+orange head turn in various ways (Figs. 205 and 206), and a little
+paper hat fitted on it will make it still funnier (Fig. 207).
+
+[Illustration: Fig.204 - Hold the orange this way.]
+
+The orange need not always be a man. You can play it is a little girl
+and make a cunning little wreath of flowers for her small head; or
+pretend it is a baby and have it wear a baby's cap made of paper.
+If you want to turn it into a young lady, pierce the ears and fit
+in earrings made of violets. You do this simply by threading the
+flower-stems through the holes you have pierced, and drawing the
+blossoms up close to them. Then, you can make believe the orange is an
+old man and put a pipe in his mouth. Make the pipe of an acorn with a
+twig for the stem. If you want the baby to cry, squeeze the orange a
+little and tears of orange-juice will roll from its eyes and stream
+down its face. Little holes must first be punctured in the eyes to let
+the tears run out.
+
+[Illustration: Fig.205 - "Now I'll tell you a funny story."]
+
+
+Things You Can Make of Orange-Skins
+
+A TOY JAPANESE STOOL
+
+The soft, golden orange-skin, lined with silvery white, is fine
+material for moulding and making into different kinds of things to play
+with. Bring your orange and we will begin by making a toy stool for
+your doll-house (Fig. 208). It will look very much like the real stools
+which the Japanese make for real people to sit on, though nothing is
+used for it but the orange-skin.
+
+[Illustration: Fig.206 - "Can't remember what I was going to say."]
+
+First cut the orange across from side to side, making two halves, and
+after you have taken out the pieces of juicy fruit and enjoyed eating
+them, examine the two pretty yellow orange-skin bowls that are left.
+See how soft and pliable they are. Now take one of the bowls and pinch
+the edges of two opposite sides toward each other; hold them steady
+while, with your other hand, you pinch the other two sides toward each
+other. Hold all four sides bent inward for a moment, then let go of
+them and the sides will stay bent while you wind string across, first
+one way then the other, between the curved stool legs you have just
+made by bending the sides of the bowl inward.
+
+[Illustration: Fig.207 - "What a joke."]
+
+[Illustration: Fig.208 - Japanese stool made of half an Orange peel.]
+
+Set the stool away to dry and stiffen into shape; then, when it has
+become hard, take off the string and you will have a little Japanese
+stool quite as strong as if made of wood.
+
+
+A CANDY-BOX
+
+A candy-box can be made in the same way of the other half of the
+orange-skin, but you must curve the sides in only a little for this;
+not nearly as much as for the stool. Stand the candy-box, with open
+part up, ready to be filled with candy.
+
+
+A BASKET
+
+An orange-skin basket is a substantial little affair when finished, and
+will hold almost anything you want to put in it. It looks like Fig.
+209. For this you will again need half of an orange-skin. Bend in two
+opposite sides after first cutting a short slit in each side near the
+edge. Make the handle of strong paper, cutting it like Fig. 210, with a
+tongue at each end. Bend over the two side points of each tongue, and
+slide one tongue through the slit in one side of the basket, the other
+tongue through the slit in the other side, then open out the points
+again and they will make secure fastenings for the handle. You will see
+from the illustration that the tongues are put through the basket from
+the inside and show on the outside.
+
+Before setting away to dry, tie a string around the bent-in sides of
+the basket, and stuff the open part with crushed paper to keep it in
+shape.
+
+[Illustration: Fig.209 - Half of Orange skin used for a basket.]
+
+[Illustration: Fig.210 - Make the handle of paper.]
+
+
+ORANGE-SKIN BOWLS
+
+When you have another orange save the two halves of the skin, pack each
+full of crumpled, clean, blank paper, flatten the bottom of the bowls
+so that they will stand firmly, then set them away to dry.
+
+If you do all this carefully the bowls will harden in good shape and
+you can use them to eat and to drink from.
+
+[Illustration: Fig.211 - A little summer house made of half of an
+Orange skin.]
+
+
+Other Things Made of Orange-Skins
+
+Cunning little toy summer-houses may be made from an orange-skin in a
+moment's time (Fig. 211). Take half of an orange-skin and stick the
+sharp ends of four wooden toothpicks into the edge of its rim. Place
+the toothpicks upright, at equal distances apart, and they will form
+the pillars to support the golden, dome-shaped roof. Stand the little
+summer-house on the table, and you will think it charming.
+
+By slicing an orange you can have a number of little, yellow hoops for
+your dolls, made of the rind around each slice. When the hoops are
+carefully dried in perfect circles, you can roll them on top of a table
+or on the floor, and play the dolls are having great fun racing with
+their orange-skin hoops.
+
+
+
+
+CHAPTER XXVII
+
+APPLES AND APPLE FUN
+
+
+WHEN the apple-trees are in bloom, stand under one and look up through
+the wonderful tent of flowers at the little bits of blue sky peeping
+down at you between the blossoms. Isn't it delightful to see so many,
+many apple-blossoms all at once? How beautiful they are and how sweet
+they smell!
+
+Now, pick one little blossom and examine it carefully. Count the pretty
+pink-and-white petals. Five petals? Yes. Look again, see how they grow
+from the centre and notice their shape. Be very particular, so that you
+will remember exactly how the blossom looks; make sure you know, for I
+am going to tell you about the flower you can find inside the big, ripe
+apple after all the other apple-blossoms are gone.
+
+
+Apple-Blossom in Apple
+
+Cut the apple into thin slices from side to side through the core. Take
+one of the slices from near the middle of the apple and hold it up to
+the light, so that the light will shine through it, then look carefully
+and you will see in the centre a perfect pattern of the apple-blossom
+you gathered from the tree (Fig. 212). Apple-seeds form the centre of
+the flower. The petals, five in number, are of the flesh of the fruit.
+They are of the same shape and size as the real blossom. Isn't it
+wonderful?
+
+[Illustration: Fig.212 - Apple blossom inside of the fruit.]
+
+[Illustration: Fig.213 - Design begun on apple slice.]
+
+[Illustration: Fig.214 - Design pierced through apple slice.]
+
+Now, take the seeds from their hard, glossy cases, again hold the slice
+up to the light and lo, in the centre of the slice, you will find a
+five-pointed star which twinkles as the light shines through.
+
+You can add to this and make a pretty, shining pattern in this way:
+Take a wooden toothpick, and with its pointed end pierce little holes
+all along the edge of the flower pattern; then make a loop of little
+holes above one of the petals (Q, Fig. 213), and still another above
+that one (R, Fig. 213). Pierce the edges of all the petals and make the
+same kind of double loops above them also, then the design will be like
+Fig. 214. Hold it up to the light, turn it this way and that and your
+slice of apple will look as if spangled with glittering diamonds. Fig.
+215 shows a wheel design which you can make of another slice.
+
+[Illustration: Fig.215 - Another design on apple slice.]
+
+
+Apple Candle in its Candlestick
+
+When I was a little girl I used to make apple candles that stood up in
+their own candlesticks. I always ate the fresh, juicy slices as I cut
+them off. Fig. 216 shows how the candles look when finished. The stem
+is the wick, and as it is usually dark at the end, it is a very good
+imitation of a candlewick that is partially burnt. The dotted lines on
+Fig. 217 show how to cut away the apple to leave the candle and its
+holder.
+
+[Illustration: Fig.216 - Apple candle ready for table.]
+
+[Illustration: Fig.217 - Cut away apple leaving candle in candle-stick.]
+
+First cut off a slice at the blossom end, so that the candle-stick
+will stand without tipping. The dotted line at the bottom of Fig. 217
+indicates where this cut is to be made. Then run your knife around the
+apple without cutting all the way through to the core, where you see
+the middle dotted line on Fig. 217. After that, begin at the sides and
+gradually shave down the upper part little by little, being careful not
+to cut below the slit you have made around the apple. When the middle
+part standing up around the core is the size of a real candle it is
+time to stop cutting. Because of the core inside you cannot make your
+candle very slender, but you can cut off the sharp edges and make it
+round.
+
+
+A Roasted Apple
+
+Another thing I used to love to do with my apple when I was a little
+girl was to tie a long string to the stem and hang it before an open
+fire to roast. I think you will enjoy it too.
+
+Tie one end of the string securely to the stem of your apple, and don't
+break the stem off in doing it (Fig. 218); then tie the other end to
+something heavy on the mantel-shelf that will hold it securely. The
+apple should hang in front of a grate of glowing coals, or near the
+red-hot coals of a wood-fire.
+
+[Illustration: Fig.218 - Roast your apple this way.]
+
+As soon as cooking begins, twist the string and make the apple spin
+round and round so that it may be roasted evenly on all sides; it is
+fun to do that. When the juice begins to run and drop from the apple,
+set a saucer under to catch the hot, sweet syrup. It is good poured
+over the apple when that is thoroughly cooked. Add sugar to the juice
+while it is hot if it is not sweet enough.
+
+
+The Spice Apple
+
+In New England, many years ago, there was always to be found in every
+household at least one spice apple. It sounds good to eat, doesn't it?
+But they were not made for eating, they were used for sweet-smelling
+ornaments, and for keeping away moths and other troublesome insects.
+Perhaps you will like to make a spice apple to give away; it will be a
+pretty and very sweet gift and will last for years.
+
+Choose a small, perfectly sound apple and have ready a lot of cloves.
+Stick the cloves into the apple as you would stick pins into a cushion,
+only the cloves must be put in very close together, touching each other
+and making the apple look like a large, prickly, brown nut. That is
+all, unless you want to hang the apple up. In that case run a wooden
+toothpick through one raised side at the top, across the little hollow
+where the stem grows, and out through the raised side opposite, after
+first breaking off the stem. Cross this toothpick with another pushed
+through the apple and also bridging the hollow. This will make a low
+handle in the form of a cross. At the middle, where the toothpicks
+touch, tie a bright ribbon, leaving a loop by which to hang it.
+
+
+Other Things to Make of an Apple
+
+When an apple is cut across into round slices, you can make a doll's
+table of the largest slice by using four wooden toothpicks for legs,
+pushing them into the apple at equal distances apart. Half of a slice,
+with halves of toothpicks for legs, makes a very suitable seat for this
+remarkable table.
+
+If you cut a thick flat slice from a small apple you can make it into a
+top that will spin by pushing a toothpick through the centre, leaving
+a long end on one side and a shorter end on the other. The short end
+is the peg upon which the top spins. Take the long, upper end of the
+toothpick between your thumb and first finger, give it a hard, quick
+twist and drop the top on a table having a hard, smooth finish, where
+it will spin merrily. The little fruit-top will not spin on a carpet or
+any rough, uneven surface.
+
+
+
+
+THE BEARD BOOKS FOR GIRLS
+
+By LINA BEARD 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
+    $1.50 net
+
+The authors tell everything that girls want to know about sports,
+games, winter afternoon and evening amusements and work, in a clear,
+simple, entertaining way.
+
+
+Things Worth Doing and How to Do Them
+
+    With some 600 drawings by the Authors that show exactly
+    how they should be done
+    $1.50 net
+
+This book comprises an infinite variety of amusing things that are
+worth doing; for instance: "A Wonderful Circus at Home," "How to Weave
+without a Loom," "How to Make Friends with the Stars," "A Living
+Christmas Tree," etc.
+
+
+Little Folks' Handy Book
+
+    With many illustrations
+    80 cents net
+
+This book furnishes the means of gratifying the impulse toward
+self-expression that, properly directed, is a great factor in a child's
+development. It opens a large field of simple handicrafts for little
+folk by showing how toys can be made from such ordinary things as empty
+spools, clothes-pins, old envelopes, etc.
+
+    CHARLES SCRIBNER'S SONS
+
+
+
+
+THE BEARD BOOKS FOR BOYS
+
+By DAN C. BEARD
+
+
+Shelters, Shacks, and Shanties
+
+    Illustrated by the Author      $1.25 net
+
+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.
+
+Page 109, caption Fig.124, "Burdock-burs" changed to "Burdock-burrs"
+(house of Burdock-burrs)
+
+Page 111, caption Fig.132, "Burdock-burs" changed to "Burdock-burrs"
+(by Burdock-burrs)
+
+Page 114, caption Fig.137, same as above (Burdock-burr target.)
+
+Page 114, caption Fig.138, "bur" changed to "burr" (Hold the burr)
+
+Page 143, caption Fig.177, "ig" changed to "Fig" (Fig.177)
+
+Page 164, caption Fig.203, "pealed" changed to "peeled" (peeled forward)
+
+
+
+
+
+End of the Project Gutenberg EBook of Mother Nature's Toy-Shop, by 
+Lina Beard and Adelia B. Beard
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
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+      The Project Gutenberg eBook of Mother Nature's Toy-Shop, by Lina Beard and Adelia B. Beard.
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+<pre>
+
+The Project Gutenberg EBook of Mother Nature's Toy-Shop, by 
+Lina Beard and Adelia B. Beard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Mother Nature's Toy-Shop
+
+Author: Lina Beard
+        Adelia B. Beard
+
+Release Date: December 16, 2013 [EBook #44440]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<div class='tnote2'><b>Transcriber's Note:</b> This book was written in a time in which
+we didn't know what we know now. For example, we now know foxglove to
+be very poisonous and would not suggest children use the blossoms for
+fairy caps. Please use caution if attempting any of these crafts. And
+don't play with foxglove.</div>
+<hr class="chap" />
+<div class="figcenter" style="width: 495px;">
+<img src="images/cover.jpg" width="495" height="800" alt="cover" />
+</div>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p>
+
+
+<div class='maintitle'>Mother Nature's<br />
+Toy-Shop</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a><br /><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
+
+
+
+<div class='bbox2'>
+<h1>Mother Nature's<br />
+Toy-Shop</h1>
+
+<div class='center'><br /><br />By<br />
+
+<span class='author'>LINA BEARD AND ADELIA B. BEARD</span><br />
+<br /><br /><br /><br />
+
+With Many Illustrations<br />
+by the Authors<br />
+<br /><br /><br /><br />
+Charles Scribner's Sons<br />
+<small>New York   &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;   Chicago   &nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;   Boston</small><br />
+</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p>
+
+
+
+
+<div class='copyright'>
+<span class="smcap">Copyright, 1918, by</span><br />
+CHARLES SCRIBNER'S SONS<br />
+<br /><br />
+
+
+
+SPECIAL NOTICE</div>
+<div class='blockquot'>
+All the material in this book, both text and cuts, is original with the
+authors and invented by them; and warning is hereby given that the
+unauthorized printing of any portion of the text and the reproduction
+of any of the illustrations or diagrams are expressly forbidden.<br /><br /><br /></div>
+
+
+<div class="figcenter" style="width: 106px;">
+<img src="images/i_004.png" width="106" height="118" alt="emblem" />
+</div>
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>
+
+
+
+
+<h2>PRESENTATION</h2>
+
+
+<p><span class="smcap">Mother Nature</span> is every bit as fond of the little folks
+in her human family as of the grown-ups, and while she
+prepares untold joys for lovers of the outdoors among men
+and women and larger boys and girls, she never forgets
+the little ones.</p>
+
+<p>For their benefit she keeps an open toy-shop full of marvellous
+playthings, all free to any child who wants them,
+and instead of the children paying her for what they take
+she pays them for coming to her by giving them rosier
+cheeks, brighter eyes, and stronger bodies. She puts more
+glee into their laughter and greater happiness into their
+trustful little hearts.</p>
+
+<p>As in the large department stores in big cities, the goods
+in Mother Nature's shop are changed for each season of
+the year; so the little shoppers have constant variety and
+hail every new season with fresh delight. This book is
+written to call attention to the beautiful and wonderful
+things to be found in Mother Nature's toy-shop and to
+tell what to do with them, for one must know how to use
+the amusing material that is furnished.</p>
+
+<p>After really getting into this most enchanting of all toy-shops
+with eyes open to see its wonders, we found that the
+difficulty to be met was not how to write about them, but
+how to stop writing. The display was so varied and so
+inviting, it seemed that we must tell the children about
+everything we saw, but if we had gone on seeing more and
+telling more there is no saying what size this book would
+have been.</p>
+
+<div class='sig'>
+<span class="smcap">Lina Beard,<br />
+Adelia Belle Beard.</span><br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a><br /><a name="Page_vii" id="Page_vii">[vii]</a></span></p>
+
+
+
+
+<h2>CONTENTS</h2>
+
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="1" cellspacing="0" summary="Contents">
+<tr><td align="center" colspan='3'>PART I&mdash;WILD FLOWERS</td></tr>
+<tr><td align="left" colspan='2'><small>CHAPTER</small></td><td align="left"><small>PAGE</small></td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Daisies</span></td><td align='right'><a href="#Page_1">1</a></td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">Jack-in-the-Pulpit</span></td><td align='right'><a href="#Page_5">5</a></td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Red and White Clovers</span></td><td align='right'><a href="#Page_8">8</a></td></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Clover Designs</span></td><td align='right'><a href="#Page_12">12</a></td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Other Wild-Flower Designs</span></td><td align='right'><a href="#Page_19">19</a></td></tr>
+<tr><td align="right">VI.</td><td align="left"><span class="smcap">Pussy-Willows</span></td><td align='right'><a href="#Page_24">24</a></td></tr>
+<tr><td align="right">VII.</td><td align="left"><span class="smcap">Arrangement of Flowers</span></td><td align='right'><a href="#Page_33">33</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART II&mdash;GRASSES</td></tr>
+<tr><td align="right">VIII.</td><td align="left"><span class="smcap">Fairy-Trees Made of Grasses</span></td><td align='right'><a href="#Page_40">40</a></td></tr>
+<tr><td align="right">IX.</td><td align="left"><span class="smcap">A House Made of Grass</span></td><td align='right'><a href="#Page_45">45</a></td></tr>
+<tr><td align="right">X.</td><td align="left"><span class="smcap">Grass Dress and Grass Head-Dress</span></td><td align='right'><a href="#Page_56">56</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART III&mdash;GREEN LEAVES</td></tr>
+<tr><td align="right">XI.</td><td align="left"><span class="smcap">Oak-Leaves</span></td><td align='right'><a href="#Page_61">61</a></td></tr>
+<tr><td align="right">XII.</td><td align="left"><span class="smcap">Grape-Leaf Drinking-Cup</span></td><td align='right'><a href="#Page_68">68</a></td></tr>
+<tr><td align="right">XIII.</td><td align="left"><span class="smcap">Green-Leaf Designs</span></td><td align='right'><a href="#Page_71">71</a></td></tr>
+<tr><td align="right"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span></td></tr>
+<tr><td align="center" colspan='3'><br />PART IV&mdash;CULTIVATED FLOWERS</td></tr>
+<tr><td align="right">XIV.</td><td align="left"><span class="smcap">Phlox</span></td><td align='right'><a href="#Page_76">76</a></td></tr>
+<tr><td align="right">XV.</td><td align="left"><span class="smcap">Cultivated Foxglove</span></td><td align='right'><a href="#Page_81">81</a></td></tr>
+<tr><td align="right">XVI.</td><td align="left"><span class="smcap">Miss Hollyhock's Garden-Party</span></td><td align='right'><a href="#Page_88">88</a></td></tr>
+<tr><td align="right">XVII.</td><td align="left"><span class="smcap">Daffodils</span></td><td align='right'><a href="#Page_92">92</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART V&mdash;SEED-VESSELS</td></tr>
+<tr><td align="right">XVIII.</td><td align="left"><span class="smcap">Seed-Vessel Playthings</span></td><td align='right'><a href="#Page_96">96</a></td></tr>
+<tr><td align="right">XIX.</td><td align="left"><span class="smcap">Buckeye Horse and Buckeye Rider</span></td><td align='right'><a href="#Page_103">103</a></td></tr>
+<tr><td align="right">XX.</td><td align="left"><span class="smcap">Burdock-Burrs</span></td><td align='right'><a href="#Page_108">108</a></td></tr>
+<tr><td align="right">XXI.</td><td align="left"><span class="smcap">Things to Make of English-Walnut Shells</span></td><td align='right'><a href="#Page_117">117</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART VI&mdash;VEGETABLES</td></tr>
+<tr><td align="right">XXII.</td><td align="left"><span class="smcap">Things You can Make of Lima Beans</span></td><td align='right'><a href="#Page_123">123</a></td></tr>
+<tr><td align="right">XXIII.</td><td align="left"><span class="smcap">Sweet-Potato Alligator and What to Make of a Radish</span></td><td align='right'><a href="#Page_130">130</a></td></tr>
+<tr><td align="right">XXIV.</td><td align="left"><span class="smcap">Green-Pea Toys and a Green-Pea Design</span></td><td align='right'><a href="#Page_136">136</a></td></tr>
+<tr><td align="right">XXV.</td><td align="left"><span class="smcap">Corn-Husks and Corn-Cobs</span></td><td align='right'><a href="#Page_148">148</a></td></tr>
+<tr><td align="center" colspan='3'><br />PART VII&mdash;FRUIT</td></tr>
+<tr><td align="right">XXVI.</td><td align="left"><span class="smcap">The Funny Orange-Head</span></td><td align='right'><a href="#Page_163">163</a></td></tr>
+<tr><td align="right">XXVII.</td><td align="left"><span class="smcap">Apples and Apple Fun</span></td><td align='right'><a href="#Page_171">171</a></td></tr>
+</table></div>
+<hr class="chap" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p>
+
+
+
+<div class='adtitle1'>
+Mother Nature's<br />
+Toy-Shop<br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a><br /><a name="Page_1" id="Page_1">[1]</a></span></p>
+
+
+
+
+<h2><i>PART I</i><br />
+<br />
+WILD FLOWERS</h2>
+
+<hr class="chap" />
+
+<h2>CHAPTER I<br />
+
+<small>DAISIES</small></h2>
+
+
+<h3>What You Can Do with Them</h3>
+
+<p><span class="smcap">Wild</span> flowers, like children, are up early. <i>They</i> don't
+want to lie abed after their long winter's sleep; they want
+to be awake and see what is going on in the world. While
+you think it is still winter there is a stirring going on
+under the blankets of brown earth, and sometimes before
+the snow is off the ground you may find the little things
+working up through the stiff soil and opening their eyes
+to the gentle spring sunshine.</p>
+
+<p>It is remarkable the way the soft, tender sprouts force
+their way through hard ground that we would have to
+take a knife or trowel to dig into. But they do it. Not
+all at once with a great, blustering rush, but gently, steadily,
+and quietly they push and keep on pushing until
+their heads are above ground; then they begin to grow in
+good earnest, and pretty soon they laugh right out into
+blossom.</p>
+
+<p>The pleasure these earliest wild flowers give us is in
+going out to look for them and in gathering handfuls to
+carry home and put into little glass bowls to be "Oh'd"
+over and wondered at, to be admired and loved because
+they are lovely, and because they bring some of the sweet
+outdoors of spring into the furnace-heated house.</p>
+
+<p>They are too delicate and fragile, these anemones,<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
+hepaticas, and bloodroots, to be handled and played
+with, but later come the stronger, sturdier flowers and with
+many of these you can do all sorts of entertaining things.
+You don't have to look very far for them either. They
+are in the fields, by the roadsides, and even along the edges
+of the streets of a village or small town. You won't find
+them in the city.</p>
+
+<p>To begin with, there are the daisies. How white the
+fields are with them! If they are fine, large daisies on
+tall, strong stems they will reach up to your waist&mdash;that
+is, if you are a little girl. If you are bigger they will come
+well above your knees. There are a number of things
+that you can do with them. First, you can make a really
+beautiful</p>
+
+
+<h3>Daisy Crown</h3>
+
+<div class='unindent'>for a May queen, or to wear yourself just for the fun of it.</div>
+
+<div class="figcenter" style="width: 334px;"><a id="Fig_1"></a>
+<img src="images/i_012a.png" width="334" height="260" alt="two flowers with stems crossed" />
+<div class="caption">Fig.1 - Begin the wreath in this way.</div>
+</div>
+
+<div class="figcenter" style="width: 326px;"><a id="Fig_2"></a>
+<img src="images/i_012b.png" width="326" height="169" alt="diagram" />
+<div class="caption">Fig.2 - Turn the stem of B under
+the stem of A</div>
+</div>
+
+<p>Gather a whole lot of daisies with rather long stems.
+They will stay fresh longer if you put them into a pail of
+cool water and let them drink a little before using them;<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
+and if they have wilted while you carried them, the water
+will bring them up again as fresh as&mdash;why, as fresh as a
+daisy to be sure. This
+is the way to make the
+crown. It is a new
+way and a good way.</p>
+
+<div class="figcenter" style="width: 369px;"><a id="Fig_3"></a>
+<img src="images/i_013a.png" width="369" height="166" alt="diagram" />
+<div class="caption">Fig.3 - Bring B around and in front
+of it's own upright.</div>
+</div>
+
+<p>Take one daisy in
+your left hand and
+hold it, not upright
+but in what is called
+a horizontal position
+like the one marked A in <a href="#Fig_1">Fig. 1</a>, then with your right
+hand hold another daisy upright and place its stem in
+front of and across
+the stem of the first,
+as you see it in <a href="#Fig_1">Fig. 1</a>.</p>
+
+<div class="figcenter" style="width: 380px;"><a id="Fig_4"></a>
+<img src="images/i_013b.png" width="380" height="170" alt="diagram" />
+<div class="caption">Fig.4 - Let the stem of B rest on
+the stem of A</div>
+</div>
+
+<p>This second daisy
+we will call B. Now
+turn the stem of B
+under the stem of A
+and up at the back as
+it is in <a href="#Fig_2">Fig. 2</a>. Bring
+this same stem, B,
+around and in
+front of its own
+upright part like
+<a href="#Fig_3">Fig. 3</a>. Turn it
+all the way around
+the upright part
+and let the stem of
+B rest on top of
+the stem of A. <a href="#Fig_4">Fig. 4</a> shows this, but in the drawing the
+stems are separated a little so that you may see each one
+plainly. It is something like weaving, you see. And it
+is weaving of a sort.</p>
+
+<div class="figcenter" style="width: 411px;"><a id="Fig_5"></a>
+<img src="images/i_013c.png" width="411" height="165" alt="diagram" />
+<div class="caption">Fig.5 - Weave another daisy, C, on
+the first two stems.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p>
+
+<p>Across the stems of the daisies A and B, two stems
+this time, place the stem of another daisy that we will
+call C, and weave it on the first two stems exactly as you
+wove B onto A (<a href="#Fig_5">Fig. 5</a>). The stem of the fourth daisy
+will have to cross three stems, A, B, and C. The fifth
+daisy-stem will cross four stems, but after that the end
+of the daisy-stem A will probably have been passed and
+you will be weaving on the others. It depends upon the
+length of the stems how many are woven over; sometimes
+there may be five. It is not well to have more than that
+number. You can cut a stem off when it seems to be going
+too far around the crown.</p>
+
+<div class="figcenter" style="width: 464px;"><a id="Fig_6"></a>
+<img src="images/i_014.png" width="464" height="291" alt="wreath" />
+<div class="caption">Fig.6 - A new way to make a Daisy Wreath.</div>
+</div>
+
+<p>Place the daisies close enough together to have their
+petals touch, or even crowd a trifle, because when the
+crown is curved and the ends brought together the flowers
+will separate and leave wider spaces. When you have
+woven enough daisies to make your crown the proper size
+to fit your head, cut the last stems off about two inches
+from the last flower and, with a strong blade of grass or
+piece of string, tie them to the stem of the daisy A, just
+back of the flower. <a href="#Fig_6">Fig. 6</a> shows what the daisy crown
+looks like when finished.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p>
+
+
+
+
+<h2>CHAPTER II<br />
+<small>JACK-IN-THE-PULPIT</small></h2>
+
+
+<p><span class="smcap">One</span> of the earliest wild flowers to show its head above
+ground is Jack-in-the-pulpit. It is an odd plant and what
+we call the flower is not the blossom at all, but a protecting
+leaf called a spathe which surrounds the tiny flowers
+growing on the club-shaped spike (or spadix) standing upright
+inside.</p>
+
+<p>That is a good thing to know and remember, but what
+concerns us now is that there is a pulpit with its curved
+sounding-board&mdash;or perhaps it is a striped awning&mdash;overhead,
+and that in the pulpit is Jack.</p>
+
+<p>He is a cheerful little preacher and his pulpit is somewhat
+gayer than we usually see, but no one ever told Jack
+that to be good he must be solemn and that to preach he
+must have a pulpit rich and sombre. The good God who
+made him gave him his pretty, striped pulpit with its
+striped awning to shelter it, and Jack goes on preaching
+his cheerful sermons from this as long as he lives. Hear
+what some one has said of him:</p>
+
+<div class='poem'>
+"Jack-in-the-Pulpit preaches to-day,<br />
+<span style="margin-left: 0.5em;">Under the green trees, just over the way;</span><br />
+<span style="margin-left: 0.5em;">Squirrel and Song-Sparrow high on their perch,</span><br />
+<span style="margin-left: 0.5em;">Hear the sweet lily-bells ringing to church.</span><br />
+<br />
+"Come, hear what his reverence rises to say,<br />
+<span style="margin-left: 0.5em;">In his low, painted pulpit, this calm Sabbath day.</span><br />
+<span style="margin-left: 0.5em;">Fair is the canopy over him seen</span><br />
+<span style="margin-left: 0.5em;">Pencilled by Nature's hand, black, brown, and green."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p>
+
+<div class="figleft" style="width: 302px;"><a id="Fig_7"></a>
+<img src="images/i_016.png" width="302" height="555" alt="diagram" />
+<div class="caption">Fig.7 - Cut a hole at the back
+of the Pulpit.</div>
+</div>
+<p>Some people who love the woods and the wild flowers
+can understand Jack's wild-wood language. They will
+tell you that over and over again he is saying: "Come into
+the clean, shady woods and learn to love all the wonderful
+living, growing things to be found here. Come into the
+green woods and hear what we
+can tell you of beauty and
+love and kindness; of courage
+and perseverance and strength,
+for plants must have courage
+and perseverance as well as
+strength in order to live."</p>
+
+<p>All the time these plants are
+working in the ground and
+above it to make their flowers
+perfect and their seeds fruitful.
+Sometimes it is difficult work,
+too, if the soil does not give
+them enough food, or a dry
+summer chokes them with
+thirst. Sometimes they must
+struggle hard to gain a footing
+between the rocks where they
+were told to grow, or to keep
+from being crowded out by
+stronger, coarser plants that
+are called weeds.</p>
+
+<p>But they keep on trying to
+do their part and to do it
+well; they work and love, and their children, the blossoms,
+laugh, laugh, laugh with the happiness of it all.</p>
+
+<p>Now if Jack seems to you to stand too still in his pulpit
+while he preaches all this, why you can make him
+move around. He can turn first to one side then to the
+other, and he can lean forward over the front with extended<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+arms as some preachers do when they are very
+much in earnest.</p>
+
+<p>For this you will first have to cut a hole at the back of
+the pulpit near the bottom, as is shown
+in <a href="#Fig_7">Fig. 7</a>, then, slipping your knife inside,
+cut Jack loose from the flower and drop
+him out from the top by turning the
+pulpit upside down.</p>
+
+<p>Cut off the lower, thin part of the
+spike to which the arrow points in <a href="#Fig_8">Fig. 8</a>
+and, after puncturing a deep hole in the
+end, push in a very slender twig or grass-stem.
+<a href="#Fig_9">Fig. 9</a> shows how this is done.
+For arms that will make Jack seem more
+like a little man, push a short piece of
+grass-stem through the spike near the
+top where you see it in <a href="#Fig_9">Fig. 9</a>. Make
+a hole all the way through the spike
+with a pin so that the arms will slip
+in easily.</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tr><td align="left"><div class="figcenter" style="width: 122px;"><a id="Fig_8"></a>
+<img src="images/i_017a.png" width="122" height="265" alt="diagram" />
+<div class="caption">Fig.8 - The Spike.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 141px;"><a id="Fig_9"></a>
+<img src="images/i_017b.png" width="141" height="433" alt="diagram" />
+<div class="caption">Fig.9 - This is Jack.</div>
+</div></td></tr>
+</table></div>
+
+<p>When you are ready for Jack to
+preach put him in his pulpit, sliding
+the grass-stem through the hole at
+the back. While you hold the stem
+of the pulpit in one hand take the
+grass-stem in the other and, by moving
+it up and down, twisting it one
+way, then the other, and tipping it
+up, you can make him rise up tall
+and straight, then sink down; you
+can make him turn to the right and
+to the left and lean forward. That
+is being active enough in such a
+small pulpit, isn't it?</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p>
+
+
+
+
+<h2>CHAPTER III<br />
+<small>RED AND WHITE CLOVERS</small></h2>
+
+
+<p><span class="smcap">By</span> the roadside, through the meadows, on the farm, at
+the cottage door, and in your own yard those dear, familiar
+little friends, the clover-blossoms, come to greet you.
+Even in city parks you may find them, and always they
+are ready and glad to help you have a good time. Gather
+a lot of these flowers and sit in the shade under a tree
+with your lap filled with them while I tell you how to
+make a</p>
+
+
+<h3>Clover Wreath</h3>
+
+<p>Select some long-stemmed blossoms and leaves, bunch
+them and bind their stems together their full length with
+strong grass or string. Wind the grass around and around
+the stems, tucking the ends securely in under the last
+wind. You may need several long blades of grass for
+binding one bunch.</p>
+
+<p>In the same way make a second bunch and fit the flowers
+up close against the first bunch of blossoms, with their
+stems lying along the side of the first stems. Do not lap
+the flowers of one bunch over the flowers of another.
+Fasten the second bunch in place by binding the stems to
+those of the first bunch; then make a third bunch and bind
+it on next to the second bunch. Continue making these
+clover bunches and binding their stems to the stems of
+those already a part of the wreath until the strip is long
+enough to fit around your head. Try it on and, if it is
+the proper length, join the two ends by binding the last<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+stems to the stems of the first bunches. <a href="#Fig_10">Fig. 10</a> shows the
+clover wreath complete.</p>
+
+<div class="figcenter" style="width: 554px;"><a id="Fig_10"></a>
+<img src="images/i_019.png" width="554" height="434" alt="clover wreath" />
+<div class="caption">Fig.10 - Wreath of freshly picked Clover.</div>
+</div>
+
+<p>You should also have a</p>
+
+
+<h3>Clover Bracelet</h3>
+
+<div class='unindent'>to wear with the wreath. Make this as you did the
+wreath but with much smaller bunches. Keep binding
+the bunches together until the strip for the bracelet fits
+your arm (<a href="#Fig_11">Fig. 11</a>), then join the two ends, and slip the
+pretty thing on your wrist. Of course, you will want</div>
+
+
+<h3>Clover Earrings</h3>
+
+<div class='unindent'>to match, and those two plump, full, fresh blossoms lying
+at the top of the others on your lap are exactly what you
+need.</div>
+<div class="figcenter" style="width: 249px;"><a id="Fig_11"></a>
+<img src="images/i_020a.png" width="249" height="300" alt="bracelet" />
+<div class="caption">Fig.11 - Clover bracelet.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 139px;">
+<a id="Fig_12"></a>
+<img src="images/i_020b.png" width="139" height="212" alt="drawings" />
+<div class="caption">Fig.12 - Clover earring.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 116px;">
+<a id="Fig_13"></a>
+<img src="images/i_020c.png" width="116" height="204" alt="drawings" />
+<div class="caption">Fig.13 - Clover Blossom ring.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 289px;">
+<a id="Fig_14"></a>
+<img src="images/i_020d.png" width="289" height="279" alt="drawings" />
+<div class="caption">Fig.14 - Clover Blossom pendant
+on Clover necklace.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+
+<p>Take one of these clovers and fit it in tight between
+your cheek and the lobe of your ear (<a href="#Fig_12">Fig. 12</a>). Be careful
+not to break the long stem, for you must bring it up snugly
+just back of your ear along the line where the ear joins
+your head, and when this is done, bend the end of the stem
+down gently over the top of your ear. The stem will hold
+your earring in place. Make the other earring in the same
+way. The two clover-blossoms used for the earrings should
+be as much alike as possible both in size and shape. They<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+should be matched carefully, as pearls and diamonds are
+matched in a pair of real earrings.</p>
+
+<p>Now for a "solitaire"</p>
+
+
+<h3>Clover Ring</h3>
+
+<div class='unindent'>Choose the finest clover for the jewel, and hold it against
+the back of your left forefinger while you wrap the stem
+once around the finger, loop it over the blossom and draw
+the loop tight. Fasten the end by tucking it under and
+over, and again under the stem ring on your finger. This
+clover ring is really very effective, and can be made of any
+colored clover. <a href="#Fig_13">Fig. 13</a> gives an idea of how it looks.</div>
+
+
+<h3>A Necklace of Clover</h3>
+
+<div class='unindent'>will complete your beautiful set of flower jewelry. Make
+the necklace as you made the bracelet and fasten three
+pendant blossoms at the centre, allowing the middle clover
+to hang down a little below those on either side (<a href="#Fig_14">Fig. 14</a>).</div>
+
+<p>Now you are ready, with the addition of a long, straight
+twig, at the top of which you have fastened a bouquet of
+clover, to play that you are queen of all the clover fairies,
+and that your clover-tipped twig is your magic wand.</p>
+
+
+<h3>Other Things of Clover</h3>
+
+<p>The running, vinelike clovers are fine to use for climbing-roses
+on outdoor doll-houses. They can also be trained
+over the doll garden-frames and arches.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
+
+
+
+
+<h2>CHAPTER IV<br />
+<small>CLOVER DESIGNS</small></h2>
+
+
+<p><span class="smcap">Have</span> you ever admired the pretty patterns on wallpaper
+of flowers and green leaves? Have you ever embroidered
+dainty designs in colors on white linen, and do
+you love it all? If you do, you will like to make some designs
+yourself in a new way, and with real flowers and real
+leaves.</p>
+
+<p>You don't have to know how to draw or to paint
+in this designing, for the flowers are there ready for you
+to use, more exquisitely drawn and colored than the
+greatest artist could do them. Your part is to group and
+arrange them on a sheet of paper so that they will form
+beautiful designs; designs that will not only delight you,
+but that may be copied in embroidery or in other ways.</p>
+
+<p>Merely to place the flowers on the paper in some sort
+of a pattern is interesting, but the design won't last because
+the flowers won't stay in place. Your sleeve may
+wipe them all off, or a puff of air blow them away, so a
+method has been invented especially for you that will keep
+them where you want them to stay, and that method is
+simply to <i>paste</i> them there.</p>
+
+<p>You can make designs of almost any kind of flowers,
+the common pink-and-white clover that grows underfoot
+nearly everywhere makes a particularly pretty one. This
+is the long-stemmed, viny kind, and its name is alsike
+clover. <a href="#Fig_15">Fig. 15</a> shows what the alsike clover looks like,
+and you will see that its leaves are rather pointed at the
+tip, and shaped more like the leaves of the large red clover
+than like the almost round ones of the little white clover.</p>
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>
+
+<div class="figcenter" style="width: 330px;"><a id="Fig_15"></a>
+<img src="images/i_023a.png" width="330" height="600" alt="drawing" />
+<div class="caption">Fig.15 - The Alsike Clover. Deep rose
+color. The way it grows.</div></div>
+
+
+<div class="figcenter" style="width: 483px;"><a id="Fig_16"></a>
+<img src="images/i_023b.png" width="483" height="539" alt="drawings" />
+<div class="caption">Fig.16 - Upright design of Alsike Clover.</div>
+</div>
+
+
+
+
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p>
+
+<p>The graceful, upright design (<a href="#Fig_16">Fig. 16</a>) was made of the
+alsike clover, the blossom of which was a deep-rose color,
+and the original design when finished looked like a piece
+of embroidery done in silks. It was so lovely I wish that
+it could be given in its natural colors here.</p>
+
+<div class="figcenter" style="width: 617px;"><a id="Fig_17"></a>
+<img src="images/i_024.png" width="617" height="386" alt="drawings" />
+<div class="caption">Fig.17 - Parts of upright Clover design.</div>
+</div>
+
+<p>Look at <a href="#Fig_16">Fig. 16</a> carefully and see that while the sprays
+of clover at the right and left appear to be exactly alike,
+though turned in opposite directions, they are not really
+so, and the little differences help to make the design interesting.
+They keep it from being what we call monotonous.
+Now look at D, E, and F, <a href="#Fig_17">Fig. 17</a>. These are tracings
+of the sprays of clover before they were grouped
+together to form the design <a href="#Fig_16">Fig. 16</a>. The spray on the left,
+marked D, is just as it grew and as it was used in the
+finished design; but F, on the right, had to have the little
+budded spray added at the place on the stem shown by<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+the arrows to make it resemble and balance the other.
+This bud with its leaves was clipped from another clover-vine.</p>
+
+<div class="figcenter" style="width: 595px;">
+<a id="Fig_18"></a>
+<img src="images/i_025a.png" width="595" height="228" alt="drawings" />
+<div class="caption">Fig.18 - Running design of Clover.</div>
+</div>
+
+<p>The spray in the centre of the design was like E, <a href="#Fig_17">Fig.
+17</a>, and it was necessary to give it the extra leaves shown at
+its right because, without them, it was not symmetrical,
+which means evenly balanced, and it would not have
+looked well in the design.</p>
+
+<div class="figcenter" style="width: 555px;"><a id="Fig_19"></a>
+<img src="images/i_025b.png" width="555" height="274" alt="outline drawing" />
+<div class="caption">Fig.19 - Parts of running design.</div>
+</div>
+
+<p>When all of the material was collected and ready to be<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+put together, the central spray, E, was laid in the middle
+of a sheet of unruled, white paper with the lower end of
+the stem near the bottom edge, then the sprays D and F
+were placed on the right and left of the centre one and tried
+first in one position, then in another, until it was decided
+that they looked best arranged as in <a href="#Fig_16">Fig. 16</a>. After that
+the extra leaves for the middle spray, and the bud and its
+leaves for the right-hand spray, were put in place.</p>
+
+<div class="figcenter" style="width: 426px;"><a id="Fig_20"></a>
+<img src="images/i_026.png" width="426" height="390" alt="drawings" />
+<div class="caption">Fig.20 - Large Red Clover design.</div>
+</div>
+
+<p>It all seemed charmingly satisfactory, so the design was
+taken apart that it might be fastened permanently in place.
+The middle spray had to be adjusted first, and a drop of
+good library paste was put on the under-side of the clover-blossom,
+a drop on the under part of each leaf, and on the
+under part of the stem at the lower end. Then the spray
+was laid in the middle of the paper just where it was at
+first, and pressed down to make it stick. Paste was put<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a><br /><a name="Page_18" id="Page_18">[18]</a></span>
+on the under part of each of the three leaves to be added
+and on the under part of their stem at the end, and they
+were pasted down to look as if growing on the main stem,
+opposite the other leaves.</p>
+
+<div class="figcenter" style="width: 554px;">
+<a id="Fig_21"></a>
+<img src="images/i_027a.png" width="554" height="353" alt="drawings" />
+<div class="caption">Fig.21 - Design of leaves and buds of Red Clover.</div>
+</div>
+
+<div class="figcenter" style="width: 569px;"><a id="Fig_22"></a>
+<img src="images/i_027b.png" width="569" height="441" alt="outline drawing" />
+<div class="caption">Fig.22 - Parts of leaf and bud design.</div>
+</div>
+
+<p>Next the left-hand spray was pasted in place in the
+same way, then the right-hand spray, to which was given
+its bud that curves in to almost touch the bud on the other
+spray. Paste was also put half-way down on the under
+part of the long stems of each of the side sprays.</p>
+
+<p>This completed the clover design and it was exceedingly
+pretty, but after it had been sufficiently admired it was
+placed between papers under several heavy books to press,
+that it might be more durable. It was after it had been
+pressed that it looked like a piece of silk embroidery.</p>
+
+<p>Pasted designs can be made without pressing; but while
+they are more beautiful they will not last as long as the
+others. You can enjoy your fresh designs for a while and
+then press them. Do not make the mistake of covering
+the entire under part of a flower or leaf with paste as if
+it were made of paper; a drop is all that is needed, more
+will spoil it.</p>
+
+<p>Flowers do not always grow exactly as you want them
+for your designs, but a too straight stem can be coaxed
+to curve by drawing it between your fingers, and leaves
+and sprays can be cut away or added as has been shown.
+All this changing about only makes it more fun to work
+out the design.</p>
+
+<p><a href="#Fig_18">Fig. 18</a> is a running design of clovers which can be used
+for a border. The little arrows on <a href="#Fig_19">Fig. 19</a> show where the
+different parts are joined.</p>
+
+<p>The large red clover was used for the design <a href="#Fig_20">Fig. 20</a> and
+the leaves and buds of the red clover for <a href="#Fig_21">Fig. 21</a>. <a href="#Fig_22">Fig.
+22</a> shows how the parts of <a href="#Fig_21">Fig. 21</a> are put together. These
+drawings are all original from designs actually made of
+fresh clover-blossoms and their foliage.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p>
+
+
+
+
+<h2>CHAPTER V<br />
+<small>OTHER WILD-FLOWER DESIGNS</small></h2>
+
+
+<h3>Daisy Fleabane Design</h3>
+
+<p><span class="smcap">Isn't</span> the design <a href="#Fig_23">Fig. 23</a> what grown-ups call Japanesque?
+Doesn't it look as if it had been copied from a printed
+pattern on a piece of Japanese cotton cloth?</p>
+
+<div class="figcenter" style="width: 479px;">
+<a id="Fig_23"></a>
+<img src="images/i_029.png" width="479" height="392" alt="drawings" />
+<div class="caption">Fig.23 - Daisy Fleabane design</div>
+</div>
+
+<p>Well, it was not. It is from a design made especially
+for you of real wild flowers, freshly gathered. The name
+of the flower is the daisy fleabane which grows in almost
+all open grassy fields where daisies and buttercups and
+clovers are found.</p>
+
+<p>The illustration <a href="#Fig_24">Fig. 24</a> shows how the daisy fleabane<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+looks when first gathered. Sometimes the blossom is entirely
+white, sometimes it is tinged with purple, and it has
+a bright-yellow centre. Its petals are as fine as a fringe,
+like those of the asters that blossom in the fall.</p>
+
+<p>In making the design the full-blown flowers were pressed
+down flat, which makes them round like a sunflower,
+while the buds and partly open flowers were left as they
+naturally grew. The composition, or arrangement, of this
+design is like that used for the upright clover design (<a href="#Fig_16">Fig.
+16</a>), that is, it has two tall side sprays and a shorter middle
+spray; but see how very different the two designs are in
+appearance. The clover is all graceful curves, the daisy
+fleabane is stiff and formal with straight lines and angles.</p>
+
+<p>If you use the white flower, make the design on a sheet
+of tinted paper, else the flower will not show. All white
+flowers should have tinted paper for a background.</p>
+
+
+<h3>Wild Mustard Design</h3>
+
+<p>The small, yellow blossoms of the wild mustard and
+its compound leaves make very dainty designs. <a href="#Fig_25">Fig. 25</a>
+is one of them.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a id="Fig_25"></a>
+<img src="images/i_030.png" width="600" height="178" alt="drawings" />
+<div class="caption">Fig.25 - Wild Mustard design.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tr><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_26"></a>
+<img src="images/i_031a.png" width="245" height="611" alt="drawings" />
+<div class="caption">Fig.26 - Wild Mustard.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 389px;">
+<a id="Fig_24"></a>
+<img src="images/i_031b.png" width="389" height="727" alt="drawings" />
+<div class="caption">Fig.24 - The Daisy Fleabane
+grows like this.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+<p>From the drawing of the wild mustard (<a href="#Fig_26">Fig. 26</a>) you will
+see that the flowers do not grow close to the leaves as they
+are placed in this design, but on tall stems which lift them<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a><br /><a name="Page_22" id="Page_22">[22]</a></span>
+far above the scattered leaf-sprays. The design <a href="#Fig_25">Fig. 25</a>
+was made by cutting off a number of flower-clusters and
+leaves, and grouping first one flower-cluster and one leaf-spray
+together, with the ends of their stems touching, then
+another flower-cluster
+and another leaf-spray.
+The arrows in <a href="#Fig_27">Fig. 27</a>
+show where the stems
+are brought together,
+and the design <a href="#Fig_25">Fig. 25</a>
+shows how the joining
+of the first two is covered
+with one of the
+small leaves of the second
+leaf-spray, and how
+the joining of the second two is hidden under a leaf of the
+third leaf-spray, and so on.</p>
+
+<div class="figcenter" style="width: 353px;">
+<a id="Fig_27"></a>
+<img src="images/i_032a.png" width="353" height="209" alt="drawings" />
+<div class="caption">Fig.27 - Parts of Wild Mustard design.</div>
+</div>
+
+<p>There are four flower-clusters and five leaf-sprays in
+the design. You can have as many as you wish but must
+end them with a leaf-spray.</p>
+
+<div class="figcenter" style="width: 542px;">
+<a id="Fig_28"></a>
+<img src="images/i_032b.png" width="542" height="271" alt="drawings" />
+<div class="caption">Fig.28 - Buttercup design.</div>
+</div>
+
+
+<h3>Buttercups&mdash;a Design</h3>
+
+<p>Buttercups are so beautifully golden, so glossy and
+bright, you would think they could be made into many<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+nice things, a gold necklace for instance. And so they
+could if they only would not wilt almost as soon as they
+are gathered. To be sure, they will revive and freshen up
+when put in water if they are not too much wilted, but
+we cannot make them into jewelry while their stems are
+in water.</p>
+
+<p>Still there is something buttercups can be used for, and
+that is designs. <a href="#Fig_28">Fig. 28</a> is a drawing from the simplest
+kind of a buttercup design but a pretty one. It shows
+five wide-open blossoms placed in a row at equal distances
+apart with a little spray of leaves and bud at the lower
+end of each stem. These sprays do not grow as they are
+in the design but are added after the flowers are placed
+in a row.</p>
+
+<p>As in all other designs, each flower, bud, and stem is
+touched with paste on the under-side to hold it in place
+on the paper. A design like <a href="#Fig_28">Fig. 28</a> should be pressed after
+it is arranged, and it will last a long while and keep its
+bright color. A number of other and very beautiful designs
+can be made of the common wild buttercup.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p>
+
+
+
+
+<h2>CHAPTER VI<br />
+<small>PUSSY-WILLOWS</small></h2>
+
+
+<p><span class="smcap">We</span> all welcome and love the dear little pussy-willows
+(<a href="#Fig_29">Fig. 29</a>) whose fur is so soft and silvery. How pretty
+they look sitting along the slender,
+bare branches of the small American
+willow-tree which is their home.
+The pussies like to come early to
+assure us that spring is here. They
+are very tame little kitties, and will
+allow you to carry them away to
+your school or to your home.</p>
+
+<div class="figcenter" style="width: 159px;">
+<a id="Fig_29"></a>
+<img src="images/i_034.png" width="159" height="659" alt="drawings" />
+<div class="caption">Fig.29 - Pussy-Willows.</div>
+</div>
+
+<p>Sometimes pussy-willows turn into
+little rabbits, squirrels, bumblebees,
+and mice, but they need your help,
+they cannot make the magic change
+alone. It will be lots of fun helping
+them if you do it this way.</p>
+
+<div class="figcenter" style="width: 463px;">
+<a id="Fig_30"></a>
+<img src="images/i_035a.png" width="463" height="342" alt="drawings" />
+<div class="caption">Fig.30 - The Rabbit and the Rabbit's ears, enlarged.</div>
+</div>
+
+<div class="figcenter" style="width: 587px;">
+<a id="Fig_31"></a>
+<img src="images/i_035b.png" width="587" height="100" alt="drawings" />
+<div class="caption">Fig.31 - The Pussy-Willow Bunnies.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 475px;">
+<a id="Fig_32"></a>
+<img src="images/i_035c.png" width="475" height="398" alt="drawings" />
+<div class="caption">Fig.32 - Pussy-Willow Squirrel, enlarged.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 129px;">
+<a id="Fig_33"></a>
+<img src="images/i_035d.png" width="129" height="432" alt="drawings" />
+<div class="caption">Fig.33 - Paper tail, enlarged,
+for squirrel.</div>
+</div>
+</td></tr>
+</table></div>
+
+
+
+
+<h3>Pussy-Willow Rabbits</h3>
+
+<p>Take a small branch of the very
+largest pussies you can find, have
+ready some scraps of smooth, fresh
+writing-paper, a piece of cardboard,
+pair of scissors, and some good paste.
+It only requires long ears to change
+the pussy-willows into bunnies. Cut
+the ears from your writing-paper like
+the pattern <a href="#Fig_30">Fig. 30</a>. Put paste on<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a><br /><a name="Page_26" id="Page_26">[26]</a></span>
+the strip between the letters G and H, then take a pussy
+from the branch and stick the paste-covered strip just
+above the small end of the pussy, which will be the bunny's
+head. The arrow I, <a href="#Fig_30">Fig. 30</a>, points to the place for
+the ears. When the paste has dried bend the ears up
+like the ears of the rabbits in <a href="#Fig_31">Fig. 31</a>. Make three or
+four rabbits to keep each other company and paste them
+in a row on your piece of cardboard.</p>
+
+<div class="figcenter" style="width: 510px;">
+<a id="Fig_34"></a>
+<img src="images/i_036.png" width="510" height="554" alt="drawings" />
+<div class="caption">Fig.34 - The Pussy-Willow Bumble-Bee.</div>
+</div>
+
+
+<h3>A Pussy-Willow Squirrel</h3>
+
+<p>This little gray squirrel (<a href="#Fig_32">Fig. 32</a>), sitting up in such a
+lifelike pose, must be made of a slightly bent, rather long,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+slender pussy. Pull forward some of the fur near the small
+end so that it will look like the front legs of the squirrel
+when he holds a nut in his hand-like front paws, and push
+up two tufts on the head for ears. The pussy from which
+<a href="#Fig_32">Fig. 32</a> was made already had these tufts for legs and ears,
+and it looked so much like a squirrel one simply had to
+add the tail and let it be a squirrel.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 257px;"><a id="Fig_35"></a>
+<img src="images/i_037a.png" width="257" height="387" alt="drawing bee body" />
+<div class="caption">Fig.35 - Parts of bumble-bee.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 330px;"><a id="Fig_36"></a>
+<img src="images/i_037b.png" width="330" height="375" alt="drawing bee legs" />
+<div class="caption">Fig.36 - Draw the legs of the bee
+like this.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Cut the paper tail like the pattern <a href="#Fig_33">Fig. 33</a>, fringe it
+along the edge and bend forward the little lap at the
+bottom which is separated from the tail by the dotted
+line. Curve the tail backward, put paste on top of the
+lap, and stick the lap to the under part of the large end of
+the pussy; then paste the finished squirrel to a piece of
+pasteboard cut round or square as you like best.</p>
+
+
+<h3>Pussy-Willow Bumblebee</h3>
+
+<p>Mr. Bumblebee (<a href="#Fig_34">Fig. 34</a>) needs one whole pussy for his
+body, one-half of a pussy for his big, round throat, and<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+a small piece of the pussy for his head (<a href="#Fig_35">Fig. 35</a>). On the
+piece of cardboard which is to hold the bee, draw his legs
+like <a href="#Fig_36">Fig. 36</a>, then paste the three parts&mdash;body, throat, and
+head&mdash;on top of the legs. <a href="#Fig_37">Fig. 37</a> shows how it would look
+underneath if you could
+see through the paper, so
+you will know exactly
+where to paste first the
+throat, then the head, and
+lastly the body. The edges
+of these parts where they
+join must be pushed close
+together.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 346px;"><a id="Fig_37"></a>
+<img src="images/i_038a.png" width="346" height="373" alt="drawing diagram" />
+<div class="caption">Fig.37 - Paste the three parts of the
+bee on top of the legs.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 349px;">
+<a id="Fig_38"></a>
+<img src="images/i_038b.png" width="349" height="365" alt="drawings" />
+<div class="caption">Fig.38 - Mr. Bumble-Bee, enlarged, ready
+for his wings.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>A bumblebee has slightly
+curved spikes extending
+from his head which are
+called antennæ. <a href="#Fig_38">Fig. 38</a>
+shows you where to draw
+them. You will also see
+on the same diagram
+how to widen the six
+legs, making them
+thicker and more lifelike.
+Cut paper wings the shape of <a href="#Fig_39">Fig. 39</a>, making them the
+proper size to fit your bee. Remember that a bumblebee
+has small, short wings compared to the size of its body.
+Bend the lap at the bottom of the wing along the dotted
+line, and paste the lap of each wing onto the sides of<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+Mr. Bumblebee's chest. The wings turn back over the
+laps and hide them. (See <a href="#Fig_40">Fig. 40</a>). The finished bee is
+shown in <a href="#Fig_34">Fig. 34</a>.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="diagrams">
+<tr><td align="left"><div class="figcenter" style="width: 390px;">
+<img src="images/i_039a.png" width="390" height="219" alt="diagram" /><a id="Fig_39"></a>
+<div class="caption">Fig.39 - Pattern of bumble-bee wing.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 251px;">
+<img src="images/i_039b.png" width="251" height="224" alt="diagram" /><a id="Fig_40"></a>
+<div class="caption">Fig.40 - Showing lap of wing bent back.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+<p>If you cut a leaf out of green paper and put your bumble-bee
+on that instead of on the cardboard, he will look, with
+his extended wings, as if just ready to fly, and will make
+a fine addition to your collection of things made of outdoor
+material.</p>
+
+<div class="figcenter" style="width: 597px;">
+<a id="Fig_41"></a>
+<img src="images/i_039c.png" width="597" height="235" alt="drawings" />
+<div class="caption">Fig.41 - Pussy-Willow Mouse, enlarged.</div>
+</div>
+
+
+<h3>Pussy-Willow Mouse</h3>
+
+<p>Then there is the pussy-willow mouse (<a href="#Fig_41">Fig. 41</a>). He is
+a nice little gray mouse with a long tail.</p>
+
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p>
+
+<p>Choose a large pussy-willow for this mouse, ruffle the
+fur up on top of the head and it will look like ears. The
+head is at the small end of the pussy. Paste one end of a
+piece of cotton string under the large end of the mouse,
+and that will be his tail. The string should be white.</p>
+
+<div class="figcenter" style="width: 440px;"><a id="Fig_42"></a>
+<img src="images/i_040.png" width="440" height="439" alt="diagram" />
+<div class="caption">Fig.42 - Jumping Pussy-Willow Game-Board.</div>
+</div>
+
+<p>Finish by pasting the mouse to a round or square piece
+of pasteboard.</p>
+
+
+<h3>Jumping Pussy-Willows&mdash;a Game</h3>
+
+<p>This is a good game and it will make you laugh to see
+the pussies leap up in the air, sail along a short distance,
+and land on a numbered square of the game-board.</p>
+
+<p>The board (<a href="#Fig_42">Fig. 42</a>) should be ten or twelve inches
+square. Cut it from a flat, even box lid or any other
+pasteboard you happen to have. Draw straight lines from<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+top to bottom about one inch apart, then more straight
+lines from side to side one inch apart. This will divide the
+board into squares like a checker-board. Each of these
+squares must be numbered and you can draw or paste them
+in. <a href="#Fig_42">Fig. 42</a> shows how the game-board should look.</p>
+
+<p>To play the game, lay the board down on a flat surface,
+a stone will do if you are out-of-doors, or even the ground;
+and a table, if in the house. In front of the board draw
+a short line for the starting-post. The line should be ten
+or more inches from the board according to the distance
+you can make the pussies jump. Any number of players
+may join in the game and each player should have his
+own jumping pussy.</p>
+
+<div class="figcenter" style="width: 560px;">
+<a id="Fig_43"></a>
+<img src="images/i_041.png" width="560" height="249" alt="drawing" />
+<div class="caption">Fig.43 - Place your finger on the Pussy-Willow and
+make it jump.</div>
+</div>
+
+<p><a href="#Fig_43">Fig. 43</a> shows how to place the pussy under the tip of
+your right forefinger, with the large, blunt end standing
+a little out beyond the finger-tip. When ready to shoot,
+press down suddenly on the pussy and, as your finger slides
+off the small end, away jumps pussy and lands on a square
+of the game-board. Each player plays in turn, always,
+of course, placing the pussy on the starting-line when shooting.
+The player whose pussy lands on the highest number
+wins the game. Jumping pussy-willow can also be played<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+by dividing the players into two even sides; then the side
+which has the highest score, after the numbers won by
+them have been added up, is the winner.</p>
+
+
+<h3>Pussy-Willow Bouquet</h3>
+
+<p>A nice, big bunch of pussy-willows makes an attractive
+bouquet, and a very welcome one early in the spring. "The
+pussies are out!" we hear some one say, and then the boys
+and girls vie with one another in their effort to be the first
+to find and bring home branches of the little catkins as
+proof that spring has come and they were the first to see
+her.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
+
+
+
+
+<h2>CHAPTER VII<br />
+<small>ARRANGEMENT OF FLOWERS</small></h2>
+
+
+<p><span class="smcap">The</span> arrangement of flowers is interesting and means
+a great deal. It means that this chapter will tell you what
+wild flowers look prettiest on the dinner-table and in bowls
+and vases in other parts of the house; what flowers and
+vines will keep fresh longest, and the kind that do not
+need water but are beautiful when dry. It means that
+you can learn not to force a tightly packed handful of all
+sorts of flowers into a small vase and expect them to look
+well. Flowers don't like crowding and are quite particular
+about their associates.</p>
+
+<p>If you come in hot and tired after your walk, put the
+flowers you have gathered into a pail of fresh water and
+let them stay there until you have rested and are ready
+to sort them out and make each kind look its very best.
+All flowers do not appear well in stiff, straight vases; all
+do not look well in bowls. That is the first thing to learn,
+and the next is that while some flowers seem to smile upon
+and nestle lovingly up to some others, there are kinds that
+they seem to draw away from and frown upon. Only a
+few examples can be given here. If you love the flowers
+you will find out more for yourself.</p>
+
+
+<h3>The Wild Morning-Glory</h3>
+
+<p>In your walks through the fields and along the country
+roadsides have you ever noticed the wild morning-glory?
+Of course, you have seen it and, perhaps, gathered some
+blossoms, only to find them in a short time wilted in your<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+hand or turned into little, long bags, puckered at the top
+as if drawn up with a string.</p>
+
+<div class="figcenter" style="width: 593px;">
+<a id="Fig_44"></a>
+<img src="images/i_044.png" width="593" height="496" alt="drawings" />
+<div class="caption">Fig.44 - This is the way the Wild Morning Glory looks.</div>
+</div>
+
+<p>When I say noticed, I mean have you thought about
+the flowers while you looked at them? Have you noticed
+their shape and beautiful color, and have you seen the
+great difference between the green leaf of the wild morning-glory
+and that of the cultivated one?</p>
+<div class="figleft" style="width: 436px;"><a id="Fig_45"></a>
+<img src="images/i_045.png" width="436" height="599" alt="" />
+<div class="caption">Fig.45 - The Wild Morning Glory blossomed
+after it was gathered.</div>
+</div>
+<p>The wild morning-glory leaf (<a href="#Fig_44">Fig. 44</a>) is more beautiful
+in shape, the vine is more graceful, and the blossom just
+as lovely as the cultivated morning-glory, and all this
+beauty need not be left behind when you gather the
+wild flowers which are to make the rooms of your home
+charming.</p>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>
+
+<p>While I write this, July 7, there stands on a table in our
+living-room a tall glass vase, wide at the top and holding
+plenty of water. It is filled with a mass of wild morning-glory-vines,
+and there are four new, entirely open, pink
+and white blossoms while others are just twisting open.</p>
+
+
+
+<p>Four days ago, when out for a walk in the country, I
+gathered the vine by the roadside where it grew in the
+company of daisies, buttercups, and wild mustard. Lifting
+themselves up into the light, where the warmth of the<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+morning sun could open the buds and where the leaves
+could breathe in the fresh air, some of these trailing vines
+had wound themselves in masses around tall, strong weed-stalks.</p>
+
+<p>I gathered the vines, weed-stalks and all, breaking them
+off close to the ground; and now these stalks hold most
+of the vines upright in the vase, while other sprays droop
+gracefully over the edge and hang down almost to the
+table-top. Only one or two flowers were in bloom when
+I found the vines, but there were quantities of green buds
+which I hoped would open later, and that is just what
+they are doing. It is like having wild flowers growing in
+one's window. And as for decoration, nothing can be more
+beautiful (<a href="#Fig_45">Fig. 45</a>).</p>
+
+<p>Trailing vines always make pretty decorations, and
+many wild ones keep fresh a long while when given plenty
+of water. Some have flowers, some have not, but in any
+case they are worth gathering when you have large vases
+to fill.</p>
+
+
+<h3>The Wild Balsam-Apple</h3>
+
+<div class='unindent'>or as some people call it, the wild cucumber, is very
+decorative. That means it has beautiful curves and twists,
+and its small, white flowers, prickly, egg-shaped fruit, and
+long tendrils twisted spirally, like a steel watch-spring let
+loose, make us love to look at it. The leaves are pretty,
+too, being shaped almost like a five-pointed star. Sometimes
+this vine is cultivated and you will find it trained
+up on strings to shade the porch, or over the kitchen-door
+of a farmhouse. Wherever you find it, it is beautiful. A
+large jar filled with sprays of the wild balsam makes a
+good centrepiece for the table, or a tall vase holding some
+upright and some drooping sprays looks very pretty when
+placed near a window where the light will fall on it. Do
+not mix other flowers with it, its own blossoms are sufficient.</div>
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p>
+
+
+<h3>Wild Clematis</h3>
+
+<p>The wild clematis is another beautiful vine, and you
+will find it clambering over fences and bushes along the
+country road. Its masses of white flowers fill the air with
+a sweet, spicy perfume that delights you.</p>
+
+<p>You can gather the clematis when it is in blossom, and
+keep it fresh in water for some time if you put it in root
+ends down. This vine does not wilt as you carry it. Later
+in the season, when the white flowers have turned into
+balls of silvery fringe, the vine is lovely in a different way.
+Then you can gather great armfuls and take it home to
+hang over mirrors or picture-frames, letting it become
+quite dry. It is best to strip the leaves off the sprays at
+first because they are not beautiful when dry. In a day
+or two after hanging up your clematis the balls of fringe
+will become a mass of soft down which will cling to the
+vine for many weeks. Later, when it becomes dusty, take
+it down.</p>
+
+
+<h3>Bittersweet</h3>
+
+<p>Then there is bittersweet, another wild vine that we
+gather in the fall. It covers fences and bushes as the
+clematis does, but instead of turning into fringe balls its
+small, creamy white flowers become bunches of berries.</p>
+
+<p>The berries are yellow at first; when ripe they split open
+and curl back to show the brilliant red seeds inside that
+look like coral beads.</p>
+
+<p>Gather the bittersweet while the berries are yellow,
+strip off the green leaves, and hang the vine up dry or put
+it in a large vase without water. Then the berries will
+open and last all winter.</p>
+
+
+<h3>Snapdragon and Wild Carrot</h3>
+
+<p>Both of these are pretty flowers and worth gathering.
+The snapdragon (perhaps you call it butter-and-eggs) does
+not mind at all where it grows. Field, roadside, or even<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+the village streets may be its home, but wherever it lives,
+it makes the spot shine joyously with its stalks of yellow
+blossoms. Snapdragons combine well with the wild carrot,
+whose other name is Queen Anne's lace, and together
+they make a delicate and beautiful bouquet.</p>
+
+<p>If you have a large glass fish-globe fill it with fresh
+water, and put in the snapdragon and wild carrot in a
+loose bouquet. Nothing could be prettier for the August
+lunch-table than this.</p>
+
+
+<h3>Wild Roses</h3>
+
+<div class='unindent'>look best in a low glass bowl, for they have no stems to
+speak of. Short-stemmed flowers do not belong in tall
+vases. The roses wilt quickly out of water and should
+have plenty of it.</div>
+
+<p>Do not put any other kind of flowers in the bowl; the
+roses won't like it; neither will you when you see how
+much better they look by themselves.</p>
+
+
+<h3>Daisies and Buttercups</h3>
+
+<div class='unindent'>so friendly in the fields, look pretty when arranged in a
+deep jar together, but I would not mix daisies with any
+other flowers, unless it is the lacy wild carrot. Buttercups
+look well with the carrot, too, and buttercups look
+pretty mixed with grasses. You see they all know each
+other very well, growing in the fields together.</div>
+
+
+<h3>The Wild Flag, or Iris</h3>
+
+<div class='unindent'>whose home is along the banks of ponds and small streams,
+should be put into a tall clear glass vase or pitcher, where
+its stems will show through, that it may look its best.</div>
+
+<p>There is the yellow iris, the white and the purple, and
+they are very beautiful when combined but not crowded.
+Always put some of the long-spiked leaves in with the
+flowers.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+
+<h3>Clover Bouquets</h3>
+
+<p>Clover bouquets make delightful centrepieces for the
+table. Arranged loosely with its own green foliage, the
+rose-colored clover is especially beautiful in a clear, green
+glass bowl of water. The sprays should be brought over
+the edges of the bowl, and allowed to droop down, resting
+partly on the table.</p>
+
+<p>Yellow clover and its foliage mingled with white clover
+makes a charming combination as a bouquet for almost
+any occasion. The name of the yellow clover is hop-clover.
+It is not as common as the other kinds.</p>
+
+
+<h3>Green Bouquets</h3>
+
+<p>When there are no flowers to be had you can have
+bouquets and centrepieces of green leaves, ferns, and vines,
+and you will be surprised to find what pretty ones can be
+arranged and how much they will be admired.</p>
+
+<p>Ferns will wither soon unless taken up with the roots
+and the soil surrounding them; but if they have the roots
+and soil they will last a long while, provided you put them
+in a bowl or jar and keep them <i>always wet</i>. That does
+not mean to water them as you would any other growing
+plant, but to keep them <i>standing</i> in water <i>all the time</i>.
+Maidenhair-fern kept in this way makes a delicate and
+beautiful centrepiece for the table.</p>
+
+<p>Sometimes you will find varieties of foliage that are
+full of color. In early summer the young leaves of the
+scrub-oak are very brilliant in reds and yellows, and I have
+made bouquets of nothing but leaves from the rose-bushes.
+These are often tinged with red and purple. Sprays of
+the barberry-bush with its rows of dangling red berries
+are pretty in a green bowl. Be careful of the thorns when
+you gather this. Cut the stems; do not try to break them.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p>
+
+
+
+
+<h2><i>PART II</i><br />
+<small>GRASSES</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER VIII<br />
+<small>FAIRY-TREES MADE OF GRASSES</small></h2>
+
+
+<p><span class="smcap">Some</span> of our grasses appear like very large trees to the
+little grass fairies who, we like to pretend, hide in their
+midst; while other grasses, with their jointed, bamboo-like
+stems, seem to these tiny people to be tall forests of
+real bamboo.</p>
+
+<p>Why not play that you are a little fairy and live among
+the grasses? But to see the grasses as the fairies see them
+you must lie down and bring your eyes very near the
+ground; so stretch yourself out flat, face down, with your
+head lower than the grass tops; then look steadily ahead
+through the tall grass stems. What do you see?</p>
+
+<p>The five fairy-trees standing by themselves in <a href="#Fig_46">Fig. 46</a>
+are four short-stemmed tops of the Scribner's panic-grass.
+<a href="#Fig_47">Fig. 47</a> shows exactly how the grass looks before you pick
+it, and <a href="#Fig_48">Fig. 48</a> gives a simple design that you can make
+by placing the tips of the four grass tops together, allowing
+the stems of two heads to lie in a straight horizontal
+line (that means a line running from left to right), and
+the stems of the other two heads to lie in a straight line
+vertically (that means up and down).</p>
+<div class="figcenter" style="width: 500px;">
+<a id="Fig_46"></a>
+<img src="images/i_051.png" width="500" height="441" alt="drawings" />
+<div class="caption">Fig.46 - Trees of Scribner's Panic-Grass.</div>
+</div>
+<p>While you are playing with the grasses you can begin
+to learn something about them. The beard-grass, which<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+some people call the little blue-stem (<a href="#Fig_49">Fig. 49</a>), has near relatives
+named forked beard-grass and bushy beard-grass.
+These are stiff and angular, with bamboo-like stems, just
+the thing for trees in a little Japanese garden which some
+time you will want to make. You may run across them
+anywhere, for they are common in all parts of our country.</p>
+
+
+
+<div class="figcenter" style="width: 409px;">
+<a id="Fig_47"></a>
+<img src="images/i_052.png" width="409" height="694" alt="drawings" />
+<div class="caption">Fig.47 - Scribner's Panic-Grass as it grows,
+Panicum Scribnerianum.</div>
+</div>
+
+<p>Make friends with these and with other grasses. As
+you find them learn their names just as you would learn
+the names of new playmates. Take the grasses home,
+show them to your father and to your mother; if they<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+do not know their names, carry them to school and ask
+your teacher about them. In case she cannot tell you, go
+to the public library with your grasses and persuade the
+librarian at the desk to help you find their pictures and
+names in some of her books. All grasses have names, so<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+keep asking and hunting until you know what to call them.
+When you know their names you will be glad to see your
+friends, the pretty green grasses, whenever you find them.</p>
+<div class="figcenter" style="width: 455px;">
+<a id="Fig_49"></a>
+<img src="images/i_053.png" width="455" height="792" alt="drawings" />
+<div class="caption">Fig.49 - You will run across these anywhere.</div>
+</div>
+
+<p>In <a href="#CHAPTER_XVIII">Chapter XVIII</a>, which tells how to make a burdock-burr
+house, you will find more about grasses.</p>
+
+<div class="figcenter" style="width: 547px;">
+<a id="Fig_48"></a>
+<img src="images/i_054.png" width="547" height="572" alt="drawings" />
+<div class="caption">Fig.48 - Scribner's Panic-Grass. Design made of four grass heads.</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p>
+
+
+
+
+<h2>CHAPTER IX<br />
+<small>A HOUSE MADE OF GRASS</small></h2>
+
+
+<p><span class="smcap">Real</span> people live in grass houses way off in the Philippine
+Islands. That is, their houses are made of bamboo, which
+is a kind of giant grass. It must be a pretty airy, comfortable
+house in summer, and it is always summer in the
+Philippines, but we never see that kind of houses here.
+One reason is because in most of our country a grass house
+would be very cold in winter, and another reason for not
+building them is because the bamboo grows only in the
+extreme south, and even down there people want more
+substantial homes.</p>
+
+<p>A prettier playhouse, though, could not be devised, and
+if you could see a Filipino house you would want it immediately,
+but since you cannot have a real one you can have
+the fun of making a little doll Filipino house, and of
+making it exactly as the little brown Filipino men make
+theirs. Suppose you gather some grass and twigs now,
+and build the little house for your doll.</p>
+
+<p>Some of the queer little people whose home is in the
+Philippine Islands perch their houses like birds' nests up
+in the trees, but often they are built on stilts to lift them
+high from the ground. Our little house (<a href="#Fig_50">Fig. 50</a>) shall
+be on stilts. We will make the floor first. If you do not
+understand how to measure by inches, ask an older person
+to help you.</p>
+
+
+<h3>The Floor</h3>
+
+<p>Find two straight, round sticks, not quite as large round
+as a lead-pencil. The sticks must be cut six and a half<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+inches long, then two sticks of the same kind five inches
+long; after that there must be six more sticks five inches
+long. Split these last six sticks in half lengthwise.</p>
+
+<p>The Philippine people do not use nails, or screws, or glue,
+and not even wooden pegs, in building their houses; they
+bind and tie the parts together with rattan, and as we are
+going to build just as they do we, too, will tie the parts
+of our house together, but will use raffia in place of the
+rattan.</p>
+
+<div class="figcenter" style="width: 601px;">
+<a id="Fig_50"></a>
+<img src="images/i_056.png" width="601" height="517" alt="drawings" />
+<div class="caption">Fig.50 - The little Grass House you can make.</div>
+</div>
+
+<p>Hold one of the six-and-a-half-inch sticks (letter J, <a href="#Fig_51">Fig.
+51</a>) upright in your hand while you cross it a short distance
+below the top with a five-inch-round stick (letter<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+K, <a href="#Fig_51">Fig. 51</a>). The distance from the top of the upright
+stick to the crossing and the distance from the short end
+of the other stick to the crossing must be the same.</p>
+
+<div class="figcenter" style="width: 336px;">
+<a id="Fig_51"></a>
+<img src="images/i_057a.png" width="336" height="368" alt="drawings" />
+<div class="caption">Fig.51 - Begin binding
+them together.</div>
+</div>
+
+<div class="figcenter" style="width: 372px;">
+<a id="Fig_52"></a>
+<img src="images/i_057b.png" width="372" height="405" alt="drawings" />
+<div class="caption">Fig.52 - Carry the raffia over and
+between the two ends of the sticks.</div>
+</div>
+
+<p>Begin binding them together as shown in <a href="#Fig_51">Fig. 51</a>. Then
+carry the raffia (string will do if you cannot get raffia) over
+and between the two ends of the sticks
+(<a href="#Fig_52">Fig. 52</a>), and wind it opposite ways
+several times around
+the sticks, bringing
+the raffia between as
+well as over them.
+This will lash them firmly together. Now turn this beginning
+of your floor around so that the short stick will be
+upright and the long one extend from side to side. Do
+not let the binding loosen; hold it tight and cross the long
+stick with one of the split five-inch sticks (<a href="#Fig_53">Fig. 53</a>). Be
+sure that the flat side of the split stick is next to the long
+stick, and that you leave a slight opening between it and<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
+the first crosspiece. Pull the raffia tight and bind it
+over this second crosspiece (<a href="#Fig_54">Fig. 54</a>), then back, crossing
+it as in <a href="#Fig_55">Fig. 55</a>.</p>
+
+<div class="figcenter" style="width: 334px;">
+<a id="Fig_53"></a><a id="Fig_54"></a><a id="Fig_55"></a>
+<img src="images/i_058.png" width="334" height="346" alt="drawings" />
+<div class="caption">Fig.53 - Turn the sticks, bringing J
+in horizontal position.<br />Fig.54 - Bind raffia over second stick.
+<br />Fig.55 - Then bring raffia across front
+of second stick</div>
+</div>
+
+<p>Bind on the next split crosspiece in the same way, and
+go on adding crosspieces until they reach almost to the
+end of the long stick,
+then let the last crosspiece
+be the second
+unsplit five-inch stick.
+When all the short
+crosspieces are properly
+bound onto the
+long stick, bind the
+other six-and-a-half-inch
+long stick under
+the opposite ends of
+the crosspieces in the
+same way, and just as
+carefully (<a href="#Fig_56">Fig. 56</a>).
+This makes the floor
+and we must lash it to
+the stilts, which are
+four upright sticks,
+each seven and one
+half inches long. Fit
+the stilts in the outside
+corners made by the crossing of the end and side sticks of
+the floor, and, holding the floor about four and a half
+inches above the lower ends of the stilts, bind floor and
+stilts together (<a href="#Fig_57">Fig. 57</a>). Of course you can put the stilts
+on only one at a time.</p>
+
+
+<h3>The Walls</h3>
+
+<p>Make the framework for the walls by binding and tying
+onto the stilts near the top two sticks, each six and a half<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
+inches long, one stick on
+each side. Across these
+sticks, from stilt to stilt, at
+each end, bind a five-inch-length
+stick (<a href="#Fig_58">Fig. 58</a>).</p>
+
+<div class="figcenter" style="width: 310px;">
+<a id="Fig_56"></a>
+<img src="images/i_059a.png" width="310" height="273" alt="drawings" />
+<div class="caption">Fig.56 - Make the floor this way.</div>
+</div>
+
+
+<h3>The Roof</h3>
+
+<p>To support the roof
+there must be two upright
+sticks, each seven inches
+long, and these sticks must
+be bound and tied to the middle of the end sticks of the
+floor and the end sticks of the wall. They are lettered
+L and L in <a href="#Fig_59">Fig. 59</a></p>
+
+<div class="figcenter" style="width: 314px;">
+<a id="Fig_57"></a>
+<img src="images/i_059b.png" width="314" height="284" alt="drawings" />
+<div class="caption">Fig.57 - Lash the floor to
+the stilts.</div>
+</div>
+
+<div class="figcenter" style="width: 307px;">
+<a id="Fig_58"></a>
+<img src="images/i_059c.png" width="307" height="301" alt="drawings" />
+<div class="caption">Fig.58 - Bind on four more poles
+making framework for walls.</div>
+</div>
+
+<p><a href="#Fig_60">Fig. 60</a> shows the framework of the house without the
+bindings, so that you may see exactly how the sticks are
+put together. There is a ridge-pole which forms the top
+ridge of the roof. This must be a stick about seven inches
+long, and it is to be tied to the uprights lettered L and L<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
+that you have just fastened on the two ends of the house.
+(See <a href="#Fig_59">Fig. 59</a>, L and L.) Four other sticks, M and M and
+N and N, long enough to reach from the ridge-pole, crossing
+above it, to the side crosspieces of the wall, you must tie
+to the ridge-pole and the side-wall sticks, placing them
+slanting, as you see them in <a href="#Fig_60">Fig. 60</a>, at each end.</p>
+
+
+<h3>The Porch</h3>
+
+<p>Like many other people, the Filipino wants a porch
+to his house. Perhaps he sits there to smoke his curious
+little pipe, which is not much larger than the one you make
+of an acorn. I have never seen him on his porch, but I
+have seen him smoke and afterward tuck his pipe away
+in his long, fuzzy hair, where it remained in safety even
+while he leaped and pranced about in the wild dance he
+loves so much.</p>
+
+<div class="figcenter" style="width: 279px;">
+<a id="Fig_59"></a>
+<img src="images/i_060a.png" width="279" height="307" alt="drawings" />
+<div class="caption">Fig.59 - End poles are added to
+hold up the roof.</div>
+</div>
+
+<div class="figcenter" style="width: 324px;">
+<a id="Fig_60"></a>
+<img src="images/i_060b.png" width="324" height="360" alt="drawings" />
+<div class="caption">Fig.60 - This is the way the house
+is put together.</div>
+</div>
+
+<p>But we must not forget the porch.   If the Filipino<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
+has one to his house, we must have a porch to ours. We
+won't make it separately and add it to the part already
+built, but, as the Filipino does, we will use part of the
+house-floor for the floor
+of the porch, and let the
+roof cover that as well
+as the house. To do
+this we must separate
+the house part from the
+porch part by putting
+up two more uprights,
+one on each side, a little
+way back from the front
+of the house, and these
+uprights will form the
+boundary-line. Letters
+O and P in <a href="#Fig_60">Fig. 60</a> are
+these last uprights, the
+sticks which form them
+being long enough to
+reach from the wall side-piece
+to the floor, and
+extend a little above
+and below where they
+cross the upper and
+lower sticks.</p>
+
+<div class="figcenter" style="width: 330px;">
+<a id="Fig_61"></a>
+<img src="images/i_061a.png" width="330" height="397" alt="drawings" />
+<div class="caption">Fig.61 - Fresh grass instead of
+palms over one side wall.</div>
+</div>
+
+<div class="figcenter" style="width: 293px;">
+<a id="Fig_62"></a>
+<img src="images/i_061b.png" width="293" height="279" alt="drawings" />
+<div class="caption">Fig.62 - Strips of wood to bind
+down the grass on wall.</div>
+</div>
+
+
+<h3>Thatching</h3>
+
+<p>Now we come to the
+real grass part of the
+house, for we have had to use small sticks for the framework
+instead of bamboo, and where the Filipino uses palm-leaves
+we will use grass.</p>
+
+<p>Gather some long, coarse, fresh blades of grass for<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
+thatching both the roof and walls, and begin with the walls.
+Bunch the grass evenly, the stem ends all together, bend
+the bunch at the centre, then spread it out at its centre,
+and hang it thickly over one side-wall beam, which is the
+upper stick (<a href="#Fig_61">Fig. 61</a>). Have the stem ends inside the house
+hang down as long as the tip ends on the outside, and
+let the outside ends hang
+down below the edge of
+the floor; then take a flat
+strip of wood and place it
+near the top of the grass-covered
+wall, bend the
+ends a little and slide
+them back of the uprights
+(<a href="#Fig_62">Fig. 62</a>). Smooth the
+grass down evenly and put
+in another flat stick, this
+time at the bottom (<a href="#Fig_62">Fig.
+62</a>). If you want the inside
+of the house as perfect as
+the outside, slide in two
+other strips on the inside
+of each wall to hold the
+grass down. <a href="#Fig_62">Fig. 62</a> shows
+the grass partially trimmed
+off to make it even at the
+bottom.</p>
+
+<div class="figcenter" style="width: 302px;">
+<a id="Fig_63"></a>
+<img src="images/i_062a.png" width="302" height="134" alt="drawings" />
+<div class="caption">Fig.63 - Pole rafter being thatched
+for roof.</div>
+</div>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 250px;">
+<a id="Fig_64"></a>
+<img src="images/i_062b.png" width="250" height="112" alt="drawings" />
+<div class="caption">Fig.64 - Shows exactly how the
+raffia is tied</div></div></td><td align="left"><div class="figcenter" style="width: 296px;">
+<a id="Fig_65"></a>
+<img src="images/i_062c.png" width="296" height="135" alt="drawings" />
+<div class="caption">Fig.65 - Hang grass over ridge
+pole of roof.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+<p>To thatch the roof you
+will need two more sticks
+for rafters. Over one stick,
+near the end, tie a bunch of grass into a tassel, using a
+piece of raffia to bind it; hang more grass over the stick
+or rafter, and tie it into another tassel, and with the same
+piece of raffia tie a third tassel (<a href="#Fig_63">Fig. 63</a>). <a href="#Fig_64">Fig. 64</a> shows
+exactly how the raffia is tied. Make the tassels rather<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+thick and put them close together so that there will be
+no space between.</p>
+
+<p>When this rafter (the stick) is covered with thatch lay
+it across the side of the roof half-way between the ridge-pole
+(top stick on the roof) and the stick forming the side
+wall of the house, and tie the ends securely to the slanting
+sticks of the roof. Thatch another rafter and fasten it
+on the opposite side of the roof, then cover two shorter
+sticks with thatch and tie one across the front, the other
+across the back peak of the roof on a line with the thatched
+rafters on the sides.</p>
+
+<p>Fasten more thatch at the front and back peak of the
+roof, tying it to the ridge-pole, also to the two slanting
+sticks. Allow the grass to hang down far enough to cover
+the top of the thatch below it (<a href="#Fig_50">Fig. 50</a>). This thatch must
+entirely fill up the ends of the roof made by the peak. Now
+hang grass over the ridge-pole at the top of the roof as
+you would hang your doll's little sheets on your toy clothes-line
+(<a href="#Fig_65">Fig. 65</a>), and bring the ends down over the thatched
+rafters on each side of the roof. Hold this top thatch in
+place by laying sticks across the grass just below the ridge-pole
+on each side of the roof. Bind and tie these sticks at
+each end to the framework of the house (<a href="#Fig_50">Fig. 50</a>).</p>
+
+<p>If grass cannot be had for thatching, soak hay in water
+to make it soften and take the stiffness out, then use that.
+Raffia dyed green might do, or should all else fail, take
+fine broom-straws softened in hot water for the thatch, and
+use loosely twisted string for binding and tying. Of course
+the string should not be white, but you can dip it in coffee
+and dry it; the color will then be like the color of rattan.</p>
+
+
+<h3>The Ladder</h3>
+
+<p>The spry little Filipinos use ladders instead of stairs
+to reach their living-room, so we must make a rustic ladder
+for our house.</p>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>
+
+<div class="figleft" style="width: 192px;">
+<a id="Fig_66"></a>
+<img src="images/i_064.png" width="192" height="582" alt="drawings" />
+<div class="caption">Fig.66 - The ladder will
+be strong and firm.</div>
+</div>
+<p>Cut two slender sticks about six and one-half inches
+long for the sides; then cut seven or eight short sticks
+for the crosspieces or rungs. The rungs should be one
+and three-quarter inches long. Bind and tie the ends of
+the rungs to the side sticks (<a href="#Fig_66">Fig. 66</a>),
+placing them about three-quarters
+of an inch apart. The ends of the
+rungs must cross the side sticks and
+extend out about one-quarter of an
+inch. If properly tied, your little
+ladder will be firm and strong.</p>
+
+<p>Place the ladder one end resting
+on the ground, the other end on the
+front edge of the porch, then stand
+off and admire your work. It is
+certainly worth admiring, for the
+house will be a perfect miniature
+Filipino home, and you may imagine
+you can see tall cocoanut-palms
+and many other strange and
+beautiful trees and plants that grow
+in the hot Philippine Islands. You
+might copy some of these with
+grasses and small flowering wild
+plants.</p>
+
+<p>If you have a Noah's ark it will
+be a good idea to select some of
+the animals that live in the Philippines
+and put them in the little
+rattan and bamboo jungles which you have made of
+grasses. A piece of looking-glass or plain window-glass
+can represent water not far from the house, and here you
+should have a crocodile sunning himself on the bank. Let
+a wild boar be plunging out of the jungle, and deep in the
+bamboo grove you might hide the tremendously large<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
+snake called a boa. I don't think there will be a boa in
+your Noah's ark, but you can make one of bread dough,
+or of clay. With all these dangerous creatures prowling
+round, do you think it strange that the Filipino people
+put their houses on stilts?</p>
+
+<p>If this were a real house in the real Philippines you might
+see a number of natives, wearing little or no clothes, coming
+toward you bringing small snakes which they had
+caught to sell in the towns for rat-catchers. And near
+the house there would be most wonderful flowers, some
+of them orchids, the flowers that live on air; while all
+around would be strange and rare birds.</p>
+
+<p>At one side of the house, some distance away, there
+would, perhaps, be a wet rice-field where the queer water-buffalo,
+called a carabao, would be drawing a strange-looking
+plough, the driver, a little brown man, wearing an immense
+umbrella-like hat woven of palm-leaves.</p>
+
+<p>Listen! Do you hear that deep, booming sound? It
+comes from the peculiar tree which a native is striking
+with his big club in slow, heavy blows on one of its immense,
+wall-like roots. The sound goes rolling far over
+the land, telephoning to other natives that white people
+are coming.</p>
+
+
+<h3>A Doll Filipino Woman</h3>
+
+<p>To make the little house seem more real, dress a doll
+in genuine Philippine costume and stand her near the
+ladder with arms extended as if in welcome. The dress
+must be a white waist with flowing sleeves, a light-colored
+skirt, a large gay handkerchief, called a <i>pañuelo</i>, folded
+around the doll's neck, and an overskirt made of a square
+of dark cloth drawn tightly around her body from waist
+to knees. No stockings are needed, but you can give her
+heelless slippers with only a narrow strip over the toes
+to keep them on.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
+
+
+
+
+<h2>CHAPTER X<br />
+
+<small>GRASS DRESS AND GRASS HEAD-DRESS</small></h2>
+
+
+<p><span class="smcap">Look</span> at the little girl in the photograph who is wearing
+her new grass dress made of the wavy hair-grass and playing
+that she is a wood-nymph. She feels very proud and
+is greatly pleased with her pretty costume.</p>
+
+<div class="figcenter" style="width: 600px;"><a id="Fig_67"></a><a id="Fig_68"></a><a id="Fig_69"></a>
+<img src="images/i_066.png" width="600" height="327" alt="drawings" />
+<div class="caption">Fig.67 - Bring the long end of string across front of
+second bunch and form loop A.</div>
+<br />
+<div class="caption">Fig.68 - First loop, A, on front of grass and string passed around
+back of grass forming second loop, B.</div>
+<br />
+<div class="caption">Fig.69 - String brought forward again and slipped through
+first loop, A.</div></div>
+
+<p>Almost any kind of long, slender grasses can be used
+for a dress of this kind, but you must gather an armful
+or more. It takes a good deal of material, for the fringe
+must be close and thick.<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
+
+<div class="figcenter" style="width: 428px;"><a id="photograph"></a>
+<img src="images/i_067.jpg" width="428" height="600" alt="Phtotograph of girl in costume" />
+<div class="caption">She is greatly pleased with her pretty grass costume.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span></p>
+
+<p>Divide the grass into bunches, each bunch about as
+thick as your thumb, and have the heads of all the grasses
+together at one end of the bunch, and the stem ends together
+at the other end.</p>
+
+<div class="figcenter" style="width: 442px;"><a id="Fig_70"></a>
+<img src="images/i_068.jpg" width="442" height="442" alt="photograph" />
+<div class="caption">Fig.70 - Use a strong string for tying the grass fringe.</div>
+</div>
+
+<p>Tie a strong string around the stem ends of one bunch.
+Hold this tied bunch under your left arm, stem ends to
+the front, and take up another bunch (<a href="#Fig_70">Fig. 70</a>). Bring
+the long end of the string across the front of the second<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+bunch and form a loop (A, <a href="#Fig_67">Fig. 67</a>). Hold the loop while
+you pass the string around the back of the bunch (<a href="#Fig_68">Fig. 68</a>),
+then slide the end through the loop A, <a href="#Fig_69">Fig. 69</a>. Draw
+this loop-fastening very tight and it will hold. Now place
+the second bunch under your arm with the first bunch,
+and make a loop-fastening around the third bunch. Keep
+on adding bunches of grass in this way, always drawing
+the last bunch close to the one before it, and holding them
+all together under your arm as in the photograph (<a href="#Fig_70">Fig. 70</a>).
+In this picture the grass bunches are purposely left far
+apart that you may see exactly how to make the fringe.</p>
+
+<div class="figcenter" style="width: 452px;">
+<a id="Fig_71"></a>
+<img src="images/i_069.png" width="452" height="507" alt="drawings" />
+<div class="caption">Fig.71 - Bristle-spiked Cyperus grass used for
+head-dress. See <a href="#photograph">photograph</a>.</div>
+</div>
+
+<p>The grass dress will be finished when you have made<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+a strip of fringe long enough to reach around your waist,
+for the skirt&mdash;it needs no waist&mdash;is really only a fringe of
+grasses to be worn over a light summer dress.</p>
+
+
+<h3>Grass Head-Dress</h3>
+
+<p>The grass head-dress to be worn with the wood-nymph
+skirt is quite as wild-looking, but is simply a band of grasses,
+with bunches of the bristle-spiked cyperus grass (<a href="#Fig_71">Fig. 71</a>)
+hanging downward on each end. The band goes across
+over the top of the head, and the grass side ornaments
+fall over the ears.</p>
+
+<p>Wear the grass costume and carry a light branch of green
+leaves in each hand when you give your next outdoor fancy
+dance, or take part in outdoor tableaux where you could
+represent either a wood-nymph or the spirit of the grasses.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
+
+
+
+
+<h2><i>PART III</i><br />
+<small>GREEN LEAVES</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XI<br />
+<small>OAK-LEAVES</small></h2>
+<div class="figright" style="width: 498px;">
+<a id="Fig_72"></a>
+<img src="images/i_071.png" width="498" height="381" alt="drawings" />
+<div class="caption">Fig.72 - The Robinson Crusoe Hat.</div>
+</div>
+
+<p><span class="smcap">To</span> dress up and pretend is something every little girl,
+and boy too, for that matter, likes to do, and there is no
+better place for having this kind of fun and no greater
+storehouse for dress-up material than the wide, sunny
+fields and green, shady forest on a summer's day.</p>
+
+
+
+<p>If you want to be a wood-nymph, a fairy, or a pioneer;
+if you would be a fashionable lady decked in jewels rare,<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+or a rollicking cowboy, or Robinson Crusoe, it is all the
+same to Mother Nature's department store. Fields, Woods
+&amp; Co. can furnish all you need. If the goods are not always
+ready to wear, they are at least ready to be made
+up into what you want.</p>
+
+<p>Why, you can even be a little savage and wear a skirt
+made of a fringe of long grasses, like the wood-nymph's
+dress, and bracelets of slender, golden-brown rootlets, if
+that pleases you; all the materials are ready to your hand.
+And you can make a</p>
+
+
+<h3>Robinson Crusoe Hat</h3>
+
+<div class='unindent'>of the large leaves of the scrub-oak&mdash;a pretty and becoming
+hat and one that will keep your head cool though you
+walk under the hottest of noonday suns.</div>
+
+<p>The photograph given here shows one little girl who
+likes immensely to wear her Crusoe hat, and <a href="#Fig_72">Fig. 72</a> shows
+just how the hat looks when not on her head.</p>
+
+<p>It won't take more than five minutes to make the hat,
+but first you must gather the leaves. Ordinary oak-leaves
+are too small to use; it is on the scrub-oak that you will
+find them large enough. The scrub-oak grows low, like a
+bush, and the leaves will be quite within your reach. Like
+a good shopkeeper, this kind of oak shows his customers
+leaves of various sizes, but it is the very largest that you
+must take, and only the ones that are dark-green in color.
+The pretty new light-green or brownish leaves will soon
+wilt and curl on the edges, while a hat made of the older,
+tougher ones will last in good condition several days if left
+out in the dew at night or kept damp in the house.</p>
+
+<div class="figcenter" style="width: 449px;">
+<img src="images/i_073.jpg" width="449" height="609" alt="photograph" />
+<div class="caption">The Robinson Crusoe Hat is pretty and becoming.</div>
+</div>
+
+<p>The number of leaves needed depends upon the size of
+the leaves and the size of your head. It is well to have
+at least a dozen and a half; then you can select the best.
+The largest leaves are not always perfect, but unless very<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a><br /><a name="Page_64" id="Page_64">[64]</a></span>
+much torn or eaten away by insects they will answer. To
+gather all you need you will probably have to visit several
+of the little scrub-oaks.</p>
+
+<div class="figleft" style="width: 241px;">
+<a id="Fig_73"></a>
+<img src="images/i_074.png" width="241" height="234" alt="drawings" />
+<div class="caption">Fig.73 - Pin the leaves together
+in this way.</div>
+</div>
+<p>If you are at home when you make your hat, use broom-straws
+to pin the leaves together; if you are in the woods
+find some smooth, slender twigs, break them in short pieces,
+and they will take the place of the straws.</p>
+
+<p>Begin by pinning two leaves together as they are in <a href="#Fig_73">Fig.
+73</a>. These leaves are lettered
+U and V. You see that U
+is lapped over V and then
+pinned to it in two places,
+first near the stem and then
+through the lower side lobe.
+The next leaf would be letter
+W, and W would be pinned
+to U just as U is pinned to V.
+Make the stems meet at the
+top and keep adding leaves,
+pinning one to another, until
+the hat is large enough to fit
+your head comfortably, then pin the last leaf to the first.</p>
+
+
+<p>Do not make the hat too flat; if you find it flattening
+out, lap the leaves over more at the bottom. When finished
+it should be shaped like <a href="#Fig_72">Fig. 72</a>.</p>
+
+
+<h3>Oak-Leaf Mask</h3>
+<div class="figright" style="width: 518px;">
+<a id="Fig_74"></a>
+<img src="images/i_075.png" width="518" height="727" alt="drawings" />
+<div class="caption">Fig.74 - The Oak Leaf Mask.</div>
+</div>
+<p>Among other frolics in the woods you can have a masquerade&mdash;a
+real one, where you wear a mask, and that
+mask made of one of the largest leaves of the scrub-oak.
+Not even a pair of scissors will be needed to make this
+mask, and it is a funny one too (<a href="#Fig_74">Fig. 74</a>). See the turned-up
+eyelids and the wide nose tilted at the end.</p>
+
+<p>When you have found a leaf large enough (the one in<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
+the drawing was nine inches long and seven inches wide)
+use your thumb-nail to cut out the eyes and nose.   The
+outlines at the top of <a href="#Fig_74">Fig. 74</a> show how to shape them,
+and the dotted lines show where they are bent up.</p>
+
+
+
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p>
+
+<p>There is no mouth, none is needed, for the leaf, below
+the nose, drops down loosely over your mouth like the
+curtain on a mask one buys at a shop. The oak-leaf mask
+will stay on your face if you wet the under parts of each
+side and stick them to
+your cheeks.</p>
+
+<p>Another way to make
+the mask is to turn the
+leaf around, stem down,
+and then cut the eyes
+and nose in the wide
+part, leaving the narrower
+stem end for a long chin. This kind you can hold
+in front of your face by taking the stem in your hand. It
+requires so short a time to make a mask that when one
+wears out or is lost you can have another to replace it in
+a minute or two.</p>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p>
+
+
+<h3>The Little Oak-Leaf Dog</h3>
+
+<p>He has the funny expression of a real dog when he is
+making up his mind what to do next, even if he is only an
+oak-leaf. It was an ordinary leaf four inches long which
+was, by tearing a little here and bending a little there,
+transformed into his absurd dogship (<a href="#Fig_75">Fig. 75</a>).</p>
+
+<div class="figcenter" style="width: 310px;">
+<a id="Fig_75"></a>
+<img src="images/i_076a.png" width="310" height="192" alt="drawings" />
+<div class="caption">Fig.75 - The little Oak Leaf Dog.</div>
+</div>
+
+
+<p><a href="#Fig_76">Fig. 76</a> is the tracing of the leaf actually used for the
+dog. <a href="#Fig_77">Fig. 77</a> shows the same leaf with its stem nipped
+off and the other end torn up, not very evenly, where the
+dotted lines are in <a href="#Fig_76">Fig. 76</a>. This makes the little dog's
+tail. The tear on either side reaches to the mid-rib of the
+leaf, but does not cross it, and the mid-rib being unbroken
+holds the tail out stiff and straight.</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 242px;">
+<a id="Fig_77"></a>
+<img src="images/i_076b.png" width="242" height="298" alt="drawings" />
+<div class="caption">Fig.77 - This shows how the
+dog was made.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 244px;">
+<a id="Fig_76"></a>
+<img src="images/i_076c.png" width="244" height="360" alt="drawings" />
+<div class="caption">Fig.76 - The leaf the dog
+was made of.</div>
+</div></td></tr>
+</table></div>
+<p>The two hind legs are bent down just where the tear
+ends in making the tail. The dotted line in <a href="#Fig_77">Fig. 77</a> shows
+this. The other two legs, formed by the side lobes of the
+leaf, are bent down as the dotted lines indicate. The tip
+of the lobe on the left side had to be torn off because that
+leg was longer than the opposite one.</p>
+
+<p>In making the neck the narrow part of the leaf was bent
+up and then down, the two dotted lines show where. Then
+the ears were bent up and the little oak-leaf dog was placed
+standing as you see him in <a href="#Fig_75">Fig. 75</a>, to have his picture
+drawn.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p>
+
+
+
+
+<h2>CHAPTER XII<br />
+<small>GRAPE-LEAF DRINKING-CUP</small></h2>
+
+
+<p><span class="smcap">A wild-grape</span> leaf will do quite as well as a cultivated
+one for a drinking-cup if it is large enough. You want a
+large leaf, because a small one will hold only a sip of water,
+and when one is really thirsty that is certainly not enough.</p>
+<div class="figcenter" style="width: 417px;">
+<a id="Fig_78"></a>
+<img src="images/i_079a.png" width="417" height="428" alt="drawings" />
+<div class="caption">Fig.78 - The drinking cup was made
+of a leaf like this.</div>
+</div>
+<p>Whether wild or cultivated, the grape-leaf should be
+washed in clean water to take off dust and any possible
+insects that may be on it. Where there is water to drink
+there is water for washing the leaf, so there can be no difficulty
+about that, and the large green leaf, freshened by
+the water, looks very cool and inviting.</p>
+
+<p>It is simply a matter of folding, first one way, then the
+other, that turns the grape-leaf into a cup. <a href="#Fig_78">Fig. 78</a> is a
+tracing of the leaf from which the cup (<a href="#Fig_79">Fig. 79</a>) was made.
+It measured eight inches at its widest part, almost seven
+inches from tip to stem, and the cup held a good supply
+of water.</p>
+<div class="figcenter" style="width: 430px;">
+<a id="Fig_79"></a>
+<img src="images/i_079b.png" width="430" height="330" alt="drawings" />
+<div class="caption">Fig.79 - A fine drinking cup made by folding
+a Grape leaf.</div>
+</div>
+<p>Begin to fold by bringing the two lower lobes of the leaf
+together in the way shown in <a href="#Fig_80">Fig. 80</a>. This makes the
+middle bend that is indicated by the dotted line in <a href="#Fig_78">Fig.
+78</a>. Then bring the two lobes around to the left, or to the
+right if that comes easier, hold them close together and
+lap them over the upper lobe on that side. That makes
+the two side bends which join at the middle bend (<a href="#Fig_78">Fig.
+78</a>), and rounds the cup into shape.</p>
+
+
+
+
+
+<div class="figcenter" style="width: 456px;">
+<a id="Fig_80"></a>
+<img src="images/i_080.png" width="456" height="583" alt="drawings" />
+<div class="caption">Fig.80 - Bring the two lower lobes of the
+leaf together.</div>
+</div>
+
+<p>The bottom of the cup is pointed, as you see, and,
+of course, will not stand; then, too, the cup falls apart
+when you loosen your hold, but neither of these things
+are of any consequence, for you can let your cup lie flat<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a><br /><a name="Page_70" id="Page_70">[70]</a></span>
+and fold it again very quickly when it is needed. As long
+as the folds are held tight in your fingers, the cup will keep
+its shape and hold water without leaking a particle. Use
+the upper, or green, side of the leaf for the inside of
+the cup; the under, or light, side is fuzzy and may harbor
+small insects even after it is washed. Be sure you look
+into the water before drinking it. This should be done
+no matter what you drink from or where you get the
+water.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+
+
+
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII">CHAPTER XIII</a><br />
+<small>GREEN-LEAF DESIGNS</small></h2>
+
+
+<h3>Beech-Leaves</h3>
+
+<p><span class="smcap">Remarkably</span> pretty designs can be made entirely of
+green leaves; also with leaves and their seed-pods, their
+nuts and berries. You can press a design of leaves alone,
+but one having seed-pods, berries, or nuts cannot be pressed.
+It is fun to make it, even if it cannot be preserved by pressing,
+and you will like to do it.</p>
+
+<div class="figcenter" style="width: 445px;">
+<a id="Fig_81"></a>
+<img src="images/i_081.png" width="445" height="362" alt="drawings" />
+<div class="caption">Fig.81 - Two twigs broken off a Beech Tree
+made this design.</div>
+</div>
+
+<p><a href="#Fig_81">Fig. 81</a> is the drawing of a charming design made of
+two twigs broken off a beech-tree. On one twig were two
+beechnuts in their pretty green, spiky outer shells; on<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
+the other was just one nut. Each twig had three leaves.
+Nothing was cut off and nothing was added for this design;
+the twigs were used exactly as they came from the
+tree. The stems were
+simply crossed, with the
+lower leaf of one twig
+falling over the stem of
+the other twig, and that
+finished it. The easiest
+thing in the world to do
+if you happen to think
+of it.</p>
+
+
+<h3>Violet-Leaves</h3>
+
+<p>There is one thing
+about the green leaves of
+the violet which makes it
+a joy to use them in a
+design, and that is, the
+stems are so pliable, so easily bent and curved, you can
+do almost anything with them.</p>
+
+<div class="figcenter" style="width: 336px;">
+<a id="Fig_82"></a>
+<img src="images/i_082a.png" width="336" height="306" alt="drawings" />
+<div class="caption">Fig.82 - Design made of
+Violet leaves.</div>
+</div>
+
+<p>See how the stems add to the beauty of the violet-leaf
+design <a href="#Fig_82">Fig. 82</a>.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 261px;">
+<a id="Fig_83"></a>
+<img src="images/i_082b.png" width="261" height="226" alt="drawings" />
+<div class="caption">Fig.83 - The stem curves
+naturally.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 156px;">
+<a id="Fig_84"></a>
+<img src="images/i_082c.png" width="156" height="166" alt="drawings" />
+<div class="caption">Fig.84 - Under side of the small
+leaf in the design.</div>
+</div></td></tr>
+</table></div>
+
+
+<p>The curve of the stem of <a href="#Fig_83">Fig. 83</a> is a natural one for it
+to take, and you can probably find a leaf with its stem<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
+curved very much like it, but it is another thing to come
+across one of the same size which has a stem curved in the
+opposite direction, and such a stem is necessary for a design
+like <a href="#Fig_82">Fig. 82</a>.</p>
+
+<p>Very well! Since the stem does not naturally curve
+the way we want it, we will make it do so. All we have
+to do is to draw it through our fingers several times and,
+by pressure, gently persuade it to turn as we wish.</p>
+
+<p><a href="#Fig_84">Fig. 84</a> is the under-side of the small leaf at the bottom
+of the design (<a href="#Fig_82">Fig. 82</a>), and shows how the stem loop above
+the leaf was made.</p>
+
+<div class="figcenter" style="width: 584px;">
+<a id="Fig_85"></a>
+<img src="images/i_083.png" width="584" height="315" alt="drawings" />
+<div class="caption">Fig.85 - This is the way the curling Ground-Pine grows.</div>
+</div>
+
+<p>First a violet-leaf with stem curved like the one in <a href="#Fig_83">Fig.
+83</a> was laid down on a sheet of paper, then another leaf
+of the same size, with stem <i>made</i> to curve in the opposite
+direction, was placed beside but not touching the first
+leaf, and with its stem crossing the other stem. The two
+stems meeting at the bottom formed a pear-shaped loop.
+The small leaf, after its stem had been formed into a loop
+and the end tucked in at the back, was fitted on top of
+the stems of the large leaves, as you see it in <a href="#Fig_82">Fig. 82</a>.</p>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+<div class="figcenter" style="width: 321px;">
+<a id="Fig_86"></a>
+<img src="images/i_084.png" width="321" height="500" alt="drawings" />
+<div class="caption">Fig.86 - Beautiful, tiny, green Pine-Tree made
+of a curling branch of the Ground-Pine.</div>
+</div>
+
+<p>Violet-leaves are seldom flat; they are apt to curl at the
+edges; some are so curled as to form little cornucopias.
+Choose the flattest you can find for a design like <a href="#Fig_82">Fig. 82</a>,
+and paste them to the paper with a touch of paste on the
+under-part of the tip and of the two lobes at the bottom<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+of each leaf. Paste the stems down also with a touch of
+paste here and there.</p>
+
+<p>The violet-leaf design can be pressed.</p>
+
+
+<h3>Ground-Pine</h3>
+
+<p>Deep in the shadowy woods, often where pine-trees are
+growing, you will find the ground-pine. Clinging close
+to the ground, curling in feathery, green clusters on its
+vine-like root, it runs for yards over the surface, while its
+root, lying along the top, sends down slender rootlets into
+the earth. Push away the dry leaves or pine-needles that
+usually cover the root, and you can pull up long strips and
+soon gather enough to make the prettiest kind of festive
+decorations.</p>
+
+<p>Festoons of the ground-pine are very pretty on walls,
+stair-banisters, porch-railings, over picture-frames, and
+hanging from chandeliers, and this ready-made evergreen
+rope is as suitable for outdoor as for indoor decoration, as
+beautiful in summer as in winter.</p>
+
+<p>When you want to "dress-up" in the woods use the
+ground-pine for trimmings. Loop it over your skirt and
+make a wreath for your hair. Last summer at camp we
+used the ground-pine in this way and the little girls, arrayed
+for a dance, never looked prettier. For table decorations
+at camp and for decorating the tent doorways the
+ground-pine is charming.</p>
+
+<p><a href="#Fig_85">Fig. 85</a> shows how the short, curled clusters grow on
+the long root, and <a href="#Fig_86">Fig. 86</a> gives a wee pine-tree made of
+one cluster picked off the root and planted in an outdoor
+doll's garden.</p>
+
+<p>This is what our American writer and poet, Ralph
+Waldo Emerson, said of the ground-pine:</p>
+
+<div class='poem'>
+"As I spoke, beneath my feet<br />
+<span style="margin-left: 0.5em;">The ground-pine curled its pretty wreath."</span><br />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p>
+
+
+
+
+<h2><i>PART IV</i><br />
+<small>CULTIVATED FLOWERS</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XIV<br />
+<small>PHLOX</small></h2>
+
+
+<h3>Phlox Tower and Phlox Design</h3>
+
+<p><span class="smcap">In</span> a great bunch of garden-flowers given me by a friend
+I found some pink-and-white phlox (<a href="#Fig_87">Fig. 87</a>), and from it
+I made first a</p>
+
+
+<h3>Phlox Tower</h3>
+
+<p>As you know, the blossom is trumpet-shaped and flares
+at the open end into five petals. The tube part is long
+and narrows to a point, so it is easy to push one flower into
+another. That is what you do in building the phlox tower.
+You pull the blossom off its stem and out of the little green
+calyx which holds it, then you push the end of the tube
+part into the round red eye in the centre of another flower
+as far down as it will go. Then you push another blossom
+into that one and build up until your tower is as high as
+you want it, or as high as it will stand without toppling
+over. A bud stuck in the top flower makes a good finish
+(<a href="#Fig_88">Fig. 88</a>).</p>
+
+
+<h3>Phlox Design</h3>
+
+<p>The design <a href="#Fig_89">Fig. 89</a> was made by first putting three
+blossoms together, sticking one inside the other as for the
+tower, to form the long side sprays, and afterward arranging
+three blossoms below the side sprays and one above<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
+with their stems meeting at the middle, as they are in <a href="#Fig_89">Fig.
+89</a>. On each side of the upper flower was placed a sprig
+of buds; then the tube part of a blossom was cut off and
+the petal part fitted in the centre of the design to cover
+the ends of the other flowers where
+they met.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 376px;">
+<a id="Fig_87"></a>
+<img src="images/i_087a.png" width="376" height="533" alt="drawings" />
+<div class="caption">Fig.87 - Blossoms of the Phlox.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 121px;">
+<a id="Fig_88"></a>
+<img src="images/i_087b.png" width="121" height="600" alt="drawings" />
+<div class="caption">Fig.88 - Build your Phlox
+Tower like this</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>The tube parts of three more
+flowers were cut away, and the petal
+parts arranged in the position shown in <a href="#Fig_89">Fig. 89</a>.   This
+formed a scattered design quite different from any of the
+others made of flowers.</p>
+<div class="figcenter" style="width: 583px;">
+<a id="Fig_89"></a>
+<img src="images/i_088.png" width="583" height="475" alt="drawings" />
+<div class="caption">Fig.89 - This phlox design should be pressed.</div>
+</div>
+
+
+<p>Touches of paste on the under part held all the flowers<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
+in place. The phlox design is a good one to preserve by
+pressing.</p>
+
+
+<h3>The Tiger-Lily Leopard</h3>
+<div class="figleft" style="width: 411px;"><a id="Fig_90"></a>
+<img src="images/i_089a.png" width="411" height="168" alt="drawing" />
+<div class="caption">Fig.90 - The stealthy, prowling Leopard.</div>
+</div>
+
+<p>From the brilliant-orange tiger-lily, with its dark-brown
+or black spots, we are going to make a&mdash;tiger? No, a
+leopard. Tiger-lilies may have spots, but tigers, you know,
+are striped.</p>
+
+<p>It is really wonderful how much this little animal, made
+of parts of a beautiful flower and broom-straws, looks like
+the stealthy, prowling, wild creature which lives in Africa
+and Asia. The yellow coat of the live leopard is covered
+with black spots, and so is that of our flower leopard. The
+fierce living animal has a long tail that it moves slowly<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+back and forth in anger or when it threatens to attack another
+animal or a man. Our little leopard also has a long
+tail which, if it does not really move, looks as if it were
+just going to. But while the live animal is ferocious and
+will kill, we can only pretend that of the tiger-lily leopard.
+Though he looks dangerous, he cannot even nibble a green
+leaf.</p>
+
+<p>The illustration of the tiger-lily given here is a drawing
+of the one from
+which the lily leopard
+(<a href="#Fig_90">Fig. 90</a>) was made.
+You will notice that at
+the right of the flower
+(<a href="#Fig_91">Fig. 91</a>) there is the
+stem and pistil of a
+blossom that has fallen
+apart.</p>
+
+
+<div class="figcenter" style="width: 383px;">
+<a id="Fig_91"></a>
+<img src="images/i_089b.png" width="383" height="489" alt="drawings" />
+<div class="caption">Fig.91 - The leopard is made from a
+Tiger Lily like this.</div>
+</div>
+
+<p>When we make the
+leopard we cut off this
+lily-stem close to the stalk, leaving the pistil attached, to
+use for the back-bone and tail. Four broom-straws, about
+an inch and a half long and sharpened at one end, we use
+for legs. The pointed ends of two of the legs are pushed<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+into the stem at the front, and the other two in part of
+the pistil at the back, as shown in <a href="#Fig_92">Fig. 92</a>. That makes
+the skeleton.</p>
+
+<div class="figcenter" style="width: 414px;">
+<a id="Fig_92"></a>
+<img src="images/i_090a.png" width="414" height="161" alt="drawings" />
+<div class="caption">Fig.92 - This is the skeleton of the leopard.</div>
+</div>
+
+<div class="figcenter" style="width: 307px;">
+<a id="Fig_93"></a>
+<img src="images/i_090b.png" width="307" height="117" alt="drawings" />
+<div class="caption">Fig.93 - The leopard's spotted coat.</div>
+</div>
+
+<p>Now we have to fit on the skeleton the leopard's spotted
+coat. After pulling the perfect flower apart we select the
+petal best suited for this purpose (<a href="#Fig_93">Fig. 93</a>), and then take
+the curl partially out of it by pressing it down on the table
+with our fingers. The tip of the petal will have to be cut
+off because it comes down too far over the tail.</p>
+
+<p>The blunt end of the petal will be the leopard's head,
+and it can be rounded up and moulded with your fingers
+until it looks like the head of the leopard in <a href="#Fig_90">Fig. 90</a>. Small
+ears of bits of broom-straw, pointed at one end, we must
+stick in the head where they belong and then, in order
+to make the coat stay in place, we will pin it to the skeleton
+at the neck, in the middle of the back, and again at the
+tail, with fine broom-straws. So we have the little leopard
+complete.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
+
+
+
+
+<h2>CHAPTER XV<br />
+<small>CULTIVATED FOXGLOVE</small></h2>
+
+
+<h3>Fairy-Caps</h3>
+
+<div class='tnote2'><b>Transcriber's Note:</b> Foxglove is poisonous. Do not
+play with foxgloves.</div>
+
+<p><span class="smcap">Do</span> you know the cultivated foxglove with its tall spikes
+of thimble-shaped flowers, prettily spotted inside? (<a href="#Fig_94">Fig.
+94</a>.) And do you know that these flowers will fit on the
+ends of your fingers like tall caps on the heads of little
+fairies?</p>
+
+<p>Perhaps there are foxgloves growing in your garden
+now. If there are, pick five blossoms off the stalk, selecting
+a large one for your thumb and a small one for your
+little finger; the others should be of a size in between these
+two.</p>
+<div class="figcenter" style="width: 374px;">
+<a id="Fig_94"></a>
+<img src="images/i_092.png" width="374" height="548" alt="drawings" />
+<div class="caption">Fig.94 - "Do you know the cultivated
+Fox Glove?"</div>
+</div>
+<p>Turn these blossoms upside down and they at once become
+fairy-caps. Fit the caps on all five fingers of your
+left hand. Then on your fingers, just below the caps, draw
+little faces with pen and ink. Now you have five living,
+moving fairies who will do all sorts of things and be very
+spry about it (<a href="#Fig_95">Fig. 95</a>). They will nod at you joyously,
+they will bend low in solemn salute, and they will put their
+little heads together to plan some piece of mischief.</p>
+
+<p>They can be fairy children at school, if you like, with
+the short, fat thumb fairy for the teacher; and you can
+make the fairy pupils stand close together, shoulder to
+shoulder, then at a word from the teacher, separate and
+stand alone again.</p>
+
+<p>It will be fun to name the fairies, such names as Pepper-grass,
+Mustard-seed, and Catnip, and with the teacher
+standing before his class, have him call the roll and have
+each fairy bob his head as he answers to his name.</p>
+
+<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>
+
+
+
+<div class="figcenter" style="width: 415px;">
+<a id="Fig_95"></a>
+<img src="images/i_093.png" width="415" height="504" alt="drawings" />
+<div class="caption">Fig.95 - Five living Fairies.</div>
+</div>
+
+<p>Perhaps you will want the teacher to require each pupil
+to sing a little song or recite a short verse. When a fairy
+does that, he moves forward in front of the others, and
+stays in that place until he has finished. Here is a pretty
+verse for a flower-capped fairy to recite:</p>
+
+<div class='poem'>
+"I wonder what the Clover thinks,<br />
+<span style="margin-left: 0.5em;">Intimate friend of the Bobolinks,</span><br />
+<span style="margin-left: 0.5em;">Lover of Daisies, slim and white,</span><br />
+<span style="margin-left: 0.5em;">Waltzer with Buttercups at night.</span><br />
+<br />
+<b>&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&middot;</b><br />
+<br />
+<span style="margin-left: 0.5em;">Oh, who knows what the Clover thinks?</span><br />
+<span style="margin-left: 0.5em;">No one! Unless the Bobolinks."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>
+
+
+<h3>Sweet Pea&mdash;the Peacock</h3>
+
+<p>You use a little pretended magic when you turn a sweet-pea
+blossom into a peacock, and that makes it seem more
+mysterious and more interesting. It doesn't take a second
+but while you are doing it you must repeat this transformation
+rhyme:</p>
+
+<div class='poem'>
+"Sweet Pea, Sweet Pea,<br />
+<span style="margin-left: 0.5em;">Your petals unlock.</span><br />
+<span style="margin-left: 0.5em;">I turn two down,</span><br />
+<span style="margin-left: 0.5em;">And you're a peacock."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p>
+<div class="figcenter" style="width: 349px;">
+<a id="Fig_96"></a>
+<img src="images/i_094a.png" width="349" height="470" alt="drawings" />
+<div class="caption">Fig.96: - "Sweet Pea, Sweet Pea,
+Your petals unlock."</div>
+</div>
+<div class='unindent'>Pick out a fine, large sweet-pea blossom. It doesn't matter
+about the color. If you have a number to choose
+from, suit yourself.
+Hold the flower in your
+left hand by its stem
+and recite the first two
+lines:</div>
+
+<div class='poem'>
+"Sweet Pea, Sweet Pea,<br />
+<span style="margin-left: 0.5em;">Your petals unlock."</span><br />
+</div>
+
+
+
+<div class="figcenter" style="width: 341px;">
+<a id="Fig_97"></a>
+<img src="images/i_094b.png" width="341" height="504" alt="drawings" />
+<div class="caption">Fig.97: - "I turn two down and
+you're a Peacock."</div>
+</div>
+
+<div class='unindent'>Then as you reach
+around to the back of the
+flower with your right hand
+and put your thumb on
+one curled petal, X, and
+your first finger on the
+other curled petal, Y (<a href="#Fig_96">Fig.
+96</a>), finish the rhyme:</div>
+
+<div class='poem'>
+"I turn two down,<br />
+<span style="margin-left: 0.5em;">And you're a peacock."</span><br />
+</div>
+
+<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<div class='unindent'>and at the same time turn these petals down as they are
+in <a href="#Fig_97">Fig. 97</a>. You will see right away that the turned-down
+petals at the sides are the wings, the upright petal at the
+back is the tail, and the closed middle part is the body.<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+The tipped-up point of the body part makes a very good
+head for the little sweet-pea peacock.</div>
+
+<div class="figcenter" style="width: 305px;">
+<a id="Fig_98"></a>
+<img src="images/i_095.png" width="305" height="600" alt="drawings" />
+<div class="caption">Fig.98 - The blossoms of the cultivated
+Snapdragon are large.</div>
+</div>
+
+
+<h3>Snapdragon&mdash;Lady's Head and Lion's Head</h3>
+
+<p>The magic that turns a blossom of the large, cultivated
+snapdragon into a little lady's head, upon which rests
+a dainty, ruffled sunbonnet, or into a ferocious-looking
+lion's head, is the magic of pen and ink, not of rhyme.</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 256px;">
+<img src="images/i_096a.png" width="256" height="396" alt="drawing" /><a id="Fig_99"></a>
+<div class="caption">Fig.99 - The Snapdragon
+Lady's Head</div>
+</div></td><td align="left"><div class="figcenter" style="width: 288px;">
+<a id="Fig_100"></a>
+<img src="images/i_096b.png" width="288" height="358" alt="drawings" />
+<div class="caption">Fig.100 - The Snapdragon
+Lion's Head.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>The blossoms of the cultivated snapdragon are very
+much larger than those of its wild cousin, called by some
+people butter-and-eggs, but the cultivated flowers grow on
+a stalk in the same way as the wild ones. You would
+hardly recognize the cultivated flowers as snapdragons because
+of their size and wonderful colors. A sure test is to
+pinch one; if it opens its mouth it is a real snapdragon; if<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+it doesn't it is not; but you must know how to pinch it,
+else it may refuse to snap.</p>
+
+<p>The illustration (<a href="#Fig_98">Fig. 98</a>) shows a stalk of the cultivated
+flower, and looking at the blossoms in that position you
+can see neither the lady's head nor the lion's, yet they
+are there.</p>
+
+
+<h4>LADY'S HEAD</h4>
+
+<p>Pick a blossom off its stalk, leaving the little stem attached,
+and turn it around until you discover the sunbonnet
+and see that it looks like <a href="#Fig_99">Fig. 99</a>, then with pen
+and ink draw eyes, nose, and mouth on the part under
+the bonnet that is the face. This part is white, while the
+sunbonnet is sometimes a dainty pink and sometimes a
+gorgeous scarlet or orange, with deeper color on the edges.</p>
+
+
+<h4>LION'S HEAD</h4>
+
+<p>Turn another blossom upside down and the crown of
+the bonnet becomes the lower jaw and beard of the lion,
+while the other part is the lion's face. On the face you
+must make two fierce eyes like those in <a href="#Fig_100">Fig. 100</a>. When
+you take hold of the lion's jaws at the back and pinch them
+he will open his great, wide mouth as if to send out a tremendous
+roar, only to snap it shut again without a sound
+as you stop pinching. <a href="#Fig_100">Fig. 100</a> shows how to hold the
+flower to open the lion's mouth.</p>
+
+<p>The pink snapdragon is best to use for the lady's head
+and the orange-colored one for the lion's. If you would
+rather call it a dragon's head, you can, you know, but it
+looks more like a lion.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p>
+
+
+
+
+<h2>CHAPTER XVI<br />
+<small>MISS HOLLYHOCK'S GARDEN-PARTY</small></h2>
+
+
+<div class="figcenter" style="width: 598px;">
+<a id="Fig_101"></a>
+<img src="images/i_098.png" width="598" height="460" alt="drawings" />
+<div class="caption">Fig.101 - Miss Hollyhock gives a garden party.</div>
+</div>
+
+<p><span class="smcap">When</span> Miss Hollyhock gives a garden-party the scene
+is a gay one. All the ladies, and you can have as many
+as you want, are in their freshest, crispest summer gowns.
+There are dainty pink ones, white, rose-colored, and deep
+red; there are light yellow and orange; there are gowns
+almost brown and others almost black, but whatever the
+color of the skirt the waist is always green. Green waists<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
+are the style where Miss Hollyhock lives, and she and all
+her friends follow the style very closely.</p>
+
+<div class="figright" style="width: 101px;">
+<a id="Fig_102"></a>
+<img src="images/i_099a.png" width="101" height="180" alt="drawings" />
+<div class="caption">Fig.102 - Cut the Pistil out
+of the flowers.</div>
+</div>
+
+<p>The hats these little ladies wear to the party are of the
+same silky material as their
+skirts and are usually of the
+same color, though sometimes
+a lady in white will appear in
+a pink or yellow hat, or a pink
+lady can be seen wearing a
+white hat, and the lady in rose
+knows how well she looks in a
+hat that is almost black. When
+there are two or more gowns of
+the same color the hollyhock ladies prefer to have different
+colored hats so that they will not all look alike.</p>
+<div class="figleft" style="width: 357px;">
+<a id="Fig_103"></a>
+<img src="images/i_099b.png" width="357" height="355" alt="drawings" />
+<div class="caption">Fig.103 - This is the way to make
+Miss Hollyhock.</div>
+</div>
+
+<p><a href="#Fig_101">Fig. 101</a> shows how Miss Hollyhock and her friends are
+made from the flowers
+of that name. When
+you have gathered the
+flowers you must cut
+off the stem of each
+close to the green calyx
+which is Miss Hollyhock's
+waist, and then
+cut out the pistil which
+grows inside the blossom.
+This pistil is
+shaped something like
+a little club, and is
+covered with the yellow
+grains of pollen
+(ask some one what
+pollen is). It looks
+like <a href="#Fig_102">Fig. 102</a>. The pollen will make the flower wilt
+quickly. That is why it is best to take the pistil out.</p>
+
+
+<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
+
+<p>Now select a nice, round, hard, green bud for a head
+and leave its stem on for the neck. Turn the sharp point
+of your scissors around in the top of the hollyhock calyx
+to make a little round hole, then push the stem of the bud
+into the hole, screwing it round and round until the bud
+almost, but not quite, touches the calyx.   If you push it
+all the way down your lady will have no neck; her head
+will grow directly out of her shoulders.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 189px;">
+<a id="Fig_104"></a>
+<img src="images/i_100a.png" width="189" height="269" alt="drawings" />
+<div class="caption">Fig.104 - Miss Hollyhock's
+Tea Table.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 338px;">
+<a id="Fig_105"></a>
+<img src="images/i_100b.png" width="338" height="255" alt="drawings" />
+<div class="caption">Fig.105 - Teapot and cups for the
+Hollyhock tea table.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Wooden toothpicks are used for legs, arms, and support,
+but strong broom-straws will answer as well, or
+straight, slender twigs. Push three toothpicks, twigs, or
+broom-straws up into the centre of the flower, two in front
+and one at the back as you see them in <a href="#Fig_103">Fig. 103</a>. The
+dotted lines show where they go inside the blossom. Be
+sure to have all three the same length so that the little
+lady will stand firmly. The arrows on <a href="#Fig_103">Fig. 103</a> show where
+to insert the arms. Cut sharp points on the broom-straws
+to make them slide in easily. Blunt ends will tear the
+flower.</p>
+
+<p>With pen and ink make the eyes, nose, and mouth on<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
+the head, and use a petal of another hollyhock for a hat.
+Pin the hat to the top of the lady's head with a pin or
+short broom-straw.</p>
+
+<p>A garden-party would not be complete without</p>
+
+
+<h3>A Tea-Table</h3>
+
+<p>Make the tea-table of the hollyhock's round cake of unripe
+seeds which most children call a cheese. This is covered
+with a green case which is easily taken off and then
+you have a round, white disk like a little table-top turned
+up at the edge. Select the largest one you can find and push
+the ends of three toothpicks or broom-straws into the under-side
+for the table legs (<a href="#Fig_104">Fig. 104</a>). Now the tea-table
+must have a</p>
+
+
+<h3>Teapot and Cups</h3>
+
+<p>Find a green bud for a teapot shaped like Z (<a href="#Fig_105">Fig. 105</a>).
+Push two short straws into the bud in the places shown
+by the arrows in Z (<a href="#Fig_105">Fig. 105</a>), one for the spout and one
+for the handle. Cut the tops off smaller buds to make
+them into teacups (A and B, <a href="#Fig_105">Fig. 105</a>). A drop of paste
+at the bottom of the teapot and the cups will keep them
+in place on the table.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
+
+
+
+
+<h2>CHAPTER XVII<br />
+<small>DAFFODILS</small></h2>
+
+
+<h3>Dancing Flowers and Whirligigs</h3>
+
+<p><span class="smcap">Daffodils</span>, yellow as sunshine, always come with the
+beautiful springtime. The blossoms of the single daffodils,
+with their tall, golden cups resting in the saucers of
+lighter-colored petals, are the daintiest, though both single
+and double are so like a song of cheerfulness it is a joy to
+have them near. They look as if they wanted to dance
+for sheer happiness and, wonder of wonders, you can actually
+make them dance.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_106"></a>
+<img src="images/i_102a.png" width="263" height="328" alt="drawings" />
+<div class="caption">Fig.106 - The Daffodil Dancer.</div>
+</div>
+</td><td align="left">
+<div class="figcenter" style="width: 268px;">
+<a id="Fig_107"></a>
+<img src="images/i_102b.png" width="268" height="288" alt="drawings" />
+<div class="caption">Fig.107 - The Daffodil Animal.</div>
+</div></td></tr>
+</table></div>
+
+<p>Gather a few of the single daffies, leaving on them the
+very short stems which hold them to the main stalk. These
+little green stems will be the stiff ornaments at the top
+of the dancers' green caps when you turn the flowers upside
+down, which is right side up for the dancers.</p>
+
+<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p>
+
+
+<h3>Daffodil Dancers</h3>
+
+<p>To make a flower stand alone and give it feet to dance
+on, push three wooden toothpicks firmly up under the
+little yellow skirt into the
+centre of the blossom. It
+doesn't matter if a flower
+has three feet; like an insect,
+it may have more
+than two and it won't stand
+on two. Spread the bottom
+ends of the toothpicks
+out a trifle like a tripod to
+make the flower stand
+steady (<a href="#Fig_106">Fig. 106</a>).</p>
+
+<p>When you have made
+several dancers, stand them
+on a tin tray, and they
+will be a group of "daffy-down-dillies
+just come to
+town," arrayed in their
+best gowns and ready to
+take part in the dance.
+Tap the tray gently from
+underneath and the dancers
+will begin to move.
+Tap a little harder and
+they will begin to dance. Tip the tray slightly forward
+and they will dance toward you; tip it backward and
+they will dance away again.</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 314px;"><a id="Fig_108"></a>
+<img src="images/i_103.png" width="314" height="516" alt="drrawing" />
+<div class="caption">Fig.108 - Daffodil stalk for you to
+turn into a whirligig</div>
+</div>
+</td><td align="left"><div class="figcenter" style="width: 415px;">
+<a id="Fig_109"></a>
+<img src="images/i_104.png" width="415" height="600" alt="drawing" />
+<div class="caption">Fig.109 - The Whirligig.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<h3>A Daffodil Animal</h3>
+
+<p>Queer little animals that come only from Daffy land
+can be made of the single daffodil-blossoms.   Take one of<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+the flowers and carefully cut away the outstanding petals,
+leaving the perfect, long cup. Hold the cup in your left
+hand with the short, green stem hanging down; the stem
+is the animal's head; then break off about half an inch
+from the blunt ends of four wooden toothpicks and use
+the longest parts for legs. Push the pointed ends of the
+tooth pick legs up into the under-side of the long, slender
+cup as it is held in your left hand. Keep the legs of an
+even length and the animal will stand firmly. This little<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
+fellow, with his green head and long green nose, is very
+comical (<a href="#Fig_107">Fig. 107</a>). He can dance on the tin tray too, and
+run about when you tip it.</p>
+
+<p>The daffodil toys will keep their color a long while even
+after the blossoms are dry. Do not take off the brown
+calyx which is lightly wrapped around the bottom of each
+flower. It represents the hair of the dancers and the ears
+of the animal.</p>
+
+
+<h3>The Whirligig</h3>
+
+<p>You can have some fun with the daffodil stalk, too, after
+taking off the flowers.</p>
+
+<p><a href="#Fig_108">Fig. 108</a> is a daffodil stalk; look at it closely, then look
+at <a href="#Fig_109">Fig. 109</a>. They are really the very same though they
+appear to be so different. One seems to have a blossom
+at the top, and you know that the other has not.</p>
+
+<p>If you want to do the trick and make a stalk blossom,
+select a stalk like <a href="#Fig_108">Fig. 108</a>, hold the stem closely between
+your open hands and roll it rapidly by first sliding your
+right hand forward while the left slides backward, then
+the left forward and the right hand back. This makes a
+whirligig of your stalk, and the flower will appear at the
+top as you see it in <a href="#Fig_109">Fig. 109</a>.</p>
+
+<p>Try making whirligigs of other kinds of stems; of
+grasses, twigs, and leaves.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p>
+
+
+
+
+<h2><i>PART V</i><br />
+<small>SEED-VESSELS</small></h2>
+
+
+
+<hr class="chap" />
+<h2><a id="CHAPTER_XVIII"></a>CHAPTER XVIII<br />
+<small>SEED-VESSEL PLAYTHINGS</small></h2>
+
+
+<p><span class="smcap">When</span> the flowers have gone then come the seed-vessels,
+equally as good for playthings but very different.</p>
+<div class="figcenter" style="width: 486px;">
+<a id="Fig_110"></a>
+<img src="images/i_106.png" width="486" height="251" alt="drawings" />
+<div class="caption">Fig.110 - Rose-haw apples for your doll's table.</div>
+</div>
+<p>Of course, you know the rose-haws, the little red and
+yellow and green apples that you find on the rose-bushes
+in the fall. They are the seed-vessels of the rose, and every
+rose which is allowed to remain on the bush until it fades
+and falls apart leaves a seed-vessel to take its place.</p>
+
+
+
+<div class="figcenter" style="width: 351px;">
+<a id="Fig_112"></a>
+<img src="images/i_107a.png" width="351" height="518" alt="drawings" />
+<div class="caption">Fig.112 - The bronze-green Rose-haw.</div>
+</div>
+
+
+
+<h3>The Doll's Fruit Piece</h3>
+
+<p>The rose-haws look very much like little apples. Rosy-cheeked
+Baldwins, yellow harvest-apples, and greenings,<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a><br /><a name="Page_98" id="Page_98">[98]</a></span>
+and they will make a fine fruit-piece for the centre of your
+doll's table. Pile them up on one of the toy dishes and
+put the smallest of green rose-leaves
+around the edge (<a href="#Fig_110">Fig. 110</a>).</p>
+
+
+<h3>Rose-Haw Necklace</h3>
+
+<p>But the rose-haws can be used
+for something besides toy apples;
+you can pretend they are jewels
+and string them for a real necklace.</p>
+<div class="figcenter" style="width: 626px;">
+<a id="Fig_111"></a>
+<img src="images/i_107b.png" width="626" height="453" alt="drawings" />
+<div class="caption">Fig.111: - This necklace is made of Rose-haws and Plantain Lily seed pods.</div>
+</div>
+
+<p>One necklace can be entirely
+of the haws and another like
+<a href="#Fig_111">Fig. 111</a>, which is made of bronze-green
+haws (<a href="#Fig_112">Fig. 112</a>), and the
+long, green seed-pods of the plantain
+(<a href="#Fig_113">Fig. 113</a>). The blossoms of
+the plantain are pale purple or lavender, and hang from
+the stalk as the seed-pods do. They are bell-shaped and
+about an inch long. The leaf is like a lily-leaf.</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 179px;">
+<a id="Fig_113"></a>
+<img src="images/i_108a.png" width="179" height="600" alt="drawings" />
+<div class="caption">Fig.113 - The long, green
+seed pods of the Plantain
+Lily</div>
+</div></td><td align="left"><div class="figcenter" style="width: 70px;">
+<a id="Fig_114"></a>
+<img src="images/i_108b.png" width="70" height="276" alt="drawings" />
+<div class="caption">Fig.114 - The seed pod earring.</div>
+</div></td></tr>
+</table></div>
+
+<p>As you see, the haws and seed-pods are strung alternately;<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+first a haw, then a seed-pod, again a haw and so
+on. Thread your needle with strong thread and be sure
+the thread is long enough for the necklace. Measure it
+around your neck, letting it droop as much as you wish;
+then allow several inches at each end for tying. If you
+cannot find the large, brownish-green haws use yellow or
+red ones, but the green haws, when strung with the green
+seed-pods, are more beautiful.</p>
+
+<div class="figcenter" style="width: 499px;">
+<a id="Fig_115"></a>
+<img src="images/i_109a.png" width="499" height="249" alt="drawings" />
+<div class="caption">Fig.115 - This necklace is made of Barberries and Plantain Lily Stalk.</div>
+</div>
+
+<div class="figcenter" style="width: 619px;">
+<a id="Fig_116"></a>
+<img src="images/i_109b.png" width="619" height="166" alt="drawings" />
+<div class="caption">Fig.116 - A branch of the Barberry Bush.</div>
+</div>
+
+
+<h3>Seed-Pod Earrings</h3>
+
+<p>To match the necklace, make long, green earrings of
+the plantain seed-pods. <a href="#Fig_114">Fig. 114</a> shows a seed-pod earring.
+You see it is strung on a thread and the ends of the
+thread are then tied to form a loop. The loop must be
+just large enough to fit comfortably over your ear, and<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+when you wear the earring, the green jewel will hang down
+and dangle delightfully. The upper end of the seed-pod
+should almost touch your ear.</p>
+
+
+
+
+<h3>Necklace of Barberries and
+Plantain-Stalk</h3>
+
+<div class="figleft" style="width: 154px;">
+<a id="Fig_117"></a>
+<img src="images/i_110a.png" width="154" height="411" alt="drawings" />
+<div class="caption">Fig.117 - Make the earring
+in this way</div>
+</div>
+<p>Plantain is very useful in making
+jewelry because you can use the
+stalk as well as the seed-pods.</p>
+
+<p><a href="#Fig_115">Fig. 115</a> is a necklace made of
+the plantain-stalk cut in short pieces,
+all the same length, and the coral-red
+berries of the barberry-bush. The
+crooked branches of the barberry-bush
+grow very close together and
+are covered with thorns which stand
+out straight and sharp like pins.
+That is why it is so often used for
+hedges; nothing can get through it
+without being terribly scratched.
+From the branches the red berries hang down like coral
+drops. <a href="#Fig_116">Fig. 116</a> shows the way they grow.
+To make this necklace, string first a piece of the plantain-stalk,
+pushing
+the needle
+through lengthwise,
+then string
+a barberry and
+again a piece of
+the green stalk;
+after that a barberry. Keep on in this way until the
+necklace is as long as you want it.</p>
+
+
+<p>The berries are exceedingly pretty strung as you see
+them, hanging down in their natural way, and really, you
+cannot string them any other way.   The upper part of<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
+the berry is the only part through which you can pass your
+needle because of the large, hard seed which fills the space
+below.</p>
+
+
+<h3>Plantain-Stalk and Barberry Earrings</h3>
+
+<p>How to make the earrings to complete this set of jewelry
+is shown in <a href="#Fig_117">Fig. 117</a>. First you string a piece of the plantain-stalk,
+then a barberry; then you put your needle back
+through the stalk and tie
+the thread at the top.
+After that you make the
+loop to put over your
+ear as you did in making
+the seed-pod earring.</p>
+
+
+<h3>Birds of Maple-Tree
+Seed-Vessels</h3>
+
+<div class="figcenter" style="width: 393px;">
+<a id="Fig_118"></a>
+<img src="images/i_110b.png" width="393" height="111" alt="drawings" />
+<div class="caption">Fig.118 - Maple seed vessel used as bird wings</div>
+</div>
+
+<p>You see it is not only
+the seed-vessels of flowers
+that can be turned
+into playthings. The
+trees also furnish abundant
+material for toys.</p>
+
+<div class="figcenter" style="width: 351px;">
+<a id="Fig_119"></a>
+<img src="images/i_111.png" width="351" height="346" alt="drawings" />
+<div class="caption">Fig.119 - Maple seed vessel bird.</div>
+</div>
+
+<p>Gather the winged seed-vessels that fall from the maple-trees,
+<a href="#Fig_118">Fig. 118</a> is a maple seed-vessel, and let us sit on
+the dry, sun-warmed grass and turn them into odd little
+birds like <a href="#Fig_119">Fig. 119</a>. These birds are very near the size of
+our ruby-throated humming-birds, a trifle larger perhaps,
+but they do not in the least resemble the beautiful, jewel-colored,
+long-beaked wild bird, either in looks or habits.
+However, they are nice, tame, quiet little birds and never
+object to being handled, played with, and placed on any
+bush or low tree where you may happen to want to put
+them. You cannot say that of the humming-bird, can you?</p>
+
+<p>You will need two seed-vessels for each bird. Divide<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
+one through the centre, separating the two wings, and use
+one of these wings for the body of the bird, as you see in
+the diagram <a href="#Fig_120">Fig. 120</a>. Clip off the two corners of the
+square end where the arrows point to shape it like a
+bird's head, then carefully bend up the seed-vessel pair
+of wings, and fit the body down in between them, resting
+it on the centre part that holds the wings together. One
+or two stitches with needle and thread, passed through
+wings and body, will keep them close and secure.</p>
+
+<div class="figcenter" style="width: 505px;">
+<a id="Fig_120"></a>
+<img src="images/i_112.png" width="505" height="300" alt="drawings" />
+<div class="caption">Fig.120 - Bird's body.</div>
+</div>
+
+<p>When your bird is finished (<a href="#Fig_119">Fig. 119</a>), thread a needle
+with black thread, tie a good-sized knot in the end of the
+thread, and push the needle from underneath up through
+the back of the bird where it will come out between the
+wings. Draw the knot up close to the body and tie the
+other end of the thread to a low branch of a tree. When
+you stand off a little distance you cannot see the thread and
+your bird will seem to be hovering in mid-air. A gentle
+breeze will stir the bird and make it look as if flying. If
+there is no breeze, you can blow on it, or fan it until the
+little thing flutters about almost as if alive.</p>
+
+<p>Be careful to string the thread through the bird at a
+place that will make it evenly balanced.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p>
+
+
+
+
+<h2>CHAPTER XIX<br />
+<small>BUCKEYE HORSE AND BUCKEYE RIDER</small></h2>
+
+
+<p>All children love the clean, glossy, brown horse-chestnuts
+or buckeyes. There are so many buckeye-trees in
+Ohio that it is called the Buckeye State, and many villages
+of Long Island are full of them. They are used for
+shade-trees and often line the streets, where they send down
+showers of their nuts, pretty but not good to eat. Everywhere
+the children gather basketfuls and take them home
+to play with, and in other Beard books we have told of some
+things that can be made of buckeyes, but the buckeye
+horse and rider which you see here have just arrived.</p>
+
+<p>He is a very remarkable-looking horse with his funny
+round head and stiff legs and tail, though not more remarkable
+than the little man who rides him. Both are
+made simply of buckeyes and slender twigs. The head
+and body of the horse and of the man are buckeyes. The
+neck, ears, tail, and legs of the horse are smooth, straight
+twigs; the neck, arms, and legs of the man are also twigs.</p>
+
+
+<h3>The Buckeye Horse</h3>
+
+<p>When you make a horse let the light-colored part of the
+buckeye be his face. This part usually has a dark spot
+on it which looks like an eye. You will see it in <a href="#Fig_121">Fig. 121</a>.
+He will have only one eye unless you put in another with
+lead-pencil or pen and ink, but very frequently horses are
+blind in one eye, so it will not matter whether he has two
+eyes or one.</p>
+
+<p>Stick two short pieces of twigs in the head for ears and
+a longer twig for the neck. You will have to sharpen the<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
+ends of the twigs to a point so that they will go in easily.
+The neck twig will need sharpening at both ends.</p>
+
+<p>Before putting the head on the body of the horse, which
+should be as large a buckeye as you can find, push in four
+twigs for the legs. The front legs must slant forward,
+the hind legs slant backward. This will make him stand
+firmly. Then choose a slender twig for the tail, and split
+it several times at one end to show that it has hair on
+it, as in <a href="#Fig_121">Fig. 121</a>.
+Fasten the tail on
+and then push in
+the neck twig.
+This finishes the
+horse.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a id="Fig_121"></a>
+<img src="images/i_114.png" width="408" height="277" alt="drawings" />
+<div class="caption">Fig.121 - He is a remarkable looking Horse.</div>
+</div>
+
+
+<h3>The Buckeye Man</h3>
+
+<p>For the body of
+the man who sits
+astride the horse,
+choose a buckeye
+which is rather flat
+on one side. A
+round buckeye will roll off. Find a small buckeye for the
+man's head and give him a twig neck (<a href="#Fig_122">Fig. 122</a>). Do not
+make his twig arms stand out straight at his sides; push
+them in slantingly so that he will hold them out in front.
+Put his twig legs in far apart and slant them a little
+forward.</p>
+
+<div class="figcenter" style="width: 387px;">
+<a id="Fig_122"></a>
+<img src="images/i_115.png" width="387" height="392" alt="drawings" />
+<div class="caption">Fig.122 - The Buckeye Horse and Rider.</div>
+</div>
+
+<p>Now place the man on the horse, and if he does not fit,
+change the position of his legs until he sits securely. Your
+buckeye man and buckeye horse will then look like <a href="#Fig_122">Fig. 122</a>.</p>
+
+
+<h3>Pine-Cones. Pine-Cone Forest</h3>
+
+<p>Of course you like to gather the rich-brown pine-cones
+that lie scattered on the ground under the pine-trees; we<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+all do. Collect a number of those which have loosened
+and opened out their little leaf-like scales, then stand them
+up like trees in an open space on the ground. They look
+so much like toy trees we immediately want to play we
+are foresters, way off in the wild western lands, planting
+forest-trees for Uncle Sam.</p>
+
+
+<p>We can make our forest as large as we want it and
+plant trees every
+day if we like, or
+we can gather up
+our nice, clean, dry
+cones and take them
+into the house to use
+in some other way.
+They make nice
+playthings.</p>
+
+
+<h3>A Fruit-and-Vegetable
+Market</h3>
+
+<p>If you find small,
+short cones, not
+fully opened out,
+notice how much
+they look like little
+pineapples; you
+must save these for our fruit-and-vegetable market, where
+we sell fat, short acorns as hazelnuts, the long acorns as
+pecans, and the buckeyes, or horse-chestnuts, all shiny,
+dark, and smooth, as eggplants, and rose-haws as apples.</p>
+
+<p>There are other things in our store, too. String-beans,
+which are really locust-pods, and heads of white cauliflower
+made of bunches of the wild carrot or Queen Anne's
+Lace blossoms, tied together so that the pretty white flowers
+of the wide-spreading clusters lie evenly with edges touching.
+A number of these clusters are used for one head<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+of cauliflower, and around each head are arranged green
+leaves with their tops cut off just as you see them around
+the real vegetable.</p>
+
+
+<h3>Cone Card-Rack</h3>
+
+<p>Save one of your fine, large-sized, wide-open cones and
+make a card-rack of it like the one shown in the photograph
+<a href="#Fig_123">Fig. 123</a>.</p>
+
+<div class="figcenter" style="width: 431px;"><a id="Fig_123"></a>
+<img src="images/i_116.jpg" width="431" height="492" alt="photograph" />
+<div class="caption">Fig.123 - Card rack and pin box combined.</div>
+</div>
+
+
+<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+<p>You must have a small, round or square wooden box
+for the base and glue the flat bottom of the cone on the
+lid. The box can be filled with small brass clips for holding
+sheets of paper together, or with pins, and it will then
+make a fine birthday or Christmas present for some one.
+The cone card-rack is very useful on a writing-desk.</p>
+
+<p>If you make a number of these cone-racks they will be
+something new for your next fair. Remember to stick
+some pretty cards in each rack.</p>
+
+
+<h3>Christmas-Tree Ornaments</h3>
+
+<p>Perhaps you would like to keep some of your cones for
+Christmas-tree ornaments; they make very pretty ones.</p>
+
+<p>Gild several until they shine like gold, then silver others,
+and they will look as if covered with white frost. If you
+have collected any of the prickly sweet-gum balls that
+look as if they were carved in little starry patterns, gild
+and silver these, too, and let them dangle from the tree
+on long gilt or silver cords.</p>
+
+<p>These natural, outdoor ornaments are not easily broken,
+and may be kept from year to year for your Christmas
+tree.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></p>
+
+
+
+
+<h2>CHAPTER XX<br />
+<small>BURDOCK-BURRS</small></h2>
+
+
+<h3>The Little House of Burrs</h3>
+
+<p><span class="smcap">Now</span> let us build a little woodsy house of burrs (<a href="#Fig_124">Fig. 124</a>)
+and put it in a little garden. Gather two heaping handfuls
+of large-sized burdock-burrs, small ones are not strong
+enough, and begin building. These burrs grow on a bush;
+they are about the size of a marble, are almost round, are
+prickly, and are pinkish at the top.</p>
+
+<p>Make the roof first (<a href="#Fig_125">Fig. 125</a>). Stick ten or twelve burrs
+together in a row with pink heads all pointing in the same
+direction. Place this row on a flat, smooth surface, a
+board, flat stone, table, or, perhaps, the hard earth, and
+attach another row of burrs along the side edge of the first
+row. Continue to add more burrs until you have six or
+seven rows fastened into one flat piece.</p>
+
+<p>Be sure that this piece does not bulge out or sink down
+in places, for the roof must be perfectly flat. Make the
+two side walls (<a href="#Fig_126">Figs. 126</a> and <a href="#Fig_127">127</a>) and the back wall of
+the house as you made the roof; the back wall must be
+the length of the roof and the height of the side walls (<a href="#Fig_128">Fig.
+128</a>). The side walls must each fit on the ends of the roof
+and be high enough to look well.</p>
+
+<p>The front wall of the house must have a doorway and
+a window (<a href="#Fig_129">Fig. 129</a>). But first make it solid, exactly like
+the back wall and exactly the same size, then lay it down
+on the flat surface that you are using for a table, and open
+a hole for the doorway by taking out five or six burrs,
+counting from the bottom up, and two or three burrs,
+counting from side to side. That will make about ten or<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+twelve burrs to be removed. Take out the burrs for the
+window and make the opening three or four burrs high and
+two burrs wide. (See <a href="#Fig_129">Fig. 129</a>).</p>
+
+<p>Use four burrs for each side of the hollow square chimney
+(<a href="#Fig_130">Fig. 130</a>), which is open at top and bottom.</p>
+
+<div class="figcenter" style="width: 589px;">
+<a id="Fig_124"></a>
+<img src="images/i_119.png" width="589" height="517" alt="drawings" />
+<div class="caption">Fig.124 - The little woodsey house of Burdock-burrs with
+ornamental trees of grass</div>
+</div>
+
+<p>To put the different parts of the house together lay the
+roof down flat and stick the edge of the back wall on top
+of the outer row of burrs which forms one of the long edges
+of the roof. Fasten one side wall on one short edge of the
+roof in the same way and press the edge of the back wall
+and the edge of the side wall together, making the corner
+firm and square. Next attach the second side wall, and
+lastly fit in the front wall.</p>
+
+<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 364px;">
+<a id="Fig_125"></a>
+<img src="images/i_120a.png" width="364" height="128" alt="drawings" />
+<div class="caption">Fig.125 - Roof of house of Burs.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 121px;">
+<a id="Fig_130"></a>
+<img src="images/i_120d.png" width="121" height="105" alt="drawings" />
+<div class="caption">Fig.130 - Chimney of
+house of Burs.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 103px;">
+<a id="Fig_126"></a>
+<img src="images/i_120b.png" width="103" height="321" alt="drawings" />
+<div class="caption">Fig.126 - Side wall of
+house of Burs.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 342px;">
+<a id="Fig_128"></a>
+<img src="images/i_120e.png" width="342" height="270" alt="drawings" />
+<div class="caption">Fig.128 - Back wall of house of Burs.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 87px;">
+<a id="Fig_127"></a>
+<img src="images/i_120c.png" width="87" height="312" alt="drawings" />
+<div class="caption">Fig.127 - Side wall of
+house of Burs.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 353px;">
+<a id="Fig_129"></a>
+<img src="images/i_120f.png" width="353" height="273" alt="drawings" />
+<div class="caption">Fig.129 - Front wall of house of Burs.</div>
+</div></td></tr>
+</table></div>
+
+
+
+<p><span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p>
+
+<p>Now lift the house carefully, place it right side up on the
+ground, and adjust the chimney to the roof.   As you work
+keep the picture of the
+house in front of you so
+that you may see at a
+glance whether you are
+building it correctly or
+not. If you cannot find
+large burrs, let the sides
+and the roof of the house
+be two layers of burrs
+stuck firmly together.
+Make a path leading up
+to the door of very small
+shells, sand, or fresh earth.</p>
+
+<h3>Pond, with Water-Lilies,
+in the Garden</h3>
+
+<p>Would you like to have
+a little pond near the
+house, with white water-lilies floating on its surface and wee
+cattails growing here and there in and near the water's edge?</p>
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figleft" style="width: 271px;">
+<a id="Fig_131"></a>
+<img src="images/i_121a.png" width="271" height="600" alt="drawings" />
+<div class="caption">Fig.131 - Cat-tail for little
+pond made of Timothy-Grass.</div>
+</div></td><td align="left"><div class="figright" style="width: 185px;">
+<a id="Fig_132"></a>
+<img src="images/i_121b.png" width="185" height="286" alt="drawings" />
+<div class="caption">Fig.132 - Cat-tail held upright
+by Burdock-burrs.</div>
+</div></td></tr>
+</table></div>
+
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>
+
+<p>You can easily make such a pond. Sink a shallow pan
+in the ground, a hole must be dug to fit it, you know, and
+fill the pan with water. Cover the edges with moss or earth
+and plant short-stemmed heads of timothy-grass (<a href="#Fig_131">Fig. 131</a>)
+and slender, stiff grass-blades in scattered groups near
+the water. It is timothy-grass that looks so much like
+cattails, and also the grass called foxtail.</p>
+
+<div class="figcenter" style="width: 413px;">
+<a id="Fig_133"></a>
+<img src="images/i_122a.png" width="413" height="336" alt="drawings" />
+<div class="caption">Fig.133 - The play Water-Lily made
+of a White Clover floating
+on water.</div>
+</div>
+
+
+<p>Some of the cattails can be made to look as if they were
+growing in the pond if you make a flat-bottomed ball of
+burrs around the ends of the stems to hold them upright
+(<a href="#Fig_132">Fig. 132</a>), and put some small stones on top of the ball
+to weight it down in the water.</p>
+<div class="figcenter" style="width: 346px;">
+<a id="Fig_134"></a>
+<img src="images/i_122b.png" width="346" height="339" alt="drawings" />
+<div class="caption">Fig.134 - Cut leaves for the water lilies from a Maple leaf
+as shown here.</div>
+</div>
+
+<p>For the little water-lilies select perfect white clover-blossoms
+(<a href="#Fig_133">Fig. 133</a>), and for the leaves, or lily-pads, use<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+any rather small, smooth, round leaves. The marsh-marigold
+leaf will answer, or you can cut out water-lily leaves
+from oak or maple. Make them the shape of the pattern
+<a href="#Fig_134">Fig. 134</a>.   The pattern here is laid on a maple-leaf ready
+to cut out a leaf for the water-lily. Make a number of
+lilies and float them and the leaves on top of the water.</p>
+
+
+<h3>A Pea-Pod Canoe</h3>
+
+<p>You might add a pea-pod canoe (<a href="#Fig_135">Fig. 135</a>), with a tiny
+American flag standing proudly erect at the bow.</p>
+<div class="figcenter" style="width: 541px;">
+<a id="Fig_135"></a>
+<img src="images/i_123a.png" width="541" height="152" alt="drawings" />
+<div class="caption">Fig.135 - Pea-pod Canoe.</div>
+</div>
+
+
+<p>When you make the canoe, open the pod where you see
+the dotted line in <a href="#Fig_136">Fig. 136</a>. To keep the pod open make
+little braces of broom-straws, and put them in crosswise
+with one end against each side of the canoe. There are
+four braces in the canoe (<a href="#Fig_135">Fig. 135</a>), but you may not need
+that many.</p>
+<div class="figcenter" style="width: 533px;">
+<a id="Fig_136"></a>
+<img src="images/i_123b.png" width="533" height="135" alt="drawings" />
+<div class="caption">Fig.136 - Cut open the pea-pod along dotted line.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p>
+
+
+<h3>The Trees</h3>
+
+<p>In the picture given here the tree on the left of the little
+house of burrs is just two stalks of the common grass called
+meadow muhlenbergia, which are held up as if really growing,
+by several green burrs left from building the house.
+The burrs are squeezed up tight to the grass-stems and
+then pressed down tight to the ground. You can find the
+grass for these trees almost any place; it is very social and
+loves to make its home with other grasses.</p>
+
+<p>The graceful, drooping tree on the right of the house
+is made of the grass called brome-grass. Keep your eyes
+open and you will find it some time while playing out-of-doors.
+As soon as you see it, run to the brome-grass and
+whisper its name. You will be glad to discover it and<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+will remember its name afterward whenever you see the
+grass.</p>
+
+<div class="figcenter" style="width: 460px;">
+<a id="Fig_137"></a>
+<img src="images/i_124.png" width="460" height="454" alt="drawings" />
+<div class="caption">Fig.137 - Burdock-burr target.</div>
+</div>
+
+<p>Look at the picture again and notice the odd plants near
+the brome-grass tree. Their name is Bermuda-grass. See
+how they spread out their long, slender fingers. They look
+very much like a grass named the small crab-grass, and
+another the large crab-grass,
+and like another still called
+the wire-grass; but if you put
+all these side by side and examine
+them closely you will
+see how they differ.</p>
+
+
+<h3>Burdock-Burr Game</h3>
+<div class="figleft" style="width: 272px;">
+<a id="Fig_138"></a>
+<img src="images/i_125.png" width="272" height="489" alt="drawings" />
+<div class="caption">Fig.138 - Hold the burr this way
+when you throw it at the
+target.</div>
+</div>
+<p>Besides making things of
+burdock-burrs, you can play
+a game with them. The game
+is something like archery,
+only, instead of shooting arrows
+at a target, you throw
+burrs at it.</p>
+
+<p>Get a good-sized piece of
+woollen cloth or some kind
+of material with a rough surface
+to which the burrs will
+cling. Tack this up on the
+fence or on a board; then,
+with a large piece of chalk
+that will make a wide mark,
+draw four circles, one inside the other like <a href="#Fig_137">Fig. 137</a>. It
+doesn't matter if your circles are not perfect. Do the
+best you can and finish your target. Number the spaces
+between the circles 1, 2, 3, 10. The outer space is 1, the
+next, 2, next to the centre 3, and the centre 10. The centre,
+being the bull's-eye, counts most.</p>
+
+
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p>
+
+<p>Have ready a lot of burrs for each player; mark a
+boundary-line on the ground, beyond which no one must
+step in throwing the burrs, and, standing at the boundary-line,
+let each player in turn throw three burrs at the target.
+The burrs that stick to the target make the score if they
+are in the numbered spaces. <a href="#Fig_138">Fig. 138</a> shows how to hold
+the burr. Suppose one burr sticks to the space numbered
+2, and the two others are in number 1, the player would
+then have two ones and one two which, added together,
+make four; her score then would be four.</p>
+
+<p>Always pull the burrs of one player off the target before
+the next player takes her turn, and there will be no question
+as to who should claim them. After each player has
+had three turns, let every one add up her scores. The
+player who has the highest wins the game. If divided
+into sides, the players on the side having the highest score
+are the winners and they should be given a hearty cheer
+by the losing side. Even very little girls and boys should
+learn to be good losers and to help celebrate the victory
+of others.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXI<br />
+<small>THINGS TO MAKE OF ENGLISH-WALNUT SHELLS</small></h2>
+
+
+<p><span class="smcap">Nuts</span> are the seed-vessels of the nut-trees; did you ever
+think of that? They do not grow only that we may have
+something delicious to eat. They ripen and fall on the
+ground, where some of them take root and grow up into
+trees themselves. If you plant a hickory-nut a little
+hickory-tree should come up, and it will if the conditions
+are all right. If you plant a walnut it will be a walnut-tree
+that will appear; so you see a nutshell is the seed-vessel
+of the nut-tree.</p>
+
+<p>English walnuts do not grow wild in this country, but
+are cultivated here and you all know what the English
+walnut is like. Our American walnut is very hard to crack;
+its shell is rough and deeply grooved, but the English-walnut
+shell is smooth and without sharp edges, though its
+surface is uneven. There is a shallow groove running round
+the shell, like a seam, and the shell cracks open along this
+seam evenly and easily.</p>
+
+
+<h3>To Open an English Walnut</h3>
+
+<p>The easiest way to open an English walnut so that
+the shell will be in two perfect halves is to push the tip
+of a penknife-blade into the groove at the large end of
+the nut, and then slowly and carefully turn the knife to
+pry the halves apart. When opened this way the shell
+is never broken (<a href="#Fig_139">Fig. 139</a>).</p>
+
+<div class="figcenter" style="width: 427px;">
+<a id="Fig_139"></a>
+<img src="images/i_128.png" width="427" height="409" alt="drawings" />
+<div class="caption">Fig.139 - This is the way to open the shell.</div>
+</div>
+
+<p>After you have opened several nuts and taken out the<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+kernels, use the knife to cut away the thin, papery divisions
+inside the shells.   You will then be ready to make</p>
+
+
+<h3>The Professor</h3>
+
+<div class='unindent'>and one half-shell is to be his head. Draw a face on the
+shell like the face of the professor (<a href="#Fig_140">Fig. 140</a>). The narrow
+part of the shell is his chin, the wide part, the top of his
+head. He has an intellectual forehead, high and broad,
+with furrows of thought showing plainly on it.</div>
+
+<div class="figcenter" style="width: 418px;">
+<a id="Fig_140"></a>
+<img src="images/i_129a.png" width="418" height="524" alt="drawings" />
+<div class="caption">Fig.140 - The English Walnutshell Professor.</div>
+</div>
+
+
+<h3>The Professor's Robe</h3>
+
+<p>As a rule professors wear black robes when they wear
+any, but our nutshell professor wears white because it is
+more becoming to his dark complexion, and because it
+is more effective and draws attention to him.</p>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
+
+<div class="figcenter" style="width: 431px;">
+<a id="Fig_141"></a>
+<img src="images/i_129b.png" width="431" height="533" alt="drawings" />
+<div class="caption">Fig.141 - The Professor's Robe.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p>
+
+<p>To make the robe, fold an oblong piece of white paper
+into a square, which makes the square double. The edges
+should measure about four inches. If you have a large
+white envelope cut off one end to make it square and use
+that. Fold the square diagonally across from point to
+point, as is shown by the dotted
+line in <a href="#Fig_141">Fig. 141</a>. Now turn
+back first one side point, then
+the other side point, and make
+them meet over the first fold to
+form a fanlike pleat, wider at
+the bottom than at the top.
+The dotted lines on either side of the middle one in <a href="#Fig_141">Fig.
+141</a> show where the folds should come. The middle fold
+is bent out, or toward you; the side folds are bent in, or
+away from you. The side points now extending toward
+you are the wide, flowing sleeves of the professor's gown.</p>
+<div class="figcenter" style="width: 517px;">
+<a id="Fig_142"></a>
+<img src="images/i_130a.png" width="517" height="214" alt="drawings" />
+<div class="caption">Fig.142 - The Nutshell Mouse.</div>
+</div>
+<div class="figright" style="width: 92px;">
+<a id="Fig_143"></a>
+<img src="images/i_130b.png" width="92" height="126" alt="drawings" />
+<div class="caption">Fig.143 - Ear for the mouse.</div>
+</div>
+<p>Take the robe in your hand at the bottom point, holding
+it from the back, and on the top point hang the professor's
+nutshell head (<a href="#Fig_140">Fig. 140</a>).</p>
+
+<p>While the head balances quite securely on the point,
+you can make it wag from side to side, make it shake and
+tremble when the professor grows very earnest in his discourse,
+and make the chin thrust itself forward when he<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
+is emphatic. You do all this merely by shaking and tipping
+the paper robe. He is an amusing little lecturer, this
+English-walnut shell professor, and seems very much alive.</p>
+
+
+<h3>English-Walnut Shell Mouse</h3>
+
+<p>It is a far cry from a lecturer to a little mouse, yet one
+English-walnut shell will make both, half a shell for each.</p>
+<div class="figleft" style="width: 338px;">
+<a id="Fig_144"></a>
+<img src="images/i_131a.png" width="338" height="240" alt="drawings" />
+<div class="caption">Fig.144 - The Nutshell Thimble Box.</div>
+</div><div class="figright" style="width: 194px;">
+<a id="Fig_145"></a>
+<img src="images/i_131b.png" width="194" height="507" alt="drawings" />
+<div class="caption">Fig.145 - Tie a ribbon
+around the nut.</div>
+</div>
+<p>This is a nice, cosey-looking little
+mouse who crouches down comfortably
+and does not show his
+legs (<a href="#Fig_142">Fig. 142</a>).</p>
+
+<p>The point of the shell is the
+nose of the mouse; above it make
+two round, black eyes and then
+paste on two brown-paper ears.
+Cut the ears like <a href="#Fig_143">Fig. 143</a>, bend
+back the little stems at the bottom,
+put a touch of paste on each stem and stick the
+ears to the mouse's head in the position shown in <a href="#Fig_142">Fig.
+142</a>. Cut a piece of string about three inches long for
+the tail and paste one end of it on the inside edge of the
+shell at the large end.</p>
+
+<p><span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span></p>
+
+<p>If you make three of these mice and glue them to a piece
+of cardboard they will look very cunning. Or you can
+glue one mouse to a small card and use it for the top of a
+Christmas pen-wiper.</p>
+
+
+<h3>English-Walnut Shell Thimble-Box</h3>
+
+<p>A pretty way to give a small present at Christmas or
+on a birthday is to put it into an English-walnut shell box.
+A thimble fits in the box beautifully (see <a href="#Fig_144">Fig. 144</a>).</p>
+
+<p>Open the shell of an English walnut in the way described
+(<a href="#Fig_139">Fig. 139</a>). Cut away the inside partitions and, with jeweller's
+cotton, make a soft little bed in one-half of the shell.
+Press down the cotton in the middle to make a hollow, and
+in this hollow fit the new thimble. Put a layer of cotton
+over the top of the thimble and tuck in the edges. The
+way to close the box is to cover the edges of the other half-shell
+with glue and then fit it on the half that holds the
+thimble, just as it was before you opened it.</p>
+
+<p>Now you have a whole nut again, but the meat inside
+is very different from that which you took out. You can
+gild the nutshell after the glue has hardened or leave it
+as it is. Its own brown color is pretty enough. In either
+case you must have a piece of narrow ribbon to tie around
+the box and form a loop by which to hang it (<a href="#Fig_145">Fig. 145</a>).</p>
+
+<p>Pass the ribbon under the small end of the nutshell, then
+bring it up and tie it securely at the top of the large end.
+The ribbon should not be over the seam but should pass
+across the middle of each half-shell. It will then hold the
+two parts together and keep the glue from loosening. After
+the ribbon is tied at the top of the nut, make a long loop
+above it and tie again in a bow-knot.</p>
+
+<hr class="chap" />
+
+
+
+<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+
+
+
+<h2><i>PART VI</i><br />
+<small>VEGETABLES</small></h2>
+
+<hr class="chap" />
+
+
+<h2>CHAPTER XXII<br />
+<small>THINGS YOU CAN MAKE OF LIMA BEANS</small></h2>
+
+
+<p><span class="smcap">Vegetables</span> are good to eat, certainly, and you know
+what they are like when cooked and on the dinner-table;
+but many are also good to play with. You can make fine
+toys of them, toys that are entirely different from any you
+have ever seen. Here is the</p>
+
+
+<h3>Swimming Fish Made of a Lima-Bean Pod</h3>
+
+<p>A fish that really swims, not on top of the water but in
+it, is the little fish (<a href="#Fig_146">Fig. 146</a>). You won't find that in a<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+shop or anywhere else, for I have only just discovered how
+to make it myself.</p>
+<div class="figcenter" style="width: 599px;">
+<a id="Fig_146"></a>
+<img src="images/i_133a.png" width="599" height="154" alt="drawings" />
+<div class="caption">Fig.146 - The Lima Bean Fish will swim.</div>
+</div>
+
+<div class="figcenter" style="width: 472px;">
+<a id="Fig_147"></a>
+<img src="images/i_133b.png" width="472" height="135" alt="drawings" />
+<div class="caption">Fig.147 - The pod for the fish must be open at the bottom.</div>
+</div>
+
+<p>A paper tail and two paper fins must be added, but that
+won't take five minutes when you know how to do it. The
+tail and fins make it wonderfully
+lifelike, for when the fish swims
+around in a big basin or dish-pan,
+the tail sways this way and that,
+the fins move back and forth exactly
+as they do on a living fish
+in a real lake or in the great ocean.</p>
+
+<div class="figcenter" style="width: 219px;">
+<a id="Fig_148"></a>
+<img src="images/i_134a.png" width="219" height="145" alt="drawings" />
+<div class="caption">Fig.148 - The fin of Bean-pod
+Fish</div>
+</div>
+
+<div class="figcenter" style="width: 423px;">
+<a id="Fig_149"></a>
+<img src="images/i_134b.png" width="423" height="258" alt="drawings" />
+<div class="caption">Fig.149 - Tail of Bean-pod Fish.</div>
+</div>
+<div class="figleft" style="width: 461px;">
+<a id="Fig_150"></a>
+<img src="images/i_135.png" width="461" height="600" alt="drawings" />
+<div class="caption">Fig.150 - The Lima Bean Man will stand.</div>
+</div>
+<p>Choose a good, firm bean-pod,
+one as flat and even as you can
+find, open it carefully along the straight edge and take
+out the beans. Save the beans, for you can make something
+of them too. Do not let the pod close again after
+the beans are out.   It must be open about half an inch,
+or maybe a little more, at the middle. You can widen
+the opening by pushing your finger in.   Be careful not to
+split it along the upper edge.   It should be like <a href="#Fig_147">Fig. 147</a>,
+which shows the opening at the bottom.</p>
+
+<p>With the small blade of a pocket-knife make a slit on<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
+each side of the pod at the large end where it is marked
+C in <a href="#Fig_147">Fig. 147</a>.</p>
+
+
+
+<p>These slits are to hold the fins. Directly on the curved
+edge of the small end of the pod, at the place marked D,
+cut another short slit. Don't let it reach the lower edge.
+This is to hold the tail.</p>
+
+<p>From writing-paper, not the very heavy kind, cut two
+fins like <a href="#Fig_148">Fig. 148</a>. Double the paper and cut out both at<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
+once so that they may be exactly alike. From the same
+kind of paper cut the tail like <a href="#Fig_149">Fig. 149</a>. All you have to
+do now is to push the sharp point of one paper fin into the
+slit on one side of the pod, the other fin into the slit on the
+other side of the pod, and the sharp point of the tail into
+the slit in the edge of the pod, and there is your fish. You
+see the fins and tail are not pasted on and they really seem
+a living part of the fish. Notice that the top of fins and
+tail are different from the bottom, and be sure to have the
+top edge up when you put them in the slits.</p>
+
+<div class="figcenter" style="width: 515px;">
+<a id="Fig_151"></a>
+<img src="images/i_136.png" width="515" height="441" alt="drawings" />
+<div class="caption">Fig.151 - Parts of Lima Bean Man</div>
+</div>
+
+<p>The way to make the lima-bean fish swim is to place
+it, open edge down, in a large basin of water; then with
+a stick or spoon begin at the centre to stir the water gently
+and gradually round and round until it all moves faster
+and faster, and keeps on moving after you stop stirring.
+Then your little green fish will swim.   Round and round<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
+the basin he will go, his tail waving and his fins moving
+so naturally you will shout with delight.</p>
+
+<p>If at first the fish insists upon turning over on his side
+and floating about like a dead fish, don't give him up. He
+is only playing 'possum. He <i>can</i> swim and he <i>will</i> if you
+are patient and keep setting him upright until he gains his
+balance and becomes used to the water. Remember to put
+the fish <i>in</i> the water, not on top.</p>
+
+<p>Don't let the beans, that you have taken out of the pod
+when making the fish, get dry and hard. They can
+be turned into a</p>
+
+
+<h3>Lima-Bean Man</h3>
+
+<p>Three beans and several strong, straight broom-straws
+you will need for making this comical little fellow, who,
+upright and independent, stands squarely on his own feet.
+That is a good thing for any one to do, let alone a little
+bean man (<a href="#Fig_150">Fig. 150</a>).</p>
+
+<p>The beans should be of different sizes. A large one for
+the body, next in size for the feet and a smaller one for
+the head. Some beans have a little point that stands out
+on one edge and looks like a tiny nose, while below it there
+is a round hollow that looks like a little open mouth. That
+is the kind of bean to choose for the little man's head.</p>
+
+<p>The broom-straw for Mr. Bean's arms should be quite
+four inches long, if he is to be four inches tall. Cut one
+end of this broom-straw slanting to a point like E in <a href="#Fig_151">Fig.
+151</a>, and push the point through the upper part of the body
+bean and out far enough on the other side to make the
+arms of equal length; then bend one arm up at the middle
+where the elbow should be, and the other arm down as
+you see them in the drawing of the man (<a href="#Fig_150">Fig. 150</a>).</p>
+
+<p>The broom-straws for the legs must be two and a half
+inches long and cut pointed at both ends, for one end of
+the leg is pushed into the lower part of the body bean and<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
+the other end into the half bean which is the foot. Split
+the foot bean in half to make two feet and push the leg
+straw into the rounded side. The flat side is the bottom
+of the foot.</p>
+
+<div class="figcenter" style="width: 515px;">
+<a id="Fig_152"></a>
+<img src="images/i_138.png" width="515" height="301" alt="drawings" />
+<div class="caption">Fig.152 - The beans are not taken out of the pod for
+the Lima Bean Pig.</div>
+</div>
+
+<p>A short piece of broom-straw, hardly an inch long, is
+the neck. Cut this straw pointed at each end, push one
+end into the top of the body bean and the other end into
+the lower part of the head bean. Use one-half of the outer
+skin, that comes off the foot bean when you split it, for
+a hat. Being curved like a rose-petal, it fits the head very
+nicely, but a drop of paste on the little man's head will
+make it more secure.</p>
+
+<p>Your lima-bean man may be a farmer and own</p>
+
+
+<h3>A Lima-Bean Pig</h3>
+
+<div class='unindent'>&mdash;a funny pig with fat sides and a turned-up snout (<a href="#Fig_152">Fig.
+152</a>).</div>
+
+<p>Look over all your bean-pods that still have beans in
+them, and select the one shaped most like <a href="#Fig_153">Fig. 153</a>. Do
+not take the beans out of the pod; they make the pig fat
+and solid.   The stem end forms the snout and the head.</p>
+
+<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p>
+
+<div class="figcenter" style="width: 502px;">
+<a id="Fig_153"></a>
+<img src="images/i_139a.png" width="502" height="149" alt="drawings" />
+<div class="caption">Fig.153 - Choose a bean-pod shaped like this for your pig.</div>
+</div>
+
+<p>Cut four broom-straws about one and a half inches long
+for the legs. Sharpen each of these straws at one end and
+push the pointed end into the lower part of the body, two on
+each side, in the places shown by small rings on <a href="#Fig_153">Fig. 153</a>.</p>
+
+<p>From part of another
+bean-pod cut two ears
+like F, <a href="#Fig_154">Fig. 154</a>, and pin
+them on the pig's head
+with a short straw as
+they are shown in the
+picture of the pig. Run
+the straw through one
+ear near the bottom,
+through the head and
+then through the other
+ear on the other side of
+the head.</p>
+
+<div class="figcenter" style="width: 353px;">
+<a id="Fig_154"></a>
+<img src="images/i_139b.png" width="353" height="312" alt="drawings" />
+<div class="caption">Fig.154 - Make these of a bean-pod
+or of paper.</div>
+</div>
+
+<p>Pull a narrow strip
+from the edge of a bean-pod
+for the tail (G, <a href="#Fig_154">Fig. 154</a>). Curl it by drawing it lightly
+over the blade of the scissors. Punch a small hole with the
+point of the scissors in the upper edge of the pig's back
+at the place marked by the arrow on <a href="#Fig_153">Fig. 153</a>, and push
+one end of the tail into the hole. Make small round dots
+with a pencil, or pen and ink, for the eyes. The ears and
+tail may be made of paper if you find that easier to use.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXIII<br />
+<small>SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF
+A RADISH</small></h2>
+
+
+<p><span class="smcap">If</span> you have ever seen an alligator, a long-tailed sweet
+potato will make you think of one immediately.</p>
+
+<p><a href="#Fig_155">Fig. 155</a> is a baby alligator with a sweet-potato body
+and paper head and legs. It is just the size of the little
+alligators they sell for pets down in Florida. That is, the
+alligator from which the drawing was made is the size of
+the live ones; the drawing is, of course, smaller.</p>
+
+<div class="figcenter" style="width: 604px;">
+<a id="Fig_155"></a>
+<img src="images/i_140a.png" width="604" height="148" alt="drawings" />
+<div class="caption">Fig.155 - The Baby Alligator made of a Sweet Potato.</div>
+</div>
+
+<div class="figcenter" style="width: 540px;">
+<a id="Fig_156"></a>
+<img src="images/i_140b.png" width="540" height="130" alt="drawings" />
+<div class="caption">Fig.156 - Find a potato shaped like this for the alligator..</div>
+</div>
+
+<p>Find a potato shaped like <a href="#Fig_156">Fig. 156</a>. Cut a slit in the
+large end and two slits on each side where you see them
+in <a href="#Fig_156">Fig. 156</a>. When you make the side slits push your knife
+in with the blade slanting upward and backward for the<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
+front legs, and slanting downward and backward for the
+back legs. This will allow the paper legs to slide in without
+bending.</p>
+
+<div class="figcenter" style="width: 478px;"><a id="Fig_157"></a>
+<img src="images/i_141a.png" width="478" height="307" alt="drawing" />
+<div class="caption">Fig.157 - Make the alligator's head like this.</div>
+</div>
+
+<p>Use brown paper, as near the color of the potato as you
+can get, for the alligator's head and legs. Make the head
+like <a href="#Fig_157">Fig. 157</a>, cutting along the heavy lines and bending
+along the dotted ones. Bend down the sides of the head<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
+and of the neck, then bend the head first up, then down,
+to lift it above the neck (<a href="#Fig_155">Fig. 155</a>.)</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 329px;">
+<a id="Fig_158"></a>
+<img src="images/i_141b.png" width="329" height="228" alt="drawings" />
+<div class="caption">Fig.158 - Cut two front legs by this
+pattern.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_159"></a>
+<img src="images/i_141c.png" width="263" height="292" alt="drawings" />
+<div class="caption">Fig.159 - Make the two hind legs by
+this pattern.</div>
+</div></td></tr>
+</table></div>
+
+<p>The eyes of a baby alligator are large and prominent.
+Draw them on the head as you see them in <a href="#Fig_157">Fig. 157</a>. That
+is as near as we can come to the real eyes.</p>
+
+<div class="figcenter" style="width: 433px;">
+<a id="Fig_160"></a>
+<img src="images/i_142.png" width="433" height="600" alt="drawings" />
+<div class="caption">Fig.160 - The Radish Imp is a decorative
+little fellow.</div>
+</div>
+
+<p>Cut out of the same paper used for the head two fore
+legs like <a href="#Fig_158">Fig. 158</a>, and two hind legs like <a href="#Fig_159">Fig. 159</a>. Slide
+the fore legs into the slits nearest the large end of the potato<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+and the hind legs into the slits near the tail. Push the
+point of the paper neck into the slit at the large end of the
+potato. That finishes the baby alligator, which is wonderfully
+true to life.</p>
+
+
+<h3>What to Make of a Radish</h3>
+
+<p>A crisp, fresh, clean radish is very tempting, but don't
+eat it this time; turn it into something
+else by the magic your ten
+fingers can work.</p>
+
+
+<h3>The Radish Imp</h3>
+
+<p><a href="#Fig_160">Fig. 160</a> shows a round white
+radish which, with its long, slender
+root and leaves still on it, has been
+changed into a queer little radish
+imp by using strong broom-straws
+to stiffen his leaf arms, his leaf legs,
+and his leaf body. His eyes are bits
+of broom-straw, his mouth is a slit
+with a broom-straw tongue, and his
+absurd, stand-out ears are also pieces
+of stout broom-straw.</p>
+
+<p>The root growing out of the top
+of his head is like a Chinaman's
+queue standing on end with little,
+crinkly separate hairs at its base.</p>
+
+<div class="figcenter" style="width: 205px;">
+<a id="Fig_161"></a>
+<img src="images/i_143.png" width="205" height="486" alt="drawings" />
+<div class="caption">Fig.161 - Cut two broom-straws
+for the arms and
+two for the legs.</div>
+</div>
+
+<p>When you make your radish imp
+cut two broom-straws about four
+inches long for his arms; point these at the ends. Cut
+two more strong broom-straws a little longer than the
+distance between the radish and the tips of the two longest
+leaves. Point these at both ends (<a href="#Fig_161">Fig. 161</a>). Now
+choose two leaves of even length, nearest the radish, for
+the arms. Don't take them off but push a broom-straw<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
+through each leaf, first in, then out, then push the other
+end of the straw into the thick part of the stems just under
+the radish. Look at <a href="#Fig_160">Fig. 160</a> and see how this is done.</p>
+
+<div class="figcenter" style="width: 434px;">
+<a id="Fig_162"></a>
+<img src="images/i_144a.png" width="434" height="220" alt="drawings" />
+<div class="caption">Fig.162 - White Mouse.</div>
+</div>
+
+<div class="figcenter" style="width: 532px;">
+<a id="Fig_163"></a>
+<img src="images/i_144b.png" width="532" height="284" alt="drawings" />
+<div class="caption">Fig.163 - These belong to the mouse.</div>
+</div>
+
+<p>The leaves with the longest stems must be used for the
+legs.   If there are more than two long-stemmed leaves,
+cut off all except those wanted for the legs. Bend the long,
+stout broom-straws at one end, as in <a href="#Fig_161">Fig. 161</a>, and push
+the other end up through the thick part of the stems and
+into the radish; then with a piece of string or strong blade
+of grass tie the stems of the leaves to the straws, as shown
+in <a href="#Fig_160">Fig. 160</a>. This forms a little belt at the waist-line. Leave<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+a large leaf with short stem loose at the back for a cape
+and run the bent ends of the long straws in and out of the
+leaves intended for the feet.</p>
+
+<p>Cut a curved slit in the radish for a mouth and push
+in a small piece of broom-straw for a tongue, then put in
+bits of straw for eyes, nose, and uplifted ears.</p>
+
+
+<h3>A White Mouse</h3>
+
+<p>You can make a most amusing little white mouse of a
+white radish; not a round one like that used for the imp,
+but egg-shaped, like <a href="#Fig_162">Fig. 162</a>. The long root is the tail
+of the mouse and the other end of the radish is his head.
+Cut two paper ears like H, <a href="#Fig_163">Fig. 163</a>. Make two slits in the
+head and slip the pointed ends of the ears into the slits.</p>
+
+<p>For whiskers (all mice have whiskers) find two sprays
+of fine branching broom-straws (I, <a href="#Fig_163">Fig. 163</a>), cut them
+the proper length, and push a spray into the head on each
+side of the nose. Put bits of broom-straw in for eyes and
+then cut four thick straws like J, <a href="#Fig_163">Fig. 163</a>, and push the
+pointed ends slantingly in the lower part of the radish for
+the feet of the mouse. His legs are not seen because he
+is crouching. The drawing of the mouse shows where to
+put the feet.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXIV<br />
+<small>GREEN-PEA TOYS AND A GREEN-PEA DESIGN</small></h2>
+
+
+<p><span class="smcap">Press</span> your thumb on the rounded edge of a fresh, fat
+green pea-pod, and, pop! it goes splitting open at the top.
+Then push your thumb into the opening, run it down the
+pod and the two halves separate, showing a row of fine,
+large peas that look like great green pearls in a soft, silk-lined
+case made expressly for them.</p>
+
+<div class="figcenter" style="width: 561px;">
+<a id="Fig_164"></a>
+<img src="images/i_146.png" width="561" height="236" alt="drawings" />
+<div class="caption">Fig.164 - The Green Pea Greenies, cousins of the Brownies.</div>
+</div>
+
+<p>You have done this ever so many times when helping
+mother, haven't you? And you know that the next thing
+to do when the pod is open is to run that same little thumb
+down again and scoop out all those round green peas, letting
+them fall with a patter into the pan in your lap.</p>
+
+<p>Now as a reward for such helpfulness suppose you ask
+mother or the cook to give you a good big handful of
+peas which have not been shelled, and ask also for some
+wooden toothpicks such as are used in the kitchen for fastening
+meat together; or a number of nice, straight, strong<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+broom-straws if there are no wooden toothpicks. Take all
+these out on the porch if the day is fine and sit down comfortably
+to make the remarkable things which I am going
+to tell you how to make. It is a good plan to have a box
+and its cover to hold the shelled peas and their pods, but
+it does not really matter except that the round peas are
+apt to roll away and get lost if you put them in your lap.</p>
+
+<div class="figcenter" style="width: 557px;">
+<a id="Fig_165"></a>
+<img src="images/i_147.png" width="557" height="355" alt="drawings" />
+<div class="caption">Fig.165 - Parts of the Greeny Girl and how to put them together.</div>
+</div>
+
+
+<h3>The Greeny Girl</h3>
+
+<p>The little green-pea greenies, cousins of the brownies,
+shown in the illustration are funny, aren't they? But
+the drawing is not as funny as the real greenies, and you
+can make them in all sorts of absurd positions.</p>
+
+<p>Two little men and a widely smiling greeny girl are given
+here (<a href="#Fig_164">Fig. 164</a>). The large green peas that come late in
+the season are used to make these little people. In fact,
+it is only the large peas that can be used for any of the<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
+things described. <a href="#Fig_165">Fig. 165</a> shows how the greeny girl is
+put together. Her arms, legs, and neck are made of broom-straws.
+Her body and head are green peas. Her dress is
+one end of a pea-pod and her feet are bits of a pea-pod cut
+the shape you see in <a href="#Fig_165">Fig. 165</a>.</p>
+
+<p>First cut short pieces of broom-straws for the legs and
+point them at both ends so that they will be easy to push
+into the peas and pods. Cut another piece the same length,
+pointed at the top end for the support. Push the legs and
+support into the large pea used for the body as you see
+them in <a href="#Fig_165">Fig. 165</a>. Now cut another piece of broom-straw
+pointed at both ends for the neck and push one end into
+the pea you have selected for the head.</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 273px;">
+<a id="Fig_166"></a>
+<img src="images/i_148a.png" width="273" height="260" alt="drawings" />
+<div class="caption">Fig.166 - Begin the tent in
+this way.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 247px;">
+<a id="Fig_167"></a>
+<img src="images/i_148b.png" width="247" height="221" alt="drawings" />
+<div class="caption">Fig.167 - The Greenies' Pea-pod
+tent.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Cut off the stem of a large pea-pod, leaving the little
+leaves at the top, which were the calyx of the pea-blossom,
+for a collar, and then cut the pea-pod dress the proper length
+to fit the little woman. When that is done put the dress
+on over the headless body and push the lower end of the
+broom-straw neck in at the top, down through the collar,
+and into the pea which forms the body. With a pin make
+a hole on each side just under the collar and push a broom-straw<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
+arm in each of the armholes you have made. Bend
+one straw in the middle, as in <a href="#Fig_165">Fig. 165</a>, to give the bent
+elbow.</p>
+
+<p>Last of all cut two three-cornered feet like the one in
+<a href="#Fig_165">Fig. 165</a> from a pea-pod and push a foot on the end of each
+leg. Turn the toes in and the little figure will look very
+comical. To give her a face, dip a pen in black ink and
+make two round eyes in the head, a round nose, and a wide
+mouth turned up at the corners. The pen must be pushed
+through the skin of the pea to do this. When the greeny
+girl stands up, her dress hides the support at the back so
+that it cannot always be seen, and she looks as if she stood
+on her two feet just as you stand on yours.</p>
+
+
+<h3>The Greeny Men</h3>
+
+<p>The illustration (<a href="#Fig_164">Fig. 164</a>) shows how the greeny men
+are put together. The little dancing fellow must have
+two supports because one foot is lifted. The tiny ridiculous
+cap on the head of the other man is the little cap that
+holds the pea to the pod and sometimes clings to the pea
+after it is shelled.</p>
+
+
+<h3>Pea-Pod Tents</h3>
+
+<p>The greenies' little tents are made of pea-pods and it
+takes three pods for each tent. After you have taken out
+the peas split the pods up along the back edge, but leave
+the two halves fastened together at the stem. Stand up
+two pods by pushing the stem end of one pod between the
+two halves at the top of the other, as they are shown in
+<a href="#Fig_166">Fig. 166</a>. Then separate the halves of the third and longest
+pod and place it astride the first two (<a href="#Fig_167">Fig. 167</a>). This will
+make quite a strong tent, and, if you like, you can have
+a whole camp of them.</p>
+
+<p><span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span></p>
+
+
+<h3>The Green-Pea House</h3>
+
+<p>The greenies need not always live in tents. Like other
+people, they can have houses as well.</p>
+
+<p>It is best to use the wooden toothpicks in making the
+house. They are stronger than broom-straws and all the
+same length. Begin by putting the front of the house together.
+Make the peak first. Choose a large pea, push
+the end of a toothpick into it, then not far from that push
+in the end of another toothpick slantingly so that the lower
+ends will be separated as you see them in <a href="#Fig_168">Fig. 168</a>. On
+each of these lower ends stick a pea like <a href="#Fig_169">Fig. 169</a>. That
+is the peak for the roof. Now make a long upright for
+each side by using a pea to join two sticks (<a href="#Fig_170">Fig. 170</a>), and
+push the upper end of each upright into the peas at the
+lower ends of the peak (<a href="#Fig_171">Fig. 171</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 224px;">
+<a id="Fig_168"></a>
+<img src="images/i_150a.png" width="224" height="127" alt="drawings" />
+<div class="caption">Fig.168 - Begin the peak in
+this way.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 237px;">
+<a id="Fig_169"></a>
+<img src="images/i_150b.png" width="237" height="122" alt="drawings" />
+<div class="caption">Fig.169 - Stick a pea on the
+lower ends of each toothpick
+to finish the peak.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<p>Shorten two toothpicks by breaking half an inch off
+each of them, then join them as you did the uprights by
+pushing one end of each stick into a large pea (<a href="#Fig_172">Fig. 172</a>).
+This is the front joist or crosspiece of the upper floor
+of the house, and you must fit it in between the two uprights
+of the front by pushing the ends of the crosspiece
+into the peas at the middle of the uprights (<a href="#Fig_173">Fig. 173</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 231px;">
+<a id="Fig_171"></a>
+<img src="images/i_151b.png" width="231" height="362" alt="drawings" />
+<div class="caption">Fig.171 - Add the uprights
+to the peak.</div>
+</div></td>
+<td align="left"><div class="figcenter" style="width: 40px;">
+<a id="Fig_170"></a>
+<img src="images/i_151a.png" width="40" height="267" alt="drawings" />
+<div class="caption">Fig.170 - The long
+upright.</div>
+</div><div class="figcenter" style="width: 236px;">
+<a id="Fig_172"></a>
+<img src="images/i_151c.png" width="236" height="41" alt="drawings" />
+<div class="caption">Fig.172 - This is the front
+joist.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 226px;">
+<a id="Fig_173"></a>
+<img src="images/i_151d.png" width="226" height="361" alt="drawings" />
+<div class="caption">Fig.173 - Fit the joist in
+between the two uprights.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 231px;">
+<a id="Fig_174"></a>
+<img src="images/i_151e.png" width="231" height="362" alt="drawings" />
+<div class="caption">Fig.174 - The back of the house.</div>
+</div></td></tr>
+</table></div>
+
+<p>The back of the house is made in the same way with a
+third upright added which runs down through the middle<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a><br /><a name="Page_142" id="Page_142">[142]</a></span>
+from the point of the peak to the bottom of the house.
+This third upright is made by shortening two toothpicks
+and joining them with a pea, then fitting them in between
+the pea at the top of the peak and the pea at the middle
+of the crosspiece. A whole toothpick with the upper end
+pushed into the lower part of the pea at the middle of the
+crosspiece finishes the long upright (<a href="#Fig_174">Fig. 174</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a id="Fig_176"></a>
+<img src="images/i_152.png" width="600" height="523" alt="drawings" />
+<div class="caption">Fig.176 - The Greenies' little house.</div>
+</div>
+
+<p>When the front and back are made all there is to do to
+finish the frame of the house is to put in the crosspieces
+to hold them together. <a href="#Fig_175">Fig. 175</a> shows all these crosspieces
+or joists. One crosspiece between the two peas at
+the top of the front and back peaks for the ridge-pole (K,<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
+<a href="#Fig_175">Fig. 175</a>), one on each side between the peas at the bottom
+of the peaks (L and M), one at each side between the peas
+at the ends of the front and back
+crosspieces (N, O), and one between
+the two peas at the middle of
+the front and back crosspieces (P).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 263px;">
+<a id="Fig_175"></a>
+<img src="images/i_153a.png" width="263" height="366" alt="drawings" />
+<div class="caption">Fig.175 - This is the frame of
+the house.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 229px;">
+<a id="Fig_177"></a>
+<img src="images/i_153b.png" width="229" height="41" alt="drawings" />
+<div class="caption">Fig.177 - The first bar of
+the fence.</div>
+</div>
+<div class="figcenter" style="width: 241px;">
+<a id="Fig_178"></a>
+<img src="images/i_153c.png" width="241" height="149" alt="drawings" />
+<div class="caption">Fig.178 - Push in two
+uprights.</div>
+</div></td></tr>
+</table></div>
+
+<p>Now you have the frame of a
+two-storied house or a house
+with only an upper story, but
+it needs a roof and a floor.
+Split some of your pea-pods in
+half and lay one at a time
+across the ridge-pole at the
+top and the crosspiece at the
+bottom of the peak. Put half
+of a pod on one side of the
+peak, half a pod on the other
+side of the peak, then another
+half pod on the first side, and
+the next one on the second
+side, and so on until the space
+is covered and the house is
+roofed in. The stem ends of
+the pods must be up.   The
+stems lock together and hold the
+roof in place.</p>
+
+<p>Make the loosely laid floor also
+of the split pea-pods, putting them
+across from front to back.</p>
+
+
+<p>Your little house (<a href="#Fig_176">Fig. 176</a>) now
+looks like those which strange
+people in far-away, hot countries
+build for themselves.   They have
+no lower story or what we call a first floor, but are lifted
+on posts far above the sometimes very damp ground,<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+and out of reach of any wild animals that may be prowling
+around.</p>
+
+
+<h3>The Fence</h3>
+
+<p>You can make a fence to put around the house in this
+way: Push a large pea on each end of a whole toothpick
+like <a href="#Fig_177">Fig. 177</a>, then break a toothpick
+exactly in half, stick one
+end of each half into the lower
+parts of the peas to form uprights,
+and push the lower end
+of each of these uprights into
+another pea as shown in <a href="#Fig_178">Fig. 178</a>.
+For the slanting crosspiece stick
+one end of another toothpick into
+the upper pea at the left-hand side, and the other end
+into the lower pea at the right-hand side (<a href="#Fig_179">Fig. 179</a>). Add
+a toothpick between the two lower peas, and one section of
+the fence is finished
+(<a href="#Fig_180">Fig. 180</a>).</p>
+
+<div class="figcenter" style="width: 242px;">
+<a id="Fig_179"></a>
+<img src="images/i_154a.png" width="242" height="143" alt="drawings" />
+<div class="caption">Fig.179 - Put in a slanting
+crosspiece.</div>
+</div>
+
+<div class="figcenter" style="width: 437px;">
+<a id="Fig_180"></a>
+<img src="images/i_154b.png" width="437" height="177" alt="drawings" />
+<div class="caption">Fig.180 - The finished section and the way to
+begin a new section of the fence.</div>
+</div>
+
+<p>Begin another
+section by sticking
+one end of a
+toothpick into a
+new pea and the
+other end into
+the upper pea at
+the left side of
+the section you
+have just finished (<a href="#Fig_180">Fig. 180</a>), then put in half a toothpick
+for the upright, a pea on the bottom of that, a whole
+toothpick for the slanting crosspiece, and another whole
+toothpick for the bottom.</p>
+
+<p>In this way you can keep on adding section after section
+and make your fence any length.   To turn a corner all<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+you have to do is to push the toothpicks which form the
+upper and lower crosspieces of a new section in at the
+back of the top and bottom peas of an end section of the
+fence.</p>
+
+
+<h3>The Tropical Plant</h3>
+
+<p>You will notice that in the illustration there is a plant
+growing at the side of the house which looks something
+like a cactus and adds to the tropical, or hot-country look
+of the little greeny people's home.</p>
+
+<div class="figcenter" style="width: 301px;">
+<a id="Fig_181"></a>
+<img src="images/i_155a.png" width="301" height="188" alt="drawings" />
+<div class="caption">Fig.181 - Draw curves like these
+for the design.</div>
+</div>
+
+<div class="figcenter" style="width: 305px;">
+<a id="Fig_182"></a>
+<img src="images/i_155b.png" width="305" height="224" alt="drawings" />
+<div class="caption">Fig.182 - The Green Pea design.</div>
+</div>
+
+<p>Seven half pea-pods are used to make this plant, four
+to stand up and three to lie down flat. Wrap and tie the
+stem ends of the four half pods together with a bit of string.
+Push a toothpick for a flower-stem through the middle
+of the bunch. Cut away the stem of a pea-pod, then cut
+off the calyx, or circle of little leaves, with the knob below
+attached. This is to be the blossom of the strange plant.
+Stick the flower on its toothpick stem, knob down, as you
+see it in the picture.</p>
+
+<p>To make the plant stand firmly lay the three extra half
+pods down flat with the stem ends one on top of the other
+and the outer ends at equal distances apart, and force
+the toothpick flower-stem through the pods where they<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+cross. These three flat pods make a base which holds the
+rest of the plant upright, while they look as if they were
+a part of it.</p>
+
+
+<h3>A Pretty Design of Green Peas</h3>
+
+<div class="figright" style="width: 262px;">
+<a id="Fig_183"></a>
+<img src="images/i_156.png" width="262" height="279" alt="drawings" />
+<div class="caption">Fig.183 - Do not open the pods wide.</div>
+</div>
+<p>This is not a toy, but you will like to make it just the
+same, and afterward, perhaps, you will want to try another
+design all by yourself. If you can draw at all, with
+a soft pencil make some
+curves on a piece of white
+paper like <a href="#Fig_181">Fig. 181</a>, only
+ever so much larger, then
+a straight line up from the
+centre. The distance
+between the two largest
+curves at their widest
+part should be about eight
+inches. If you cannot
+draw these curves, ask
+some older person to do
+it for you.</p>
+
+<p>Lay your paper with
+the pattern drawn on it flat on the table before you, shell
+some peas and carefully place them on the pencil lines of
+the curves. Begin with the largest peas at the centre of
+the design and finish with the smallest at the ends of the
+curves. <a href="#Fig_182">Fig. 182</a> shows how this is done. Put the first
+pea on the curve at the place shown by the arrow in
+<a href="#Fig_181">Fig. 181</a>.</p>
+
+<p>You won't be able to keep the peas in place unless you
+stick them to the paper with paste. Hold the tube of paste
+in your left hand, squeeze out a very little, take it off the
+tube with one of the peas and push the pea, paste side
+down, onto the paper where it belongs.</p>
+
+<p>When the peas are all placed on the curves open two<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+pea-pods as you did for the greenies' tent, slide one pod
+between the two halves of the other, and with a little paste
+on the stem ends and the tips, fasten them in the middle
+above the curves of peas as they are shown in <a href="#Fig_182">Fig. 182</a>.
+The two halves of each pod are not opened wide but are
+like <a href="#Fig_183">Fig. 183</a>. Above the pods, on the straight, upright
+line, place four more peas, beginning at the bottom with
+a large pea and ending with one much smaller.</p>
+
+<p>The success of this design will depend upon making one
+side just like the other and in keeping it equally balanced.
+That is, one side must not sag down below the other and
+the pods at the top must fit exactly on the line, half on
+one side, half on the other.</p>
+
+<p>The peas, you see, do not touch each other, but are
+separated by little spaces, and the spaces are all of the same
+length.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXV<br />
+<small>CORN-HUSKS AND CORN-COBS</small></h2>
+
+
+<h3>How to Make American History Seem Real&mdash;Our First
+Thanksgiving</h3>
+
+<p><span class="smcap">Let</span> us play that we are really celebrating America's
+first Thanksgiving!</p>
+
+<p>You can see one of our long, rude puncheon tables spread
+out in the mild, sweet air of Indian summer, laden with
+delectable dishes of clam chowder, oysters, fish, turkey,
+duck, goose, venison pasties, turnips, dumplings of barley
+flour, corn bread, wheat cakes, pumpkin pies, grapes, plums,
+great flagons of cider, and "all manner of tasty eats."</p>
+
+<p>William Bradford, our good governor, with his old flintlock
+in hand, is just returning from a successful hunt for
+additional wild turkey. We shall need these, as ninety
+friendly Indians are to be our guests for three days and
+nights. Later they, too, will hunt and bring us wild deer.</p>
+
+<p>Elder Brewster, in his festive doublet and hose, has
+stopped a moment to speak to Master Bradford. Sitting
+at table, you can see Captain Miles Standish with arms
+outstretched in glad welcome as he calls more Indians to
+join the feast, while Massasoit, the mighty chief, stands
+at the table signalling with his arrow for the braves to approach.</p>
+
+<p>Already Quadquina and Hobomok are at the festive
+board, seated between Captain Miles Standish and John
+Alden. Squanto, who tells the boys how to trap game and
+teaches settlers how to plant corn, is resting on the ground
+with his feather-bedecked shield in one hand, and the
+calumet, or pipe of peace, in the other.</p>
+
+<p><span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_159.jpg" width="600" height="420" alt="photograph" />
+<div class="caption">The First American Thanksgiving Dinner in the year 1621.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
+
+<p>Now winsome Priscilla Alden comes, bearing on a pewter
+platter one of her savory hot baked turkeys, and her friend,
+Mary Chilton, is watching the delicious stew which simmers
+in the big iron pot over the outdoor fire.</p>
+
+<div class="figcenter" style="width: 480px;">
+<a id="Fig_184"></a>
+<img src="images/i_160a.png" width="480" height="153" alt="drawings" />
+<div class="caption">Fig.184 - Begin to make the pioneer in this way.</div>
+</div>
+<div class="figright" style="width: 184px;">
+<a id="Fig_185"></a>
+<img src="images/i_160b.png" width="184" height="242" alt="drawings" />
+<div class="caption">Fig.185 - Fold the husks
+across the centre.</div>
+</div>
+<p>Mistress Brewster, on her way to cut pumpkin pie, must
+needs stay her steps a moment to give ear to Governor
+Bradford's remarks, and Desire Minter is hurrying forward,
+ahead of the other young women, to serve the men at the
+feast.</p>
+
+<p>All this would be told you by one of the little corn-husk
+pioneers shown in the photograph if
+only they could speak.</p>
+
+
+
+<p>At all events, they can stand alone.
+They can be made to sit down, too,
+and their arms can be bent in any
+position. You may lift and place
+them in various parts of the grounds
+at pleasure. You might even imagine
+them to be the real characters
+they represent, and so live over again
+that Thanksgiving of 1621.</p>
+
+<p>The making of these little people
+is most interesting. Use the rather
+soft between-layers of corn-husks; about two husks for
+each pioneer.   If the husks seem brittle, soak them in<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+water and make them pliable. Lay one husk partially
+over the top of the other (<a href="#Fig_184">Fig. 184</a>), bend them across
+the centre (<a href="#Fig_185">Fig. 185</a>), and let the smoothest side be the
+front of the doll. Fold each side of the front to the back
+until the front somewhat resembles <a href="#Fig_186">Fig. 186</a>; then wind
+slender, soft string around to form the neck and head of
+the doll. Wind another soft string around lower down
+for the belt-line (<a href="#Fig_187">Fig. 187</a>).</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 159px;">
+<a id="Fig_186"></a>
+<img src="images/i_161a.png" width="159" height="435" alt="drawings" />
+<div class="caption">Fig.186 - The head and
+neck are made.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 194px;">
+<a id="Fig_187"></a>
+<img src="images/i_161b.png" width="194" height="412" alt="drawings" />
+<div class="caption">Fig.187 - Wind the waist
+with string.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+<div class="figcenter" style="width: 448px;">
+<a id="Fig_188"></a>
+<img src="images/i_161c.png" width="448" height="52" alt="drawings" />
+<div class="caption">Fig.188 - Arms for the pioneer.</div>
+</div>
+
+<p>Make the arms of soft corn-husk (<a href="#Fig_188">Fig. 188</a>) by turning
+the lengthwise edges of the husk inward again and again,
+until the roll is of the desired size. Cut off the ends evenly<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
+and wind the arms with string at the centre and near each
+end.</p>
+
+<p>Run the small blade of a penknife through the shoulders
+of the doll from side to side. Turn the blade flat side uppermost
+and allow it to remain in this position while you
+slide in the arms and screw them through the opening,
+pushing them along on top of the flat side of the blade.
+When in place, withdraw the knife and your little woman
+will be ready for her costume.</p>
+
+<div class="figcenter" style="width: 405px;">
+<a id="Fig_189"></a>
+<img src="images/i_162.png" width="405" height="434" alt="drawings" />
+<div class="caption">Fig.189 - The pioneer is ready for his costume.</div>
+</div>
+
+<p>To make the man, cut <a href="#Fig_187">Fig. 187</a> up from the bottom to
+within a short distance of the belt, thus dividing the husk
+skirts into two equal parts. Wind each half with string
+at the top, middle, and near the end to form the legs (<a href="#Fig_189">Fig.
+189</a>).</p>
+
+<p>Use black tissue-paper for the loose knee-trousers. Cut</p>
+
+<p><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p>
+
+<div class="figcenter" style="width: 401px;">
+<a id="Fig_190"></a>
+<img src="images/i_163a.png" width="401" height="437" alt="drawings" />
+<div class="caption">Fig.190 - First leg of the trousers.</div>
+</div>
+
+<div class="figcenter" style="width: 410px;"><a id="Fig_191"></a>
+<img src="images/i_163b.png" width="410" height="440" alt="drawing" />
+<div class="caption">Fig.191 - The trousers are pushed into shape
+and coat is ready for its belt.</div>
+</div><p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+two strips of the paper, fit one strip over a leg (<a href="#Fig_190">Fig. 190</a>),
+push the paper up on the inside until it resembles <a href="#Fig_191">Fig. 191</a>,
+then fasten in place with strong paste.   Make the other
+trouser leg in the same way
+(<a href="#Fig_191">Fig. 191</a>).</p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 261px;">
+<a id="Fig_192"></a>
+<img src="images/i_164a.png" width="261" height="100" alt="drawing" />
+<div class="caption">Fig.192 - Pattern of pioneer's
+collar.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 114px;">
+<a id="Fig_193"></a>
+<img src="images/i_164b.png" width="114" height="106" alt="drawings" />
+<div class="caption">Fig.193 - Make the hair of
+paper fringe.</div>
+</div>
+</td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 236px;">
+<a id="Fig_194"></a>
+<img src="images/i_164c.png" width="236" height="239" alt="drawings" />
+<div class="caption">Fig.194 - Crown of pioneer
+hat.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 119px;">
+<a id="Fig_195"></a>
+<img src="images/i_164d.png" width="119" height="149" alt="drawings" />
+<div class="caption">Fig.195 - Glue the hat
+crown on the man's
+head.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+
+<div class="figright" style="width: 259px;">
+<a id="Fig_196"></a>
+<img src="images/i_164e.png" width="259" height="256" alt="drawings" />
+<div class="caption">Fig.196 - How to slash the
+hat brim.</div>
+</div>
+
+<p>Cut the coat from a folded
+piece of dull-green tissue-paper,
+and just at the neck
+make a hole large enough for
+the man's head to slip through
+(<a href="#Fig_191">Fig. 191</a>). Paste the front
+edges of the sleeves over the back edges and lay the front
+edges of the coat over those of the back. Fit the coat in at
+the belt-line with your fingers. Cut a black belt of tissue-paper,
+fold it lengthwise, and belt in the fulness of the coat,
+then paste the belt ends together.   Be careful to make<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
+the belt loose, for men's waists are large. Make the collar
+(<a href="#Fig_192">Fig. 192</a>) of white paper and fasten it around the man's
+neck with a drop of paste in front.</p>
+
+<p>From black, brown, or drab-yellow tissue-paper cut a
+strip of fine fringe and paste it on the man's head for hair
+(<a href="#Fig_193">Fig. 193</a>). Then
+make his hat. To
+do this, roll a small
+square of stiff black
+paper into a cornucopia
+to fit the man's
+head, paste the edges
+together, and trim off
+the corner which
+hangs down at the
+bottom (<a href="#Fig_194">Fig. 194</a>).
+Glue the hat-crown
+on the man's head,
+cut off the sharp top
+peak, and tilt the
+crown back a little
+(<a href="#Fig_195">Fig. 195</a>).</p>
+
+<p>Now cut a disk of
+the black paper for
+the hat-brim, slash it
+across the centre into
+four points (<a href="#Fig_196">Fig. 196</a>),
+but only just far enough to make the opening fit over the
+hat-crown. Slide the brim on the crown, allowing the
+slashed central points to lie up against it, and fasten them
+there with paste (<a href="#Fig_197">Fig. 197</a>). Glue the pioneer's feet into
+holes cut part-way through a small piece of the corrugated
+flat pasteboard used for packing purposes. In this
+way the little man becomes independent and able to stand
+alone (<a href="#Fig_197">Fig. 197</a>).</p>
+
+<div class="figleft" style="width: 363px;">
+<a id="Fig_197"></a>
+<img src="images/i_165.png" width="363" height="499" alt="drawings" />
+<div class="caption">Fig.197 - The pioneer is fully dressed and
+wearing his hat.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p>
+
+<p>The corn-husk women also wear tissue-paper clothes.
+The waists are made in the same manner as the men's
+coats, only shorter and confined at the belt-line with paste.
+Straight dress skirts are slipped over the waists, and held
+in place at the belt by winding string around the pinched-up
+gathers. Long, severely plain white aprons, minus
+strings, are pasted to the waist-line, and white-bordered
+black caps and large white three-cornered neckerchiefs
+complete the costume.</p>
+
+<p>The cap is a straight piece of black tissue-paper with a
+narrow strip of white folded over the front edge. When
+ready, the white-bordered black strip is laid over the head,
+smoothly brought down on the sides, puckered together
+at the back and tied around the neck with a string. You
+have only to clip loose the outside layer of white close to
+the string at the neck-line to give the flare to the cap's white
+border.</p>
+
+<p>The crisp dress skirt forms sufficient support to enable
+the little women to stand alone.</p>
+
+<p>With the exception of Squanto, whose manly chest,
+back, and arms have no covering, the Indians wear suits
+of tan tissue-paper made on the same principle as the white
+men's costume, only the trouser-legs are narrow, long, and
+have the seam cut in fringe and run up on the outside. The
+bottom edge of the coat and the sleeve seams are also
+fringed. The coat is not wide and no belt is worn.</p>
+
+<p>Pieces of colored tissue-paper adjusted blanket fashion
+over the Indians, and fastened here and there with bits
+of paste to hold them in place, form the Indian blankets.</p>
+
+<p>The Indians' hair is merely a strip of black tissue-paper
+pasted over the top, back, and sides of the head with the
+ends loosely twisted and allowed to hang down in front on
+either side.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_167.jpg" width="600" height="350" alt="photograph" />
+<div class="caption">Governor Bradford, Priscilla, Chief Massasoit and Elder Brewster. Made of corn-husks.</div>
+</div>
+
+<p>The war-bonnet is cut from a strip of white writing-paper,
+the tips of the feathers are inked, and one end of<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a><br /><a name="Page_158" id="Page_158">[158]</a></span>
+the strip is then pasted around Massasoit's head, as shown
+in the picture.</p>
+
+<p>It is best to make a number of corn-husk people at one
+time. Put the two husks together for each pioneer and
+Indian, then wind a string around the neck of each to form
+the head (<a href="#Fig_186">Fig. 186</a>). Again tie a string around each at the
+belt-line (<a href="#Fig_187">Fig. 187</a>). Continue making the people in this
+way, step by step, until all are finished at the same time.
+Have ready as many arms as you have people, and run the
+arms through each, one after another.</p>
+
+<p>When bending the arms or legs of the little people do
+it slowly and gently. If they are inclined to spring back,
+tie them in position overnight and they will stay bent.</p>
+
+<p>When dressing the dolls, cut out all the men's collars
+at one time. You can do this by cutting through as many
+layers of paper as there are men. Adopt the same plan
+with the other parts of clothing for the men, women, and
+Indians, and your work will be rapid.</p>
+
+<p>With ink draw features on all. The women must have
+ink hair, parted in the middle.</p>
+
+<p>Remember when making Miles Standish to cut his hair
+of red paper, for he had auburn hair.</p>
+
+<p>The "sad" colors worn by the pioneers were really the
+cheerful autumn hues, rich, dull reds, greens, browns, and
+yellows. These will give you quite a variety of colors for
+the costumes of both men and women.</p>
+
+<p>Make the puncheon table of a flat, narrow piece of wood.
+With a gimlet bore holes through the board, slanting them
+toward the centre, one hole near each corner. Any kind of
+round sticks will do for the legs. Cut them all of the same
+length and glue one in each hole.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_169.jpg" width="600" height="289" alt="photograph" />
+<div class="caption">Pioneer puncheon table spread for America's First Thanksgiving Dinner.</div>
+</div>
+
+<p>The pewter dishes are made from one of the collapsible
+lead tubes used for oil-paints and various other things.
+Cut open the empty tube and smooth it out flat, then cut
+out round pieces for plates, mould the plates over the tops<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a><br /><a name="Page_160" id="Page_160">[160]</a></span>
+of wooden spools, and the flagons over a pen-handle or
+other round stick. Make the flagon-handles of slender
+strips of the tube bent into rings, and slip one end of the
+strip over the edge of the flagon.</p>
+
+<p>A piece of yellow paper pasted over the cover of a very
+small baking-powder can makes a pumpkin pie. The
+turkey is merely pinched-up paper with brown tissue-paper
+laid smoothly over the breast.   Its wings and legs
+are of bits of lighter-colored paper rolled and bent into
+shape, then pasted on the turkey.</p>
+
+<div class="figcenter" style="width: 560px;">
+<a id="Fig_198"></a>
+<img src="images/i_170.png" width="560" height="96" alt="drawing" />
+<div class="caption">Fig.198 - Corn-cob log for pioneer log cabin with notches
+cut and marked.</div>
+</div>
+
+<p>Fresh, green, uncooked corn-cobs from which the corn
+has been cut and scraped make delightful pioneer log-houses.
+Cooked cobs are too hard to cut. Choose slender
+cobs, long ones for the front and back of the house, shorter
+ones for the sides. Cut a notch, or saw it, if the cobs are
+dry and hard, on the tops of the ends of each of the two
+foundation logs (<a href="#Fig_198">Fig. 198</a>). Cut a notch on both top and
+bottom of each remaining log as indicated by the black
+lines in <a href="#Fig_198">Fig. 198</a>.</p>
+
+<p>Always make a larger notch in the small end of the cob
+than in the large end, so that the large end of another cob
+may fit in it; for, when building, it is necessary to place
+small ends and large ends together, and never two large
+ends or two small ends, or the house will be unevenly balanced.</p>
+
+<p>Lay the two foundation cobs down parallel to each other
+and a short distance apart; then bridge across the ends<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+with shorter cobs, fitting the notches into each other. Continue
+building in this log-cabin fashion until the house is
+of sufficient height.</p>
+
+<p>On the front of the house draw two straight lines down
+across the cobs, one for each side of the doorway. Then
+take your house apart and cut the doorway out from the
+marked cobs. Rebuild the house, gluing layer upon layer.
+Make the doorway jambs of straight pieces of corn-stalk,
+and glue them on each side of the open doorway.</p>
+
+<div class="figright" style="width: 460px;">
+<img src="images/i_171.jpg" width="460" height="412" alt="photograph" />
+<div class="caption">Pioneer log cabin made of corn-cobs.</div>
+</div>
+
+<p>Before the roof can be added, corn-cobs, graduated in<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+length and without notches, must be laid at each end of
+the house to support the roof and give it its gable ends.
+These graduated cobs are the "trap-logs." They rest
+upon long strips of corn-stalk, called "ribs," which are
+placed across from one end of the house to the other.
+Build the roof log-cabin fashion as you built the body of
+the house, laying a rib between the ends of each layer of
+graduated cobs, and as you build, fasten the parts together
+with glue.</p>
+
+<p>Cut enough clapboards of corn-stalk to cover both sides
+of the roof. Make them all of the same length and long
+enough to reach from the top of the roof to a trifle beyond
+its lower edge.</p>
+
+<p>The clapboards must be held down by means of "weight-poles"
+laid across, and to keep the weight-poles from rolling
+off use pegs called "knees."</p>
+
+<p>Make the knee-pegs of corn-stalk. Cut a hole near both
+ends of four of the clapboards and glue in pegs, slanting
+them upward. You will then have two pegged clapboards
+for the front of the roof and two for the back. Place them
+near the ends of the roof and glue all the clapboards in
+place. Cut four slender lengths of corn-stalk for weight-poles,
+and lay them across the roof, resting against the
+knee-pegs. Glue them to the roof only where they buck
+the knee-pegs. When finished, set the house aside until
+the glue is entirely dry. It may then be moved.</p>
+
+<p>Corn-tassels standing in empty spools make fine trees.</p>
+
+<p>It is fitting that the story of our country's first Thanksgiving
+should be retold this year by means of corn. You
+remember, of course, that friendly Indians showed the
+pioneers how to plant and cultivate corn, which, to them,
+was a new grain. Later, when a wonderful harvest had
+been gathered, our forefathers decided to set aside a day
+to thank God for His goodness. That was the first Thanksgiving.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p>
+
+
+
+
+<h2>PART VII<br />
+<small>FRUIT</small></h2>
+
+
+
+<hr class="chap" />
+<h2>CHAPTER XXVI<br />
+<small>THE FUNNY ORANGE HEAD</small></h2>
+
+
+<p><span class="smcap">You</span> will hardly believe it is only an ordinary, everyday
+orange when you have made it into the head that I
+am going to tell you about.</p>
+
+<p>Select a small, firm, perfect orange and with a pencil
+mark features on it, first the eyes like <a href="#Fig_199">Fig. 199</a>. Carefully
+cut out the little spaces of skin between the lines,
+then mark the nose (<a href="#Fig_200">Fig. 200</a>); cut this and mark the mouth
+(<a href="#Fig_201">Fig. 201</a>); cut this and at each side of the head draw the
+ears like <a href="#Fig_202">Fig. 202</a>. You will see that the line of the ear
+does not continue all the way around; that means that
+you are simply to run your knife along the line, cutting
+through the skin so that the ears may be lifted up and
+peeled forward to stand out from the head; the front part
+remains attached (<a href="#Fig_203">Fig. 203</a>).</p>
+
+<p>Make the neck of a slender, strong, round stick sharpened
+to a point at one end. Push the point up into the
+under part of the orange, where the neck should be, by
+twisting the stick around as it goes in (<a href="#Fig_204">Fig. 204</a>).</p>
+
+<p>The orange is the head, but your hand and fingers are
+to be the body and arms to go with it. Look at <a href="#Fig_204">Fig. 204</a>.
+That will show you how to hold the stick firmly and at
+the same time leave your first finger and thumb free to
+use as arms.</p>
+
+<p><span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span></p>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_199"></a>
+<img src="images/i_174a.png" width="245" height="248" alt="drawings" />
+<div class="caption">Fig.199 - Eyes marked on orange head.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 245px;">
+<a id="Fig_200"></a>
+<img src="images/i_174b.png" width="245" height="261" alt="drawings" />
+<div class="caption">Fig.200 - Eyes cut, nose marked.</div>
+</div></td></tr>
+<tr><td align="left" colspan='2'><div class="figcenter" style="width: 245px;">
+<a id="Fig_202"></a>
+<img src="images/i_174c.png" width="245" height="234" alt="drawings" />
+<div class="caption">Fig.202 - Ear marked, ready to cut and
+peel forward.</div>
+</div></td></tr>
+<tr><td align="left"><div class="figcenter" style="width: 238px;">
+<a id="Fig_201"></a>
+<img src="images/i_174d.png" width="238" height="254" alt="drawings" />
+<div class="caption">Fig.201 - Nose cut, mouth marked.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 266px;"><a id="Fig_203"></a>
+<img src="images/i_174e.png" width="266" height="267" alt="" />
+<div class="caption">Fig.203 - Mouth cut, ears cut and
+peeled forward.</div>
+</div></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p>
+
+<p>Pin a handkerchief, or other soft cloth, around Mr.
+Orange's neck, bring it around to cover your hand and
+then pretend he is talking while you move his arms and
+say as many funny things as you can think of. By moving
+the stick while you hold it in your hand, you can make the
+orange head turn in various ways (<a href="#Fig_205">Figs. 205</a> and <a href="#Fig_206">206</a>), and
+a little paper hat fitted on it will make it still funnier (<a href="#Fig_207">Fig.
+207</a>).</p>
+
+<div class="figcenter" style="width: 479px;">
+<a id="Fig_204"></a>
+<img src="images/i_175.png" width="479" height="575" alt="drawings" />
+<div class="caption">Fig.204 - Hold the orange this way.</div>
+</div>
+
+<p>The orange need not always be a man. You can play
+it is a little girl and make a cunning little wreath of flowers<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+for her small head; or pretend it is a baby and have it
+wear a baby's cap made of paper. If you want to turn it
+into a young lady, pierce the ears and fit in earrings made
+of violets. You do this simply by threading the flower-stems
+through the holes you have pierced, and drawing
+the blossoms up close to them. Then, you can make believe
+the orange is an old man and put a pipe in his mouth.
+Make the pipe of an acorn with a twig for the stem. If
+you want the baby to cry, squeeze the orange a little and
+tears of orange-juice will roll from its eyes and stream
+down its face. Little holes must first be punctured in the
+eyes to let the tears run out.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a id="Fig_205"></a>
+<img src="images/i_176.png" width="361" height="538" alt="drawings" />
+<div class="caption">Fig.205 - "Now I'll tell you a funny story."</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p>
+
+
+<h3>Things You Can Make of Orange-Skins</h3>
+
+<h4>A TOY JAPANESE STOOL</h4>
+
+<p>The soft, golden orange-skin, lined with silvery white,
+is fine material for moulding and making into different
+kinds of things to play with. Bring your orange and we
+will begin by making a toy stool for your doll-house (<a href="#Fig_208">Fig.
+208</a>). It will look very much like the real stools which
+the Japanese make for real people to sit on, though nothing
+is used for it but the orange-skin.</p>
+
+<div class="figcenter" style="width: 346px;">
+<a id="Fig_206"></a>
+<img src="images/i_177.png" width="346" height="551" alt="drawings" />
+<div class="caption">Fig.206 - "Can't remember what I was
+going to say."</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p>
+
+<p>First cut the orange across from side to side, making
+two halves, and after you have taken out the pieces of
+juicy fruit and enjoyed eating them, examine the two pretty
+yellow orange-skin bowls that are left. See how soft and
+pliable they are. Now take one of the bowls and pinch
+the edges of two opposite
+sides toward each other;
+hold them steady while,
+with your other hand, you
+pinch the other two sides
+toward each other. Hold
+all four sides bent inward
+for a moment, then let go
+of them and the sides will
+stay bent while you wind
+string across, first one way
+then the other, between the
+curved stool legs you have
+just made by bending
+the sides of the bowl
+inward.</p>
+
+<div class="figcenter" style="width: 297px;">
+<a id="Fig_207"></a>
+<img src="images/i_178a.png" width="297" height="512" alt="drawings" />
+<div class="caption">Fig.207 - "What a joke."</div>
+</div>
+
+
+
+<p>Set the stool away
+to dry and stiffen into
+shape; then, when it has become hard, take off the string
+and you will have a little Japanese stool quite as strong
+as if made of wood.</p>
+<div class="figcenter" style="width: 336px;"><a id="Fig_208"></a>
+<img src="images/i_178b.png" width="336" height="262" alt="drawing" />
+<div class="caption">Fig.208 - Japanese stool made of half an
+Orange peel.</div>
+</div>
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+
+<h4>A CANDY-BOX</h4>
+
+<p>A candy-box can be made in the same way of the other
+half of the orange-skin, but you must curve the sides in
+only a little for this; not nearly as much as for the stool.
+Stand the candy-box,
+with open part
+up, ready to be
+filled with candy.</p>
+
+
+<h4>A BASKET</h4>
+
+<p>An orange-skin
+basket is a substantial
+little affair
+when finished, and
+will hold almost
+anything you want
+to put in it. It
+looks like <a href="#Fig_209">Fig. 209</a>.
+For this you will
+again need half of
+an orange-skin.
+Bend in two opposite
+sides after first
+cutting a short slit in each side near the edge. Make
+the handle of strong paper, cutting it like <a href="#Fig_210">Fig. 210</a>, with a
+tongue at each end. Bend over the two side points of each
+tongue, and slide one tongue through the slit in one side
+of the basket, the other tongue through the slit in the
+other side, then open out the points again and they will
+make secure fastenings for the handle. You will see from
+the illustration that the tongues are put through the basket
+from the inside and show on the outside.</p>
+
+<p>Before setting away to dry, tie a string around the bent-in
+sides of the basket, and stuff the open part with crushed
+paper to keep it in shape.</p>
+
+<div class="figcenter" style="width: 414px;">
+<a id="Fig_209"></a>
+<img src="images/i_179a.png" width="414" height="321" alt="drawings" />
+<div class="caption">Fig.209 - Half of Orange skin used for
+a basket.</div>
+</div>
+
+<div class="figcenter" style="width: 333px;">
+<a id="Fig_210"></a>
+<img src="images/i_179b.png" width="333" height="56" alt="drawings" />
+<div class="caption">Fig.210 - Make the handle of paper.</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p>
+
+
+<h4>ORANGE-SKIN BOWLS</h4>
+
+<p>When you have another orange save the two halves of
+the skin, pack each full of crumpled, clean, blank paper,
+flatten the bottom of the bowls so that they will stand
+firmly, then set them
+away to dry.</p>
+
+<p>If you do all this
+carefully the bowls will
+harden in good shape
+and you can use them
+to eat and to drink
+from.</p>
+
+<div class="figcenter" style="width: 374px;">
+<a id="Fig_211"></a>
+<img src="images/i_180.png" width="374" height="422" alt="drawings" />
+<div class="caption">Fig.211 - A little summer house made of
+half of an Orange skin.</div>
+</div>
+
+
+<h3>Other Things Made of
+Orange-Skins</h3>
+
+<p>Cunning little toy
+summer-houses may be
+made from an orange-skin
+in a moment's
+time (<a href="#Fig_211">Fig. 211</a>). Take
+half of an orange-skin
+and stick the sharp
+ends of four wooden
+toothpicks into the
+edge of its rim. Place the toothpicks upright, at equal
+distances apart, and they will form the pillars to support
+the golden, dome-shaped roof. Stand the little summer-house
+on the table, and you will think it charming.</p>
+
+<p>By slicing an orange you can have a number of little,
+yellow hoops for your dolls, made of the rind around each
+slice. When the hoops are carefully dried in perfect circles,
+you can roll them on top of a table or on the floor, and
+play the dolls are having great fun racing with their orange-skin
+hoops.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p>
+
+
+
+
+<h2>CHAPTER XXVII<br />
+<small>APPLES AND APPLE FUN</small></h2>
+
+
+<p><span class="smcap">When</span> the apple-trees are in bloom, stand under one
+and look up through the wonderful tent of flowers at the
+little bits of blue sky peeping down at you between the
+blossoms. Isn't it delightful to see so many, many apple-blossoms
+all at once? How beautiful they are and how
+sweet they smell!</p>
+
+<p>Now, pick one little blossom and examine it carefully.
+Count the pretty pink-and-white petals. Five petals?
+Yes. Look again, see how they grow from the centre and
+notice their shape. Be very particular, so that you will
+remember exactly how the blossom looks; make sure you
+know, for I am going to tell you about the flower you can
+find inside the big, ripe apple after all the other apple-blossoms
+are gone.</p>
+
+
+<h3>Apple-Blossom in Apple</h3>
+
+<p>Cut the apple into thin slices from side to side through
+the core. Take one of the slices from near the middle of
+the apple and hold it up to the light, so that the light will
+shine through it, then look carefully and you will see in
+the centre a perfect pattern of the apple-blossom you
+gathered from the tree (<a href="#Fig_212">Fig. 212</a>). Apple-seeds form the
+centre of the flower. The petals, five in number, are of
+the flesh of the fruit. They are of the same shape and
+size as the real blossom.   Isn't it wonderful?</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="drawings">
+<tr><td align="left"><div class="figcenter" style="width: 300px;">
+<a id="Fig_212"></a>
+<img src="images/i_182a.png" width="300" height="296" alt="drawings" />
+<div class="caption">Fig.212 - Apple blossom inside of
+the fruit.</div>
+</div></td><td align="left"><div class="figcenter" style="width: 300px;">
+<a id="Fig_213"></a>
+<img src="images/i_182b.png" width="300" height="299" alt="drawings" />
+<div class="caption">Fig.213 - Design begun on apple slice.</div>
+</div></td></tr>
+<tr><td align="left" colspan='2'><div class="figcenter" style="width: 300px;">
+<a id="Fig_214"></a>
+<img src="images/i_182c.png" width="300" height="294" alt="drawings" />
+<div class="caption">Fig.214 - Design pierced through apple
+slice.</div>
+</div></td></tr>
+</table></div>
+
+
+
+
+
+
+<p>Now, take the seeds from their hard, glossy cases, again
+hold the slice up to the light and lo, in the centre of the<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a><br /><a name="Page_173" id="Page_173">[173]</a></span>
+slice, you will find a five-pointed star which twinkles as the
+light shines through.</p>
+
+<p>You can add to this and make a pretty, shining pattern
+in this way: Take a wooden toothpick, and with its pointed
+end pierce little holes all along the edge of the flower
+pattern; then make a loop of little holes above one of the
+petals (Q, <a href="#Fig_213">Fig. 213</a>), and still another above that one
+(R, <a href="#Fig_213">Fig. 213</a>). Pierce the edges of all the petals and make
+the same kind of double loops above them also, then the
+design will be like <a href="#Fig_214">Fig. 214</a>. Hold it up to the light, turn
+it this way and that and your slice of apple will look as if
+spangled with glittering diamonds. <a href="#Fig_215">Fig. 215</a> shows a wheel
+design which you can make of another slice.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a id="Fig_215"></a>
+<img src="images/i_183.png" width="300" height="300" alt="drawings" />
+<div class="caption">Fig.215 - Another design on apple slice.</div>
+</div>
+
+
+<h3>Apple Candle in its Candlestick</h3>
+
+<div class="figleft" style="width: 376px;">
+<a id="Fig_216"></a>
+<img src="images/i_184a.png" width="376" height="339" alt="drawings" />
+<div class="caption">Fig.216 - Apple candle ready for table.</div>
+</div>
+
+
+
+<p>When I was a little girl I used to make apple candles
+that stood up in their own candlesticks. I always ate the<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
+fresh, juicy slices as I cut them off. <a href="#Fig_216">Fig. 216</a> shows how
+the candles look when finished. The stem is the wick,
+and as it is usually dark at the end, it is a very good imitation
+of a candlewick
+that is partially
+burnt. The
+dotted lines on <a href="#Fig_217">Fig.
+217</a> show how to
+cut away the apple
+to leave the candle
+and its holder.</p>
+
+
+
+<p>First cut off a
+slice at the blossom
+end, so that
+the candle-stick
+will stand without tipping.
+The dotted line
+at the bottom of <a href="#Fig_217">Fig.
+217</a> indicates where
+this cut is to be made.
+Then run your knife
+around the apple without
+cutting all the way
+through to the core,
+where you see the middle
+dotted line on <a href="#Fig_217">Fig.
+217</a>. After that, begin
+at the sides and gradually
+shave down the upper part little by little, being
+careful not to cut below the slit you have made around
+the apple. When the middle part standing up around the<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+core is the size of a real candle it is time to stop cutting.
+Because of the core inside you cannot make your candle
+very slender, but you can
+cut off the sharp edges
+and make it round.</p>
+<div class="figcenter" style="width: 334px;">
+<a id="Fig_217"></a>
+<img src="images/i_184b.png" width="334" height="348" alt="drawings" />
+<div class="caption">Fig.217 - Cut away apple leaving candle
+in candle-stick.</div>
+</div>
+
+<h3>A Roasted Apple</h3>
+
+<p>Another thing I used to
+love to do with my apple
+when I was a little girl
+was to tie a long string
+to the stem and hang it
+before an open fire to
+roast. I think you will
+enjoy it too.</p>
+
+<p>Tie one end of the
+string securely to the
+stem of your apple, and
+don't break the stem off
+in doing it (<a href="#Fig_218">Fig. 218</a>);
+then tie the other end to
+something heavy on the
+mantel-shelf that will
+hold it securely. The apple
+should hang in front
+of a grate of glowing
+coals, or near the red-hot
+coals of a wood-fire.</p>
+
+<div class="figcenter" style="width: 298px;">
+<a id="Fig_218"></a>
+<img src="images/i_185.png" width="298" height="646" alt="drawings" />
+<div class="caption">Fig.218 - Roast your apple this way.</div>
+</div>
+<p>As soon as cooking begins, twist the string and make
+the apple spin round and round so that it may be roasted
+evenly on all sides; it is fun to do that. When the juice
+begins to run and drop from the apple, set a saucer under
+to catch the hot, sweet syrup. It is good poured over the
+apple when that is thoroughly cooked. Add sugar to the
+juice while it is hot if it is not sweet enough.</p>
+
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p>
+
+
+<h3>The Spice Apple</h3>
+
+<p>In New England, many years ago, there was always
+to be found in every household at least one spice apple.
+It sounds good to eat, doesn't it? But they were not made
+for eating, they were used for sweet-smelling ornaments,
+and for keeping away moths and other troublesome insects.
+Perhaps you will like to make a spice apple to give
+away; it will be a pretty and very sweet gift and will last
+for years.</p>
+
+<p>Choose a small, perfectly sound apple and have ready
+a lot of cloves. Stick the cloves into the apple as you would
+stick pins into a cushion, only the cloves must be put in
+very close together, touching each other and making the
+apple look like a large, prickly, brown nut. That is all,
+unless you want to hang the apple up. In that case run
+a wooden toothpick through one raised side at the top,
+across the little hollow where the stem grows, and out
+through the raised side opposite, after first breaking off the
+stem. Cross this toothpick with another pushed through
+the apple and also bridging the hollow. This will make
+a low handle in the form of a cross. At the middle, where
+the toothpicks touch, tie a bright ribbon, leaving a loop
+by which to hang it.</p>
+
+
+<h3>Other Things to Make of an Apple</h3>
+
+<p>When an apple is cut across into round slices, you can
+make a doll's table of the largest slice by using four wooden
+toothpicks for legs, pushing them into the apple at equal
+distances apart. Half of a slice, with halves of toothpicks
+for legs, makes a very suitable seat for this remarkable
+table.</p>
+
+<p>If you cut a thick flat slice from a small apple you can
+make it into a top that will spin by pushing a toothpick<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
+through the centre, leaving a long end on one side and a
+shorter end on the other. The short end is the peg upon
+which the top spins. Take the long, upper end of the
+toothpick between your thumb and first finger, give it
+a hard, quick twist and drop the top on a table having a
+hard, smooth finish, where it will spin merrily. The little
+fruit-top will not spin on a carpet or any rough, uneven
+surface.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a><br /><a name="Page_179" id="Page_179">[179]</a></span></p>
+
+
+<div class='bbox'>
+
+<div class='adtitle2'>THE BEARD BOOKS FOR GIRLS</div>
+
+<div class='adtitle1'>By LINA BEARD and ADELIA B. BEARD</div>
+</div>
+<div class='bbox'>
+<div class='adtitle2'>Handicraft and Recreation<br />
+for Girls</div>
+
+<div class='center'>
+<b>With over 700 illustrations by the Authors<br />
+8vo. &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;    $1.50 net</b><br />
+</div>
+
+<p>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.</p>
+
+<p>"The girl who gets this book will not lack for occupation and
+pleasure."&mdash;<cite>Chicago Evening Post.</cite></p>
+
+
+<div class='adtitle2'>What a Girl Can Make<br />
+and Do</div>
+
+<div class='adtitle4'>New Ideas for Work and Play</div>
+
+<div class='center'>
+<b>With more than 300 illustrations by the Authors<br />
+Square 8vo.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;$1.50 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+
+<p>"It would be a dull girl who could not make herself busy and
+happy following its precepts."&mdash;<cite>Chicago Record-Herald.</cite></p>
+
+<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p>
+
+
+<div class='adtitle2'>The<br />
+American Girl's Handy Book</div>
+
+<div class='adtitle4'>How to Amuse Yourself and Others</div>
+
+<div class='center'>
+<b>With nearly 500 illustrations<br />
+$1.50 net</b><br />
+</div>
+
+<p>The authors tell everything that girls want to know about
+sports, games, winter afternoon and evening amusements
+and work, in a clear, simple, entertaining way.</p>
+
+
+<div class='adtitle2'>Things Worth Doing and<br />
+How to Do Them</div>
+
+<div class='center'>
+<b>With some 600 drawings by the Authors that show exactly<br />
+how they should be done<br />
+$1.50 net</b><br />
+</div>
+
+<p>This book comprises an infinite variety of amusing things
+that are worth doing; for instance: "A Wonderful Circus
+at Home," "How to Weave without a Loom," "How to
+Make Friends with the Stars," "A Living Christmas
+Tree," etc.</p>
+
+
+<div class='adtitle2'>
+Little Folks' Handy Book</div>
+
+<div class='center'>
+<b>With many illustrations</b><br />
+<b>80 cents net</b><br />
+</div>
+
+<p>This book furnishes the means of gratifying the impulse
+toward self-expression that, properly directed, is a great
+factor in a child's development. It opens a large field of
+simple handicrafts for little folk by showing how toys
+can be made from such ordinary things as empty spools,
+clothes-pins, old envelopes, etc.</p>
+</div><div class='bbox'>
+<div class='center'>
+<b>CHARLES SCRIBNER'S SONS</b></div></div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span></p>
+
+
+
+<div class='bbox'>
+<div class='adtitle2'>THE BEARD BOOKS FOR BOYS</div>
+
+<div class='adtitle1'>By DAN C. BEARD</div>
+</div>
+<div class='bbox'>
+<div class='adtitle2'>Shelters, Shacks, and Shanties</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   <b>$1.25 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+<div class='adtitle2'>Boat-Building and Boating</div>
+
+<div class='adtitle4'>A Handy Book for Beginners</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>   &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    <b>$1.00 net</b><br />
+</div>
+
+<p>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.</p>
+
+
+<div class='adtitle2'>The Boy Pioneers</div>
+
+<div class='adtitle4'>Sons of Daniel Boone</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<cite>The Interior.</cite></p>
+
+
+<div class='adtitle2'>The<br />
+Field and Forest Handy Book</div>
+
+<div class='adtitle4'>Or, New Ideas for Out of Doors</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<i>Chicago Record-Herald.</i></p>
+
+<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>
+
+
+<div class='adtitle2'>The Jack of All Trades</div>
+
+<div class='adtitle4'>Or, New Ideas for American Boys</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"Every boy who is handy with tools of any sort will enjoy this
+book."&mdash;<cite>Youth's Companion.</cite></p>
+
+<p>"Full of new ideas for active boys who like to use tools and see interesting
+things growing under their hands."&mdash;<cite>New York Tribune.</cite></p>
+
+<p>"A perfect treasure-house of things that delight the soul of a boy."&mdash;<cite>The Interior.</cite></p>
+
+
+<div class='adtitle2'>The Outdoor Handy Book</div>
+
+<div class='adtitle4'>For Playground, Field and Forest</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  <b>$1.50 net</b><br />
+</div>
+
+<p>"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."&mdash;<cite>New York Tribune.</cite></p>
+
+
+<div class='adtitle2'>The<br />
+American Boys Handy Book</div>
+
+<div class='adtitle4'>Or, What To Do and How To Do It</div>
+
+<div class='center'>
+<b>Illustrated by the Author</b>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    <b>$1.50 net</b><br />
+</div>
+
+<p>"It tells boys how to make all kinds of things&mdash;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."&mdash;<cite>The Indianapolis Journal.</cite></p>
+</div><div class='bbox'>
+<div class='center'>
+<b>CHARLES SCRIBNER'S SONS</b><br />
+</div></div>
+
+
+<hr class="chap" />
+
+<div class='tnote'><div class='center'><b>Transcriber's Notes: </b></div>
+
+<p>Obvious punctuation errors repaired.</p>
+
+<p>Page 109, caption Fig.124, "Burdock-burs" changed to "Burdock-burrs"
+(house of Burdock-burrs)</p>
+
+<p>Page 111, caption Fig.132, "Burdock-burs" changed to "Burdock-burrs"
+(by Burdock-burrs)</p>
+
+<p>Page 114, caption Fig.137, same as above (Burdock-burr target.)</p>
+
+<p>Page 114, caption Fig.138, "bur" changed to "burr" (Hold the burr)</p>
+
+<p>Page 143, caption Fig.177, "ig" changed to "Fig" (Fig.177)</p>
+
+<p>Page 164, caption Fig.203, "pealed" changed to "peeled" (peeled forward)</p>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Mother Nature's Toy-Shop, by 
+Lina Beard and Adelia B. Beard
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
+
+***** This file should be named 44440-h.htm or 44440-h.zip *****
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+</body>
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@@ -0,0 +1,4611 @@
+The Project Gutenberg EBook of Mother Nature's Toy-Shop, by
+Lina Beard and Adelia B. Beard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Mother Nature's Toy-Shop
+
+Author: Lina Beard
+        Adelia B. Beard
+
+Release Date: December 16, 2013 [EBook #44440]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+[=Transcriber's Note:= This book was written in a time in which we
+didn't know what we know now. For example, we now know foxglove to be
+very poisonous and would not suggest children use the blossoms for
+fairy caps. Please use caution if attempting any of these crafts. And
+don't play with foxglove.
+
+As to this text version, italic text is surrounded by _underscores_ and
+bold text by =equal signs=.]
+
+
+
+Mother Nature's Toy-Shop
+
+By
+
+LINA BEARD AND ADELIA B. BEARD
+
+    With Many Illustrations
+    by the Authors
+
+    Charles Scribner's Sons
+    New York        Chicago      Boston
+
+
+
+
+    COPYRIGHT, 1918, BY
+    CHARLES SCRIBNER'S SONS
+
+    SPECIAL NOTICE
+
+    All the material in this book, both text and cuts, is
+    original with the authors and invented by them; and
+    warning is hereby given that the unauthorized printing
+    of any portion of the text and the reproduction of
+    any of the illustrations or diagrams are expressly
+    forbidden.
+
+
+
+
+PRESENTATION
+
+
+MOTHER NATURE is every bit as fond of the little folks in her human
+family as of the grown-ups, and while she prepares untold joys for
+lovers of the outdoors among men and women and larger boys and girls,
+she never forgets the little ones.
+
+For their benefit she keeps an open toy-shop full of marvellous
+playthings, all free to any child who wants them, and instead of the
+children paying her for what they take she pays them for coming to her
+by giving them rosier cheeks, brighter eyes, and stronger bodies. She
+puts more glee into their laughter and greater happiness into their
+trustful little hearts.
+
+As in the large department stores in big cities, the goods in Mother
+Nature's shop are changed for each season of the year; so the little
+shoppers have constant variety and hail every new season with fresh
+delight. This book is written to call attention to the beautiful and
+wonderful things to be found in Mother Nature's toy-shop and to tell
+what to do with them, for one must know how to use the amusing material
+that is furnished.
+
+After really getting into this most enchanting of all toy-shops with
+eyes open to see its wonders, we found that the difficulty to be met
+was not how to write about them, but how to stop writing. The display
+was so varied and so inviting, it seemed that we must tell the children
+about everything we saw, but if we had gone on seeing more and telling
+more there is no saying what size this book would have been.
+
+                                                     LINA BEARD,
+                                             ADELIA BELLE BEARD.
+
+
+
+
+CONTENTS
+
+
+    PART I--WILD FLOWERS
+
+    CHAPTER                                                   PAGE
+        I. DAISIES                                               1
+       II. JACK-IN-THE-PULPIT                                    5
+      III. RED AND WHITE CLOVERS                                 8
+       IV. CLOVER DESIGNS                                       12
+        V. OTHER WILD-FLOWER DESIGNS                            19
+       VI. PUSSY-WILLOWS                                        24
+      VII. ARRANGEMENT OF FLOWERS                               33
+
+
+    PART II--GRASSES
+
+     VIII. FAIRY-TREES MADE OF GRASSES                          40
+       IX. A HOUSE MADE OF GRASS                                45
+        X. GRASS DRESS AND GRASS HEAD-DRESS                     56
+
+
+    PART III--GREEN LEAVES
+
+       XI. OAK-LEAVES                                           61
+      XII. GRAPE-LEAF DRINKING-CUP                              68
+     XIII. GREEN-LEAF DESIGNS                                   71
+
+
+    PART IV--CULTIVATED FLOWERS
+
+      XIV. PHLOX                                                 76
+       XV. CULTIVATED FOXGLOVE                                   81
+      XVI. MISS HOLLYHOCK'S GARDEN-PARTY                         88
+     XVII. DAFFODILS                                             92
+
+
+    PART V--SEED-VESSELS
+
+    XVIII. SEED-VESSEL PLAYTHINGS                                96
+      XIX. BUCKEYE HORSE AND BUCKEYE RIDER                      103
+       XX. BURDOCK-BURRS                                        108
+      XXI. THINGS TO MAKE OF ENGLISH-WALNUT SHELLS              117
+
+
+    PART VI--VEGETABLES
+
+     XXII. THINGS YOU CAN MAKE OF LIMA BEANS                    123
+    XXIII. SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH  130
+     XXIV. GREEN-PEA TOYS AND A GREEN-PEA DESIGN                136
+      XXV. CORN-HUSKS AND CORN-COBS                             148
+
+
+    PART VII--FRUIT
+
+     XXVI. THE FUNNY ORANGE-HEAD                                163
+    XXVII. APPLES AND APPLE FUN                                 171
+
+
+
+
+Mother Nature's Toy-Shop
+
+
+
+
+_PART I_
+
+WILD FLOWERS
+
+
+
+
+CHAPTER I
+
+DAISIES
+
+
+What You Can Do with Them
+
+WILD flowers, like children, are up early. _They_ don't want to lie
+abed after their long winter's sleep; they want to be awake and see
+what is going on in the world. While you think it is still winter there
+is a stirring going on under the blankets of brown earth, and sometimes
+before the snow is off the ground you may find the little things
+working up through the stiff soil and opening their eyes to the gentle
+spring sunshine.
+
+It is remarkable the way the soft, tender sprouts force their way
+through hard ground that we would have to take a knife or trowel to dig
+into. But they do it. Not all at once with a great, blustering rush,
+but gently, steadily, and quietly they push and keep on pushing until
+their heads are above ground; then they begin to grow in good earnest,
+and pretty soon they laugh right out into blossom.
+
+The pleasure these earliest wild flowers give us is in going out to
+look for them and in gathering handfuls to carry home and put into
+little glass bowls to be "Oh'd" over and wondered at, to be admired and
+loved because they are lovely, and because they bring some of the sweet
+outdoors of spring into the furnace-heated house.
+
+They are too delicate and fragile, these anemones, hepaticas, and
+bloodroots, to be handled and played with, but later come the stronger,
+sturdier flowers and with many of these you can do all sorts of
+entertaining things. You don't have to look very far for them either.
+They are in the fields, by the roadsides, and even along the edges of
+the streets of a village or small town. You won't find them in the city.
+
+To begin with, there are the daisies. How white the fields are with
+them! If they are fine, large daisies on tall, strong stems they will
+reach up to your waist--that is, if you are a little girl. If you are
+bigger they will come well above your knees. There are a number of
+things that you can do with them. First, you can make a really beautiful
+
+
+Daisy Crown
+
+for a May queen, or to wear yourself just for the fun of it.
+
+[Illustration: Fig.1 - Begin the wreath in this way.]
+
+[Illustration: Fig.2 - Turn the stem of B under the stem of A.]
+
+Gather a whole lot of daisies with rather long stems. They will stay
+fresh longer if you put them into a pail of cool water and let them
+drink a little before using them; and if they have wilted while you
+carried them, the water will bring them up again as fresh as--why, as
+fresh as a daisy to be sure. This is the way to make the crown. It is a
+new way and a good way.
+
+[Illustration: Fig.3 - Bring B around and in front of it's own upright.]
+
+Take one daisy in your left hand and hold it, not upright but in what
+is called a horizontal position like the one marked A in Fig. 1, then
+with your right hand hold another daisy upright and place its stem in
+front of and across the stem of the first, as you see it in Fig. 1.
+
+[Illustration: Fig.4 - Let the stem of B rest on the stem of A.]
+
+This second daisy we will call B. Now turn the stem of B under the
+stem of A and up at the back as it is in Fig. 2. Bring this same stem,
+B, around and in front of its own upright part like Fig. 3. Turn it
+all the way around the upright part and let the stem of B rest on top
+of the stem of A. Fig. 4 shows this, but in the drawing the stems
+are separated a little so that you may see each one plainly. It is
+something like weaving, you see. And it is weaving of a sort.
+
+[Illustration: Fig.5 - Weave another daisy, C, on the first two stems.]
+
+Across the stems of the daisies A and B, two stems this time, place the
+stem of another daisy that we will call C, and weave it on the first
+two stems exactly as you wove B onto A (Fig. 5). The stem of the fourth
+daisy will have to cross three stems, A, B, and C. The fifth daisy-stem
+will cross four stems, but after that the end of the daisy-stem A will
+probably have been passed and you will be weaving on the others. It
+depends upon the length of the stems how many are woven over; sometimes
+there may be five. It is not well to have more than that number. You
+can cut a stem off when it seems to be going too far around the crown.
+
+[Illustration: Fig.6 - A new way to make a Daisy Wreath.]
+
+Place the daisies close enough together to have their petals touch,
+or even crowd a trifle, because when the crown is curved and the ends
+brought together the flowers will separate and leave wider spaces. When
+you have woven enough daisies to make your crown the proper size to fit
+your head, cut the last stems off about two inches from the last flower
+and, with a strong blade of grass or piece of string, tie them to the
+stem of the daisy A, just back of the flower. Fig. 6 shows what the
+daisy crown looks like when finished.
+
+
+
+
+CHAPTER II
+
+JACK-IN-THE-PULPIT
+
+
+ONE of the earliest wild flowers to show its head above ground is
+Jack-in-the-pulpit. It is an odd plant and what we call the flower is
+not the blossom at all, but a protecting leaf called a spathe which
+surrounds the tiny flowers growing on the club-shaped spike (or spadix)
+standing upright inside.
+
+That is a good thing to know and remember, but what concerns us now is
+that there is a pulpit with its curved sounding-board--or perhaps it is
+a striped awning--overhead, and that in the pulpit is Jack.
+
+He is a cheerful little preacher and his pulpit is somewhat gayer than
+we usually see, but no one ever told Jack that to be good he must be
+solemn and that to preach he must have a pulpit rich and sombre. The
+good God who made him gave him his pretty, striped pulpit with its
+striped awning to shelter it, and Jack goes on preaching his cheerful
+sermons from this as long as he lives. Hear what some one has said of
+him:
+
+    "Jack-in-the-Pulpit preaches to-day,
+     Under the green trees, just over the way;
+     Squirrel and Song-Sparrow high on their perch,
+     Hear the sweet lily-bells ringing to church.
+
+    "Come, hear what his reverence rises to say,
+     In his low, painted pulpit, this calm Sabbath day.
+     Fair is the canopy over him seen
+     Pencilled by Nature's hand, black, brown, and green."
+
+Some people who love the woods and the wild flowers can understand
+Jack's wild-wood language. They will tell you that over and over again
+he is saying: "Come into the clean, shady woods and learn to love
+all the wonderful living, growing things to be found here. Come into
+the green woods and hear what we can tell you of beauty and love and
+kindness; of courage and perseverance and strength, for plants must
+have courage and perseverance as well as strength in order to live."
+
+All the time these plants are working in the ground and above it to
+make their flowers perfect and their seeds fruitful. Sometimes it is
+difficult work, too, if the soil does not give them enough food, or a
+dry summer chokes them with thirst. Sometimes they must struggle hard
+to gain a footing between the rocks where they were told to grow, or to
+keep from being crowded out by stronger, coarser plants that are called
+weeds.
+
+But they keep on trying to do their part and to do it well; they work
+and love, and their children, the blossoms, laugh, laugh, laugh with
+the happiness of it all.
+
+[Illustration: Fig.7 - Cut a hole at the back of the Pulpit.]
+
+Now if Jack seems to you to stand too still in his pulpit while he
+preaches all this, why you can make him move around. He can turn first
+to one side then to the other, and he can lean forward over the front
+with extended arms as some preachers do when they are very much in
+earnest.
+
+For this you will first have to cut a hole at the back of the pulpit
+near the bottom, as is shown in Fig. 7, then, slipping your knife
+inside, cut Jack loose from the flower and drop him out from the top by
+turning the pulpit upside down.
+
+[Illustration: Fig.8 - The Spike.]
+
+Cut off the lower, thin part of the spike to which the arrow points in
+Fig. 8 and, after puncturing a deep hole in the end, push in a very
+slender twig or grass-stem. Fig. 9 shows how this is done. For arms
+that will make Jack seem more like a little man, push a short piece of
+grass-stem through the spike near the top where you see it in Fig. 9.
+Make a hole all the way through the spike with a pin so that the arms
+will slip in easily.
+
+[Illustration: Fig.9 - This is Jack.]
+
+When you are ready for Jack to preach put him in his pulpit, sliding
+the grass-stem through the hole at the back. While you hold the stem of
+the pulpit in one hand take the grass-stem in the other and, by moving
+it up and down, twisting it one way, then the other, and tipping it up,
+you can make him rise up tall and straight, then sink down; you can
+make him turn to the right and to the left and lean forward. That is
+being active enough in such a small pulpit, isn't it?
+
+
+
+
+CHAPTER III
+
+RED AND WHITE CLOVERS
+
+
+BY the roadside, through the meadows, on the farm, at the cottage
+door, and in your own yard those dear, familiar little friends, the
+clover-blossoms, come to greet you. Even in city parks you may find
+them, and always they are ready and glad to help you have a good time.
+Gather a lot of these flowers and sit in the shade under a tree with
+your lap filled with them while I tell you how to make a
+
+
+Clover Wreath
+
+Select some long-stemmed blossoms and leaves, bunch them and bind their
+stems together their full length with strong grass or string. Wind the
+grass around and around the stems, tucking the ends securely in under
+the last wind. You may need several long blades of grass for binding
+one bunch.
+
+In the same way make a second bunch and fit the flowers up close
+against the first bunch of blossoms, with their stems lying along the
+side of the first stems. Do not lap the flowers of one bunch over the
+flowers of another. Fasten the second bunch in place by binding the
+stems to those of the first bunch; then make a third bunch and bind
+it on next to the second bunch. Continue making these clover bunches
+and binding their stems to the stems of those already a part of the
+wreath until the strip is long enough to fit around your head. Try it
+on and, if it is the proper length, join the two ends by binding the
+last stems to the stems of the first bunches. Fig. 10 shows the clover
+wreath complete.
+
+[Illustration: Fig.10 - Wreath of freshly picked Clover.]
+
+You should also have a
+
+
+Clover Bracelet
+
+to wear with the wreath. Make this as you did the wreath but with much
+smaller bunches. Keep binding the bunches together until the strip for
+the bracelet fits your arm (Fig. 11), then join the two ends, and slip
+the pretty thing on your wrist. Of course, you will want
+
+
+Clover Earrings
+
+to match, and those two plump, full, fresh blossoms lying at the top of
+the others on your lap are exactly what you need.
+
+[Illustration: Fig.11 - Clover bracelet.]
+
+[Illustration: Fig.12 - Clover earring.]
+
+[Illustration: Fig.13 - Clover Blossom ring.]
+
+[Illustration: Fig.14 - Clover Blossom pendant on Clover necklace.]
+
+Take one of these clovers and fit it in tight between your cheek and
+the lobe of your ear (Fig. 12). Be careful not to break the long stem,
+for you must bring it up snugly just back of your ear along the line
+where the ear joins your head, and when this is done, bend the end
+of the stem down gently over the top of your ear. The stem will hold
+your earring in place. Make the other earring in the same way. The
+two clover-blossoms used for the earrings should be as much alike as
+possible both in size and shape. They should be matched carefully, as
+pearls and diamonds are matched in a pair of real earrings.
+
+Now for a "solitaire"
+
+
+Clover Ring
+
+Choose the finest clover for the jewel, and hold it against the back of
+your left forefinger while you wrap the stem once around the finger,
+loop it over the blossom and draw the loop tight. Fasten the end by
+tucking it under and over, and again under the stem ring on your
+finger. This clover ring is really very effective, and can be made of
+any colored clover. Fig. 13 gives an idea of how it looks.
+
+
+A Necklace of Clover
+
+will complete your beautiful set of flower jewelry. Make the necklace
+as you made the bracelet and fasten three pendant blossoms at the
+centre, allowing the middle clover to hang down a little below those on
+either side (Fig. 14).
+
+Now you are ready, with the addition of a long, straight twig, at the
+top of which you have fastened a bouquet of clover, to play that you
+are queen of all the clover fairies, and that your clover-tipped twig
+is your magic wand.
+
+
+Other Things of Clover
+
+The running, vinelike clovers are fine to use for climbing-roses
+on outdoor doll-houses. They can also be trained over the doll
+garden-frames and arches.
+
+
+
+
+CHAPTER IV
+
+CLOVER DESIGNS
+
+
+HAVE you ever admired the pretty patterns on wallpaper of flowers and
+green leaves? Have you ever embroidered dainty designs in colors on
+white linen, and do you love it all? If you do, you will like to make
+some designs yourself in a new way, and with real flowers and real
+leaves.
+
+You don't have to know how to draw or to paint in this designing, for
+the flowers are there ready for you to use, more exquisitely drawn and
+colored than the greatest artist could do them. Your part is to group
+and arrange them on a sheet of paper so that they will form beautiful
+designs; designs that will not only delight you, but that may be copied
+in embroidery or in other ways.
+
+Merely to place the flowers on the paper in some sort of a pattern is
+interesting, but the design won't last because the flowers won't stay
+in place. Your sleeve may wipe them all off, or a puff of air blow them
+away, so a method has been invented especially for you that will keep
+them where you want them to stay, and that method is simply to _paste_
+them there.
+
+You can make designs of almost any kind of flowers, the common
+pink-and-white clover that grows underfoot nearly everywhere makes
+a particularly pretty one. This is the long-stemmed, viny kind, and
+its name is alsike clover. Fig. 15 shows what the alsike clover looks
+like, and you will see that its leaves are rather pointed at the tip,
+and shaped more like the leaves of the large red clover than like the
+almost round ones of the little white clover.
+
+[Illustration: Fig.15 - The Alsike Clover. Deep rose color. The way it
+grows.]
+
+[Illustration: Fig.16 - Upright design of Alsike Clover.]
+
+The graceful, upright design (Fig. 16) was made of the alsike clover,
+the blossom of which was a deep-rose color, and the original design
+when finished looked like a piece of embroidery done in silks. It was
+so lovely I wish that it could be given in its natural colors here.
+
+[Illustration: Fig.17 - Parts of upright Clover design.]
+
+Look at Fig. 16 carefully and see that while the sprays of clover
+at the right and left appear to be exactly alike, though turned in
+opposite directions, they are not really so, and the little differences
+help to make the design interesting. They keep it from being what we
+call monotonous. Now look at D, E, and F, Fig. 17. These are tracings
+of the sprays of clover before they were grouped together to form the
+design Fig. 16. The spray on the left, marked D, is just as it grew
+and as it was used in the finished design; but F, on the right, had to
+have the little budded spray added at the place on the stem shown by
+the arrows to make it resemble and balance the other. This bud with its
+leaves was clipped from another clover-vine.
+
+[Illustration: Fig.18 - Running design of Clover.]
+
+The spray in the centre of the design was like E, Fig. 17, and it was
+necessary to give it the extra leaves shown at its right because,
+without them, it was not symmetrical, which means evenly balanced, and
+it would not have looked well in the design.
+
+[Illustration: Fig.19 - Parts of running design.]
+
+When all of the material was collected and ready to be put together,
+the central spray, E, was laid in the middle of a sheet of unruled,
+white paper with the lower end of the stem near the bottom edge, then
+the sprays D and F were placed on the right and left of the centre
+one and tried first in one position, then in another, until it was
+decided that they looked best arranged as in Fig. 16. After that the
+extra leaves for the middle spray, and the bud and its leaves for the
+right-hand spray, were put in place.
+
+[Illustration: Fig.20 - Large Red Clover design.]
+
+It all seemed charmingly satisfactory, so the design was taken apart
+that it might be fastened permanently in place. The middle spray had
+to be adjusted first, and a drop of good library paste was put on the
+under-side of the clover-blossom, a drop on the under part of each
+leaf, and on the under part of the stem at the lower end. Then the
+spray was laid in the middle of the paper just where it was at first,
+and pressed down to make it stick. Paste was put on the under part
+of each of the three leaves to be added and on the under part of their
+stem at the end, and they were pasted down to look as if growing on the
+main stem, opposite the other leaves.
+
+[Illustration: Fig.21 - Design of leaves and buds of Red Clover.]
+
+[Illustration: Fig.22 - Parts of leaf and bud design.]
+
+Next the left-hand spray was pasted in place in the same way, then the
+right-hand spray, to which was given its bud that curves in to almost
+touch the bud on the other spray. Paste was also put half-way down on
+the under part of the long stems of each of the side sprays.
+
+This completed the clover design and it was exceedingly pretty, but
+after it had been sufficiently admired it was placed between papers
+under several heavy books to press, that it might be more durable.
+It was after it had been pressed that it looked like a piece of silk
+embroidery.
+
+Pasted designs can be made without pressing; but while they are more
+beautiful they will not last as long as the others. You can enjoy your
+fresh designs for a while and then press them. Do not make the mistake
+of covering the entire under part of a flower or leaf with paste as if
+it were made of paper; a drop is all that is needed, more will spoil it.
+
+Flowers do not always grow exactly as you want them for your designs,
+but a too straight stem can be coaxed to curve by drawing it between
+your fingers, and leaves and sprays can be cut away or added as has
+been shown. All this changing about only makes it more fun to work out
+the design.
+
+Fig. 18 is a running design of clovers which can be used for a border.
+The little arrows on Fig. 19 show where the different parts are joined.
+
+The large red clover was used for the design Fig. 20 and the leaves
+and buds of the red clover for Fig. 21. Fig. 22 shows how the parts of
+Fig. 21 are put together. These drawings are all original from designs
+actually made of fresh clover-blossoms and their foliage.
+
+
+
+
+CHAPTER V
+
+OTHER WILD-FLOWER DESIGNS
+
+
+Daisy Fleabane Design
+
+ISN'T the design Fig. 23 what grown-ups call Japanesque? Doesn't it
+look as if it had been copied from a printed pattern on a piece of
+Japanese cotton cloth?
+
+[Illustration: Fig.23 - Daisy Fleabane design.]
+
+Well, it was not. It is from a design made especially for you of real
+wild flowers, freshly gathered. The name of the flower is the daisy
+fleabane which grows in almost all open grassy fields where daisies and
+buttercups and clovers are found.
+
+The illustration Fig. 24 shows how the daisy fleabane looks when first
+gathered. Sometimes the blossom is entirely white, sometimes it is
+tinged with purple, and it has a bright-yellow centre. Its petals are
+as fine as a fringe, like those of the asters that blossom in the fall.
+
+In making the design the full-blown flowers were pressed down flat,
+which makes them round like a sunflower, while the buds and partly
+open flowers were left as they naturally grew. The composition, or
+arrangement, of this design is like that used for the upright clover
+design (Fig. 16), that is, it has two tall side sprays and a shorter
+middle spray; but see how very different the two designs are in
+appearance. The clover is all graceful curves, the daisy fleabane is
+stiff and formal with straight lines and angles.
+
+If you use the white flower, make the design on a sheet of tinted
+paper, else the flower will not show. All white flowers should have
+tinted paper for a background.
+
+
+Wild Mustard Design
+
+The small, yellow blossoms of the wild mustard and its compound leaves
+make very dainty designs. Fig. 25 is one of them.
+
+[Illustration: Fig.25 - Wild Mustard design.]
+
+[Illustration: Fig.26 - Wild Mustard.]
+
+[Illustration: Fig.24 - The Daisy Fleabane grows like this.]
+
+From the drawing of the wild mustard (Fig. 26) you will see that the
+flowers do not grow close to the leaves as they are placed in this
+design, but on tall stems which lift them far above the scattered
+leaf-sprays. The design Fig. 25 was made by cutting off a number of
+flower-clusters and leaves, and grouping first one flower-cluster and
+one leaf-spray together, with the ends of their stems touching, then
+another flower-cluster and another leaf-spray. The arrows in Fig. 27
+show where the stems are brought together, and the design Fig. 25 shows
+how the joining of the first two is covered with one of the small
+leaves of the second leaf-spray, and how the joining of the second two
+is hidden under a leaf of the third leaf-spray, and so on.
+
+[Illustration: Fig.27 - Parts of Wild Mustard design.]
+
+There are four flower-clusters and five leaf-sprays in the design. You
+can have as many as you wish but must end them with a leaf-spray.
+
+[Illustration: Fig.28 - Buttercup design.]
+
+
+Buttercups--a Design
+
+Buttercups are so beautifully golden, so glossy and bright, you would
+think they could be made into many nice things, a gold necklace for
+instance. And so they could if they only would not wilt almost as soon
+as they are gathered. To be sure, they will revive and freshen up when
+put in water if they are not too much wilted, but we cannot make them
+into jewelry while their stems are in water.
+
+Still there is something buttercups can be used for, and that is
+designs. Fig. 28 is a drawing from the simplest kind of a buttercup
+design but a pretty one. It shows five wide-open blossoms placed in a
+row at equal distances apart with a little spray of leaves and bud at
+the lower end of each stem. These sprays do not grow as they are in the
+design but are added after the flowers are placed in a row.
+
+As in all other designs, each flower, bud, and stem is touched with
+paste on the under-side to hold it in place on the paper. A design like
+Fig. 28 should be pressed after it is arranged, and it will last a long
+while and keep its bright color. A number of other and very beautiful
+designs can be made of the common wild buttercup.
+
+
+
+
+CHAPTER VI
+
+PUSSY-WILLOWS
+
+
+WE all welcome and love the dear little pussy-willows (Fig. 29) whose
+fur is so soft and silvery. How pretty they look sitting along the
+slender, bare branches of the small American willow-tree which is their
+home. The pussies like to come early to assure us that spring is here.
+They are very tame little kitties, and will allow you to carry them
+away to your school or to your home.
+
+[Illustration: Fig.29 - Pussy-Willows.]
+
+Sometimes pussy-willows turn into little rabbits, squirrels,
+bumblebees, and mice, but they need your help, they cannot make the
+magic change alone. It will be lots of fun helping them if you do it
+this way.
+
+[Illustration: Fig.30 - The Rabbit and the Rabbit's ears, enlarged.]
+
+[Illustration: Fig.31 - The Pussy-Willow Bunnies.]
+
+[Illustration: Fig.32 - Pussy-Willow Squirrel, enlarged.]
+
+[Illustration: Fig.33 - Paper tail, enlarged, for squirrel.]
+
+
+Pussy-Willow Rabbits
+
+Take a small branch of the very largest pussies you can find, have
+ready some scraps of smooth, fresh writing-paper, a piece of cardboard,
+pair of scissors, and some good paste. It only requires long ears
+to change the pussy-willows into bunnies. Cut the ears from your
+writing-paper like the pattern Fig. 30. Put paste on the strip
+between the letters G and H, then take a pussy from the branch and
+stick the paste-covered strip just above the small end of the pussy,
+which will be the bunny's head. The arrow I, Fig. 30, points to the
+place for the ears. When the paste has dried bend the ears up like the
+ears of the rabbits in Fig. 31. Make three or four rabbits to keep each
+other company and paste them in a row on your piece of cardboard.
+
+[Illustration: Fig.34 - The Pussy-Willow Bumble-Bee.]
+
+
+A Pussy-Willow Squirrel
+
+This little gray squirrel (Fig. 32), sitting up in such a lifelike
+pose, must be made of a slightly bent, rather long, slender pussy.
+Pull forward some of the fur near the small end so that it will
+look like the front legs of the squirrel when he holds a nut in his
+hand-like front paws, and push up two tufts on the head for ears. The
+pussy from which Fig. 32 was made already had these tufts for legs and
+ears, and it looked so much like a squirrel one simply had to add the
+tail and let it be a squirrel.
+
+[Illustration: Fig.35 - Parts of bumble-bee.]
+
+[Illustration: Fig.36 - Draw the legs of the bee like this.]
+
+Cut the paper tail like the pattern Fig. 33, fringe it along the edge
+and bend forward the little lap at the bottom which is separated from
+the tail by the dotted line. Curve the tail backward, put paste on top
+of the lap, and stick the lap to the under part of the large end of the
+pussy; then paste the finished squirrel to a piece of pasteboard cut
+round or square as you like best.
+
+
+Pussy-Willow Bumblebee
+
+Mr. Bumblebee (Fig. 34) needs one whole pussy for his body, one-half
+of a pussy for his big, round throat, and a small piece of the pussy
+for his head (Fig. 35). On the piece of cardboard which is to hold the
+bee, draw his legs like Fig. 36, then paste the three parts--body,
+throat, and head--on top of the legs. Fig. 37 shows how it would look
+underneath if you could see through the paper, so you will know exactly
+where to paste first the throat, then the head, and lastly the body.
+The edges of these parts where they join must be pushed close together.
+
+[Illustration: Fig.37 - Paste the three parts of the bee on top of the
+legs.]
+
+[Illustration: Fig.38 - Mr. Bumble-Bee, enlarged, ready for his wings.]
+
+A bumblebee has slightly curved spikes extending from his head which
+are called antennae. Fig. 38 shows you where to draw them. You will also
+see on the same diagram how to widen the six legs, making them thicker
+and more lifelike. Cut paper wings the shape of Fig. 39, making them
+the proper size to fit your bee. Remember that a bumblebee has small,
+short wings compared to the size of its body. Bend the lap at the
+bottom of the wing along the dotted line, and paste the lap of each
+wing onto the sides of Mr. Bumblebee's chest. The wings turn back over
+the laps and hide them. (See Fig. 40). The finished bee is shown in
+Fig. 34.
+
+[Illustration: Fig.39 - Pattern of bumble-bee wing.]
+
+[Illustration: Fig.40 - Showing lap of wing bent back.]
+
+If you cut a leaf out of green paper and put your bumble-bee on that
+instead of on the cardboard, he will look, with his extended wings, as
+if just ready to fly, and will make a fine addition to your collection
+of things made of outdoor material.
+
+[Illustration: Fig.41 - Pussy-Willow Mouse, enlarged.]
+
+
+Pussy-Willow Mouse
+
+Then there is the pussy-willow mouse (Fig. 41). He is a nice little
+gray mouse with a long tail.
+
+Choose a large pussy-willow for this mouse, ruffle the fur up on top of
+the head and it will look like ears. The head is at the small end of
+the pussy. Paste one end of a piece of cotton string under the large
+end of the mouse, and that will be his tail. The string should be white.
+
+[Illustration: Fig.42 - Jumping Pussy-Willow Game-Board.]
+
+Finish by pasting the mouse to a round or square piece of pasteboard.
+
+
+Jumping Pussy-Willows--a Game
+
+This is a good game and it will make you laugh to see the pussies leap
+up in the air, sail along a short distance, and land on a numbered
+square of the game-board.
+
+The board (Fig. 42) should be ten or twelve inches square. Cut it from
+a flat, even box lid or any other pasteboard you happen to have. Draw
+straight lines from top to bottom about one inch apart, then more
+straight lines from side to side one inch apart. This will divide the
+board into squares like a checker-board. Each of these squares must
+be numbered and you can draw or paste them in. Fig. 42 shows how the
+game-board should look.
+
+To play the game, lay the board down on a flat surface, a stone will
+do if you are out-of-doors, or even the ground; and a table, if in the
+house. In front of the board draw a short line for the starting-post.
+The line should be ten or more inches from the board according to the
+distance you can make the pussies jump. Any number of players may join
+in the game and each player should have his own jumping pussy.
+
+[Illustration: Fig.43 - Place your finger on the Pussy-Willow and make
+it jump.]
+
+Fig. 43 shows how to place the pussy under the tip of your right
+forefinger, with the large, blunt end standing a little out beyond the
+finger-tip. When ready to shoot, press down suddenly on the pussy and,
+as your finger slides off the small end, away jumps pussy and lands
+on a square of the game-board. Each player plays in turn, always, of
+course, placing the pussy on the starting-line when shooting. The
+player whose pussy lands on the highest number wins the game. Jumping
+pussy-willow can also be played by dividing the players into two even
+sides; then the side which has the highest score, after the numbers won
+by them have been added up, is the winner.
+
+
+Pussy-Willow Bouquet
+
+A nice, big bunch of pussy-willows makes an attractive bouquet, and a
+very welcome one early in the spring. "The pussies are out!" we hear
+some one say, and then the boys and girls vie with one another in their
+effort to be the first to find and bring home branches of the little
+catkins as proof that spring has come and they were the first to see
+her.
+
+
+
+
+CHAPTER VII
+
+ARRANGEMENT OF FLOWERS
+
+
+THE arrangement of flowers is interesting and means a great deal. It
+means that this chapter will tell you what wild flowers look prettiest
+on the dinner-table and in bowls and vases in other parts of the house;
+what flowers and vines will keep fresh longest, and the kind that do
+not need water but are beautiful when dry. It means that you can learn
+not to force a tightly packed handful of all sorts of flowers into a
+small vase and expect them to look well. Flowers don't like crowding
+and are quite particular about their associates.
+
+If you come in hot and tired after your walk, put the flowers you have
+gathered into a pail of fresh water and let them stay there until you
+have rested and are ready to sort them out and make each kind look its
+very best. All flowers do not appear well in stiff, straight vases; all
+do not look well in bowls. That is the first thing to learn, and the
+next is that while some flowers seem to smile upon and nestle lovingly
+up to some others, there are kinds that they seem to draw away from
+and frown upon. Only a few examples can be given here. If you love the
+flowers you will find out more for yourself.
+
+
+The Wild Morning-Glory
+
+In your walks through the fields and along the country roadsides have
+you ever noticed the wild morning-glory? Of course, you have seen it
+and, perhaps, gathered some blossoms, only to find them in a short time
+wilted in your hand or turned into little, long bags, puckered at the
+top as if drawn up with a string.
+
+[Illustration: Fig.44 - This is the way the Wild Morning Glory looks.]
+
+When I say noticed, I mean have you thought about the flowers while you
+looked at them? Have you noticed their shape and beautiful color, and
+have you seen the great difference between the green leaf of the wild
+morning-glory and that of the cultivated one?
+
+The wild morning-glory leaf (Fig. 44) is more beautiful in shape, the
+vine is more graceful, and the blossom just as lovely as the cultivated
+morning-glory, and all this beauty need not be left behind when you
+gather the wild flowers which are to make the rooms of your home
+charming.
+
+While I write this, July 7, there stands on a table in our living-room
+a tall glass vase, wide at the top and holding plenty of water. It is
+filled with a mass of wild morning-glory-vines, and there are four new,
+entirely open, pink and white blossoms while others are just twisting
+open.
+
+[Illustration: Fig.45 - The Wild Morning Glory blossomed after it was
+gathered.]
+
+Four days ago, when out for a walk in the country, I gathered the vine
+by the roadside where it grew in the company of daisies, buttercups,
+and wild mustard. Lifting themselves up into the light, where the
+warmth of the morning sun could open the buds and where the leaves
+could breathe in the fresh air, some of these trailing vines had wound
+themselves in masses around tall, strong weed-stalks.
+
+I gathered the vines, weed-stalks and all, breaking them off close to
+the ground; and now these stalks hold most of the vines upright in the
+vase, while other sprays droop gracefully over the edge and hang down
+almost to the table-top. Only one or two flowers were in bloom when I
+found the vines, but there were quantities of green buds which I hoped
+would open later, and that is just what they are doing. It is like
+having wild flowers growing in one's window. And as for decoration,
+nothing can be more beautiful (Fig. 45).
+
+Trailing vines always make pretty decorations, and many wild ones keep
+fresh a long while when given plenty of water. Some have flowers, some
+have not, but in any case they are worth gathering when you have large
+vases to fill.
+
+
+The Wild Balsam-Apple
+
+or as some people call it, the wild cucumber, is very decorative.
+That means it has beautiful curves and twists, and its small, white
+flowers, prickly, egg-shaped fruit, and long tendrils twisted spirally,
+like a steel watch-spring let loose, make us love to look at it. The
+leaves are pretty, too, being shaped almost like a five-pointed star.
+Sometimes this vine is cultivated and you will find it trained up on
+strings to shade the porch, or over the kitchen-door of a farmhouse.
+Wherever you find it, it is beautiful. A large jar filled with sprays
+of the wild balsam makes a good centrepiece for the table, or a tall
+vase holding some upright and some drooping sprays looks very pretty
+when placed near a window where the light will fall on it. Do not mix
+other flowers with it, its own blossoms are sufficient.
+
+
+Wild Clematis
+
+The wild clematis is another beautiful vine, and you will find it
+clambering over fences and bushes along the country road. Its masses of
+white flowers fill the air with a sweet, spicy perfume that delights
+you.
+
+You can gather the clematis when it is in blossom, and keep it fresh in
+water for some time if you put it in root ends down. This vine does not
+wilt as you carry it. Later in the season, when the white flowers have
+turned into balls of silvery fringe, the vine is lovely in a different
+way. Then you can gather great armfuls and take it home to hang over
+mirrors or picture-frames, letting it become quite dry. It is best to
+strip the leaves off the sprays at first because they are not beautiful
+when dry. In a day or two after hanging up your clematis the balls of
+fringe will become a mass of soft down which will cling to the vine for
+many weeks. Later, when it becomes dusty, take it down.
+
+
+Bittersweet
+
+Then there is bittersweet, another wild vine that we gather in the
+fall. It covers fences and bushes as the clematis does, but instead
+of turning into fringe balls its small, creamy white flowers become
+bunches of berries.
+
+The berries are yellow at first; when ripe they split open and curl
+back to show the brilliant red seeds inside that look like coral beads.
+
+Gather the bittersweet while the berries are yellow, strip off the
+green leaves, and hang the vine up dry or put it in a large vase
+without water. Then the berries will open and last all winter.
+
+
+Snapdragon and Wild Carrot
+
+Both of these are pretty flowers and worth gathering. The snapdragon
+(perhaps you call it butter-and-eggs) does not mind at all where
+it grows. Field, roadside, or even the village streets may be its
+home, but wherever it lives, it makes the spot shine joyously with
+its stalks of yellow blossoms. Snapdragons combine well with the wild
+carrot, whose other name is Queen Anne's lace, and together they make a
+delicate and beautiful bouquet.
+
+If you have a large glass fish-globe fill it with fresh water, and put
+in the snapdragon and wild carrot in a loose bouquet. Nothing could be
+prettier for the August lunch-table than this.
+
+
+Wild Roses
+
+look best in a low glass bowl, for they have no stems to speak of.
+Short-stemmed flowers do not belong in tall vases. The roses wilt
+quickly out of water and should have plenty of it.
+
+Do not put any other kind of flowers in the bowl; the roses won't
+like it; neither will you when you see how much better they look by
+themselves.
+
+
+Daisies and Buttercups
+
+so friendly in the fields, look pretty when arranged in a deep jar
+together, but I would not mix daisies with any other flowers, unless it
+is the lacy wild carrot. Buttercups look well with the carrot, too, and
+buttercups look pretty mixed with grasses. You see they all know each
+other very well, growing in the fields together.
+
+
+The Wild Flag, or Iris
+
+whose home is along the banks of ponds and small streams, should be
+put into a tall clear glass vase or pitcher, where its stems will show
+through, that it may look its best.
+
+There is the yellow iris, the white and the purple, and they are
+very beautiful when combined but not crowded. Always put some of the
+long-spiked leaves in with the flowers.
+
+
+Clover Bouquets
+
+Clover bouquets make delightful centrepieces for the table. Arranged
+loosely with its own green foliage, the rose-colored clover is
+especially beautiful in a clear, green glass bowl of water. The sprays
+should be brought over the edges of the bowl, and allowed to droop
+down, resting partly on the table.
+
+Yellow clover and its foliage mingled with white clover makes a
+charming combination as a bouquet for almost any occasion. The name of
+the yellow clover is hop-clover. It is not as common as the other kinds.
+
+
+Green Bouquets
+
+When there are no flowers to be had you can have bouquets and
+centrepieces of green leaves, ferns, and vines, and you will be
+surprised to find what pretty ones can be arranged and how much they
+will be admired.
+
+Ferns will wither soon unless taken up with the roots and the soil
+surrounding them; but if they have the roots and soil they will last
+a long while, provided you put them in a bowl or jar and keep them
+_always wet_. That does not mean to water them as you would any other
+growing plant, but to keep them _standing_ in water _all the time_.
+Maidenhair-fern kept in this way makes a delicate and beautiful
+centrepiece for the table.
+
+Sometimes you will find varieties of foliage that are full of color. In
+early summer the young leaves of the scrub-oak are very brilliant in
+reds and yellows, and I have made bouquets of nothing but leaves from
+the rose-bushes. These are often tinged with red and purple. Sprays of
+the barberry-bush with its rows of dangling red berries are pretty in
+a green bowl. Be careful of the thorns when you gather this. Cut the
+stems; do not try to break them.
+
+
+
+
+_PART II_
+
+GRASSES
+
+
+
+
+CHAPTER VIII
+
+FAIRY-TREES MADE OF GRASSES
+
+
+SOME of our grasses appear like very large trees to the little grass
+fairies who, we like to pretend, hide in their midst; while other
+grasses, with their jointed, bamboo-like stems, seem to these tiny
+people to be tall forests of real bamboo.
+
+Why not play that you are a little fairy and live among the grasses?
+But to see the grasses as the fairies see them you must lie down and
+bring your eyes very near the ground; so stretch yourself out flat,
+face down, with your head lower than the grass tops; then look steadily
+ahead through the tall grass stems. What do you see?
+
+The five fairy-trees standing by themselves in Fig. 46 are four
+short-stemmed tops of the Scribner's panic-grass. Fig. 47 shows
+exactly how the grass looks before you pick it, and Fig. 48 gives a
+simple design that you can make by placing the tips of the four grass
+tops together, allowing the stems of two heads to lie in a straight
+horizontal line (that means a line running from left to right), and the
+stems of the other two heads to lie in a straight line vertically (that
+means up and down).
+
+While you are playing with the grasses you can begin to learn something
+about them. The beard-grass, which some people call the little
+blue-stem (Fig. 49), has near relatives named forked beard-grass and
+bushy beard-grass. These are stiff and angular, with bamboo-like stems,
+just the thing for trees in a little Japanese garden which some time
+you will want to make. You may run across them anywhere, for they are
+common in all parts of our country.
+
+[Illustration: Fig.46 - Trees of Scribner's Panic-Grass.]
+
+[Illustration: Fig.47 - Scribner's Panic-Grass as it grows, Panicum
+Scribnerianum.]
+
+Make friends with these and with other grasses. As you find them learn
+their names just as you would learn the names of new playmates. Take
+the grasses home, show them to your father and to your mother; if they
+do not know their names, carry them to school and ask your teacher
+about them. In case she cannot tell you, go to the public library with
+your grasses and persuade the librarian at the desk to help you find
+their pictures and names in some of her books. All grasses have names,
+so [Illustration: Fig.49 - You will run across these anywhere.] keep
+asking and hunting until you know what to call them. When you know
+their names you will be glad to see your friends, the pretty green
+grasses, whenever you find them.
+
+In Chapter XVIII, which tells how to make a burdock-burr house, you
+will find more about grasses.
+
+[Illustration: Fig.48 - Scribner's Panic-Grass. Design made of four
+grass heads.]
+
+
+
+
+CHAPTER IX
+
+A HOUSE MADE OF GRASS
+
+
+REAL people live in grass houses way off in the Philippine Islands.
+That is, their houses are made of bamboo, which is a kind of giant
+grass. It must be a pretty airy, comfortable house in summer, and it is
+always summer in the Philippines, but we never see that kind of houses
+here. One reason is because in most of our country a grass house would
+be very cold in winter, and another reason for not building them is
+because the bamboo grows only in the extreme south, and even down there
+people want more substantial homes.
+
+A prettier playhouse, though, could not be devised, and if you could
+see a Filipino house you would want it immediately, but since you
+cannot have a real one you can have the fun of making a little doll
+Filipino house, and of making it exactly as the little brown Filipino
+men make theirs. Suppose you gather some grass and twigs now, and build
+the little house for your doll.
+
+Some of the queer little people whose home is in the Philippine Islands
+perch their houses like birds' nests up in the trees, but often they
+are built on stilts to lift them high from the ground. Our little house
+(Fig. 50) shall be on stilts. We will make the floor first. If you do
+not understand how to measure by inches, ask an older person to help
+you.
+
+
+The Floor
+
+Find two straight, round sticks, not quite as large round as a
+lead-pencil. The sticks must be cut six and a half inches long, then
+two sticks of the same kind five inches long; after that there must be
+six more sticks five inches long. Split these last six sticks in half
+lengthwise.
+
+The Philippine people do not use nails, or screws, or glue, and not
+even wooden pegs, in building their houses; they bind and tie the parts
+together with rattan, and as we are going to build just as they do we,
+too, will tie the parts of our house together, but will use raffia in
+place of the rattan.
+
+[Illustration: Fig.50 - The little Grass House you can make.]
+
+Hold one of the six-and-a-half-inch sticks (letter J, Fig. 51) upright
+in your hand while you cross it a short distance below the top with a
+five-inch-round stick (letter K, Fig. 51). The distance from the top
+of the upright stick to the crossing and the distance from the short
+end of the other stick to the crossing must be the same.
+
+[Illustration: Fig.51 - Begin binding them together.]
+
+[Illustration: Fig.52 - Carry the raffia over and between the two ends
+of the sticks.]
+
+Begin binding them together as shown in Fig. 51. Then carry the raffia
+(string will do if you cannot get raffia) over and between the two
+ends of the sticks (Fig. 52), and wind it opposite ways several times
+around the sticks, bringing the raffia between as well as over them.
+This will lash them firmly together. Now turn this beginning of your
+floor around so that the short stick will be upright and the long one
+extend from side to side. Do not let the binding loosen; hold it tight
+and cross the long stick with one of the split five-inch sticks (Fig.
+53). Be sure that the flat side of the split stick is next to the
+long stick, and that you leave a slight opening between it and the
+first crosspiece. Pull the raffia tight and bind it over this second
+crosspiece (Fig. 54), then back, crossing it as in Fig. 55.
+
+[Illustration: Fig.53 - Turn the sticks, bringing J in horizontal
+position.]
+
+[Illustration: Fig.54 - Bind raffia over second stick.]
+
+[Illustration: Fig.55 - Then bring raffia across front of second stick.]
+
+Bind on the next split crosspiece in the same way, and go on adding
+crosspieces until they reach almost to the end of the long stick, then
+let the last crosspiece be the second unsplit five-inch stick. When
+all the short crosspieces are properly bound onto the long stick,
+bind the other six-and-a-half-inch long stick under the opposite ends
+of the crosspieces in the same way, and just as carefully (Fig. 56).
+This makes the floor and we must lash it to the stilts, which are four
+upright sticks, each seven and one half inches long. Fit the stilts in
+the outside corners made by the crossing of the end and side sticks of
+the floor, and, holding the floor about four and a half inches above
+the lower ends of the stilts, bind floor and stilts together (Fig. 57).
+Of course you can put the stilts on only one at a time.
+
+
+The Walls
+
+Make the framework for the walls by binding and tying onto the stilts
+near the top two sticks, each six and a half inches long, one stick on
+each side. Across these sticks, from stilt to stilt, at each end, bind
+a five-inch-length stick (Fig. 58).
+
+[Illustration: Fig.56 - Make the floor this way.]
+
+
+The Roof
+
+To support the roof there must be two upright sticks, each seven inches
+long, and these sticks must be bound and tied to the middle of the end
+sticks of the floor and the end sticks of the wall. They are lettered L
+and L in Fig. 59
+
+[Illustration: Fig.57 - Lash the floor to the stilts.]
+
+[Illustration: Fig.58 - Bind on four more poles making framework for
+walls.]
+
+Fig. 60 shows the framework of the house without the bindings, so
+that you may see exactly how the sticks are put together. There is
+a ridge-pole which forms the top ridge of the roof. This must be a
+stick about seven inches long, and it is to be tied to the uprights
+lettered L and L that you have just fastened on the two ends of the
+house. (See Fig. 59, L and L.) Four other sticks, M and M and N and N,
+long enough to reach from the ridge-pole, crossing above it, to the
+side crosspieces of the wall, you must tie to the ridge-pole and the
+side-wall sticks, placing them slanting, as you see them in Fig. 60, at
+each end.
+
+
+The Porch
+
+Like many other people, the Filipino wants a porch to his house.
+Perhaps he sits there to smoke his curious little pipe, which is not
+much larger than the one you make of an acorn. I have never seen him
+on his porch, but I have seen him smoke and afterward tuck his pipe
+away in his long, fuzzy hair, where it remained in safety even while he
+leaped and pranced about in the wild dance he loves so much.
+
+[Illustration: Fig.59 - End poles are added to hold up the roof.]
+
+[Illustration: Fig.60 - This is the way the house is put together.]
+
+But we must not forget the porch. If the Filipino has one to his
+house, we must have a porch to ours. We won't make it separately and
+add it to the part already built, but, as the Filipino does, we will
+use part of the house-floor for the floor of the porch, and let the
+roof cover that as well as the house. To do this we must separate the
+house part from the porch part by putting up two more uprights, one on
+each side, a little way back from the front of the house, and these
+uprights will form the boundary-line. Letters O and P in Fig. 60 are
+these last uprights, the sticks which form them being long enough to
+reach from the wall side-piece to the floor, and extend a little above
+and below where they cross the upper and lower sticks.
+
+[Illustration: Fig.61 - Fresh grass instead of palms over one side
+wall.]
+
+[Illustration: Fig.62 - Strips of wood to bind down the grass on wall.]
+
+
+Thatching
+
+Now we come to the real grass part of the house, for we have had to
+use small sticks for the framework instead of bamboo, and where the
+Filipino uses palm-leaves we will use grass.
+
+Gather some long, coarse, fresh blades of grass for thatching both
+the roof and walls, and begin with the walls. Bunch the grass evenly,
+the stem ends all together, bend the bunch at the centre, then spread
+it out at its centre, and hang it thickly over one side-wall beam,
+which is the upper stick (Fig. 61). Have the stem ends inside the house
+hang down as long as the tip ends on the outside, and let the outside
+ends hang down below the edge of the floor; then take a flat strip of
+wood and place it near the top of the grass-covered wall, bend the
+ends a little and slide them back of the uprights (Fig. 62). Smooth
+the grass down evenly and put in another flat stick, this time at the
+bottom (Fig. 62). If you want the inside of the house as perfect as the
+outside, slide in two other strips on the inside of each wall to hold
+the grass down. Fig. 62 shows the grass partially trimmed off to make
+it even at the bottom.
+
+[Illustration: Fig.63 - Pole rafter being thatched for roof.]
+
+[Illustration: Fig.64 - Shows exactly how the raffia is tied.]
+
+[Illustration: Fig.65 - Hang grass over ridge pole of roof.]
+
+To thatch the roof you will need two more sticks for rafters. Over one
+stick, near the end, tie a bunch of grass into a tassel, using a piece
+of raffia to bind it; hang more grass over the stick or rafter, and tie
+it into another tassel, and with the same piece of raffia tie a third
+tassel (Fig. 63). Fig. 64 shows exactly how the raffia is tied. Make
+the tassels rather thick and put them close together so that there
+will be no space between.
+
+When this rafter (the stick) is covered with thatch lay it across the
+side of the roof half-way between the ridge-pole (top stick on the
+roof) and the stick forming the side wall of the house, and tie the
+ends securely to the slanting sticks of the roof. Thatch another rafter
+and fasten it on the opposite side of the roof, then cover two shorter
+sticks with thatch and tie one across the front, the other across the
+back peak of the roof on a line with the thatched rafters on the sides.
+
+Fasten more thatch at the front and back peak of the roof, tying it
+to the ridge-pole, also to the two slanting sticks. Allow the grass
+to hang down far enough to cover the top of the thatch below it (Fig.
+50). This thatch must entirely fill up the ends of the roof made by the
+peak. Now hang grass over the ridge-pole at the top of the roof as you
+would hang your doll's little sheets on your toy clothes-line (Fig.
+65), and bring the ends down over the thatched rafters on each side of
+the roof. Hold this top thatch in place by laying sticks across the
+grass just below the ridge-pole on each side of the roof. Bind and tie
+these sticks at each end to the framework of the house (Fig. 50).
+
+If grass cannot be had for thatching, soak hay in water to make it
+soften and take the stiffness out, then use that. Raffia dyed green
+might do, or should all else fail, take fine broom-straws softened in
+hot water for the thatch, and use loosely twisted string for binding
+and tying. Of course the string should not be white, but you can dip it
+in coffee and dry it; the color will then be like the color of rattan.
+
+
+The Ladder
+
+The spry little Filipinos use ladders instead of stairs to reach their
+living-room, so we must make a rustic ladder for our house.
+
+Cut two slender sticks about six and one-half inches long for the
+sides; then cut seven or eight short sticks for the crosspieces or
+rungs. The rungs should be one and three-quarter inches long. Bind
+and tie the ends of the rungs to the side sticks (Fig. 66), placing
+them about three-quarters of an inch apart. The ends of the rungs must
+cross the side sticks and extend out about one-quarter of an inch. If
+properly tied, your little ladder will be firm and strong.
+
+[Illustration: Fig.66 - The ladder will be strong and firm.]
+
+Place the ladder one end resting on the ground, the other end on the
+front edge of the porch, then stand off and admire your work. It is
+certainly worth admiring, for the house will be a perfect miniature
+Filipino home, and you may imagine you can see tall cocoanut-palms and
+many other strange and beautiful trees and plants that grow in the hot
+Philippine Islands. You might copy some of these with grasses and small
+flowering wild plants.
+
+If you have a Noah's ark it will be a good idea to select some of
+the animals that live in the Philippines and put them in the little
+rattan and bamboo jungles which you have made of grasses. A piece of
+looking-glass or plain window-glass can represent water not far from
+the house, and here you should have a crocodile sunning himself on the
+bank. Let a wild boar be plunging out of the jungle, and deep in the
+bamboo grove you might hide the tremendously large snake called a boa.
+I don't think there will be a boa in your Noah's ark, but you can make
+one of bread dough, or of clay. With all these dangerous creatures
+prowling round, do you think it strange that the Filipino people put
+their houses on stilts?
+
+If this were a real house in the real Philippines you might see a
+number of natives, wearing little or no clothes, coming toward you
+bringing small snakes which they had caught to sell in the towns for
+rat-catchers. And near the house there would be most wonderful flowers,
+some of them orchids, the flowers that live on air; while all around
+would be strange and rare birds.
+
+At one side of the house, some distance away, there would, perhaps, be
+a wet rice-field where the queer water-buffalo, called a carabao, would
+be drawing a strange-looking plough, the driver, a little brown man,
+wearing an immense umbrella-like hat woven of palm-leaves.
+
+Listen! Do you hear that deep, booming sound? It comes from the
+peculiar tree which a native is striking with his big club in slow,
+heavy blows on one of its immense, wall-like roots. The sound goes
+rolling far over the land, telephoning to other natives that white
+people are coming.
+
+
+A Doll Filipino Woman
+
+To make the little house seem more real, dress a doll in genuine
+Philippine costume and stand her near the ladder with arms extended as
+if in welcome. The dress must be a white waist with flowing sleeves,
+a light-colored skirt, a large gay handkerchief, called a _panuelo_,
+folded around the doll's neck, and an overskirt made of a square of
+dark cloth drawn tightly around her body from waist to knees. No
+stockings are needed, but you can give her heelless slippers with only
+a narrow strip over the toes to keep them on.
+
+
+
+
+CHAPTER X
+
+GRASS DRESS AND GRASS HEAD-DRESS
+
+
+LOOK at the little girl in the photograph who is wearing her new grass
+dress made of the wavy hair-grass and playing that she is a wood-nymph.
+She feels very proud and is greatly pleased with her pretty costume.
+
+[Illustration: Fig.67 - Bring the long end of string across front of
+second bunch and form loop A.]
+
+[Illustration: Fig.68 - First loop, A, on front of grass and string
+passed around back of grass forming second loop, B.]
+
+[Illustration: Fig.69 - String brought forward again and slipped
+through first loop, A.]
+
+Almost any kind of long, slender grasses can be used for a dress of
+this kind, but you must gather an armful or more. It takes a good deal
+of material, for the fringe must be close and thick. [Illustration:
+She is greatly pleased with her pretty grass costume.]
+
+Divide the grass into bunches, each bunch about as thick as your thumb,
+and have the heads of all the grasses together at one end of the bunch,
+and the stem ends together at the other end.
+
+[Illustration: Fig.70 - Use a strong string for tying the grass fringe.]
+
+Tie a strong string around the stem ends of one bunch. Hold this tied
+bunch under your left arm, stem ends to the front, and take up another
+bunch (Fig. 70). Bring the long end of the string across the front of
+the second bunch and form a loop (A, Fig. 67). Hold the loop while you
+pass the string around the back of the bunch (Fig. 68), then slide the
+end through the loop A, Fig. 69. Draw this loop-fastening very tight
+and it will hold. Now place the second bunch under your arm with the
+first bunch, and make a loop-fastening around the third bunch. Keep
+on adding bunches of grass in this way, always drawing the last bunch
+close to the one before it, and holding them all together under your
+arm as in the photograph (Fig. 70). In this picture the grass bunches
+are purposely left far apart that you may see exactly how to make the
+fringe.
+
+[Illustration: Fig.71 - Bristle-spiked Cyperus grass used for
+head-dress. See photograph.]
+
+The grass dress will be finished when you have made a strip of fringe
+long enough to reach around your waist, for the skirt--it needs no
+waist--is really only a fringe of grasses to be worn over a light
+summer dress.
+
+
+Grass Head-Dress
+
+The grass head-dress to be worn with the wood-nymph skirt is quite as
+wild-looking, but is simply a band of grasses, with bunches of the
+bristle-spiked cyperus grass (Fig. 71) hanging downward on each end.
+The band goes across over the top of the head, and the grass side
+ornaments fall over the ears.
+
+Wear the grass costume and carry a light branch of green leaves in
+each hand when you give your next outdoor fancy dance, or take part in
+outdoor tableaux where you could represent either a wood-nymph or the
+spirit of the grasses.
+
+
+
+
+_PART III_
+
+GREEN LEAVES
+
+
+
+
+CHAPTER XI
+
+OAK-LEAVES
+
+
+TO dress up and pretend is something every little girl, and boy too,
+for that matter, likes to do, and there is no better place for having
+this kind of fun and no greater storehouse for dress-up material than
+the wide, sunny fields and green, shady forest on a summer's day.
+
+[Illustration: Fig.72 - The Robinson Crusoe Hat.]
+
+If you want to be a wood-nymph, a fairy, or a pioneer; if you would
+be a fashionable lady decked in jewels rare, or a rollicking cowboy,
+or Robinson Crusoe, it is all the same to Mother Nature's department
+store. Fields, Woods & Co. can furnish all you need. If the goods are
+not always ready to wear, they are at least ready to be made up into
+what you want.
+
+Why, you can even be a little savage and wear a skirt made of a fringe
+of long grasses, like the wood-nymph's dress, and bracelets of slender,
+golden-brown rootlets, if that pleases you; all the materials are ready
+to your hand. And you can make a
+
+
+Robinson Crusoe Hat
+
+of the large leaves of the scrub-oak--a pretty and becoming hat and
+one that will keep your head cool though you walk under the hottest of
+noonday suns.
+
+The photograph given here shows one little girl who likes immensely to
+wear her Crusoe hat, and Fig. 72 shows just how the hat looks when not
+on her head.
+
+It won't take more than five minutes to make the hat, but first you
+must gather the leaves. Ordinary oak-leaves are too small to use; it is
+on the scrub-oak that you will find them large enough. The scrub-oak
+grows low, like a bush, and the leaves will be quite within your reach.
+Like a good shopkeeper, this kind of oak shows his customers leaves of
+various sizes, but it is the very largest that you must take, and only
+the ones that are dark-green in color. The pretty new light-green or
+brownish leaves will soon wilt and curl on the edges, while a hat made
+of the older, tougher ones will last in good condition several days if
+left out in the dew at night or kept damp in the house.
+
+[Illustration: The Robinson Crusoe Hat is pretty and becoming.]
+
+The number of leaves needed depends upon the size of the leaves and the
+size of your head. It is well to have at least a dozen and a half; then
+you can select the best. The largest leaves are not always perfect,
+but unless very much torn or eaten away by insects they will answer.
+To gather all you need you will probably have to visit several of the
+little scrub-oaks.
+
+If you are at home when you make your hat, use broom-straws to pin the
+leaves together; if you are in the woods find some smooth, slender
+twigs, break them in short pieces, and they will take the place of the
+straws.
+
+Begin by pinning two leaves together as they are in Fig. 73. These
+leaves are lettered U and V. You see that U is lapped over V and then
+pinned to it in two places, first near the stem and then through the
+lower side lobe. The next leaf would be letter W, and W would be pinned
+to U just as U is pinned to V. Make the stems meet at the top and keep
+adding leaves, pinning one to another, until the hat is large enough to
+fit your head comfortably, then pin the last leaf to the first.
+
+[Illustration: Fig.73 - Pin the leaves together in this way.]
+
+Do not make the hat too flat; if you find it flattening out, lap the
+leaves over more at the bottom. When finished it should be shaped like
+Fig. 72.
+
+
+Oak-Leaf Mask
+
+Among other frolics in the woods you can have a masquerade--a real
+one, where you wear a mask, and that mask made of one of the largest
+leaves of the scrub-oak. Not even a pair of scissors will be needed to
+make this mask, and it is a funny one too (Fig. 74). See the turned-up
+eyelids and the wide nose tilted at the end.
+
+When you have found a leaf large enough (the one in the drawing was
+nine inches long and seven inches wide) use your thumb-nail to cut out
+the eyes and nose. The outlines at the top of Fig. 74 show how to shape
+them, and the dotted lines show where they are bent up.
+
+[Illustration: Fig.74 - The Oak Leaf Mask.]
+
+There is no mouth, none is needed, for the leaf, below the nose, drops
+down loosely over your mouth like the curtain on a mask one buys at a
+shop. The oak-leaf mask will stay on your face if you wet the under
+parts of each side and stick them to your cheeks.
+
+Another way to make the mask is to turn the leaf around, stem down,
+and then cut the eyes and nose in the wide part, leaving the narrower
+stem end for a long chin. This kind you can hold in front of your face
+by taking the stem in your hand. It requires so short a time to make a
+mask that when one wears out or is lost you can have another to replace
+it in a minute or two.
+
+[Illustration: Fig.75 - The little Oak Leaf Dog.]
+
+[Illustration: Fig.77 - This shows how the dog was made.]
+
+[Illustration: Fig.76 - The leaf the dog was made of.]
+
+
+The Little Oak-Leaf Dog
+
+He has the funny expression of a real dog when he is making up his mind
+what to do next, even if he is only an oak-leaf. It was an ordinary
+leaf four inches long which was, by tearing a little here and bending a
+little there, transformed into his absurd dogship (Fig. 75).
+
+Fig. 76 is the tracing of the leaf actually used for the dog. Fig. 77
+shows the same leaf with its stem nipped off and the other end torn up,
+not very evenly, where the dotted lines are in Fig. 76. This makes the
+little dog's tail. The tear on either side reaches to the mid-rib of
+the leaf, but does not cross it, and the mid-rib being unbroken holds
+the tail out stiff and straight.
+
+The two hind legs are bent down just where the tear ends in making
+the tail. The dotted line in Fig. 77 shows this. The other two legs,
+formed by the side lobes of the leaf, are bent down as the dotted lines
+indicate. The tip of the lobe on the left side had to be torn off
+because that leg was longer than the opposite one.
+
+In making the neck the narrow part of the leaf was bent up and then
+down, the two dotted lines show where. Then the ears were bent up and
+the little oak-leaf dog was placed standing as you see him in Fig. 75,
+to have his picture drawn.
+
+
+
+
+CHAPTER XII
+
+GRAPE-LEAF DRINKING-CUP
+
+
+A WILD-GRAPE leaf will do quite as well as a cultivated one for a
+drinking-cup if it is large enough. You want a large leaf, because a
+small one will hold only a sip of water, and when one is really thirsty
+that is certainly not enough.
+
+Whether wild or cultivated, the grape-leaf should be washed in clean
+water to take off dust and any possible insects that may be on it.
+Where there is water to drink there is water for washing the leaf,
+so there can be no difficulty about that, and the large green leaf,
+freshened by the water, looks very cool and inviting.
+
+It is simply a matter of folding, first one way, then the other, that
+turns the grape-leaf into a cup. Fig. 78 is a tracing of the leaf from
+which the cup (Fig. 79) was made. It measured eight inches at its
+widest part, almost seven inches from tip to stem, and the cup held a
+good supply of water.
+
+Begin to fold by bringing the two lower lobes of the leaf together in
+the way shown in Fig. 80. This makes the middle bend that is indicated
+by the dotted line in Fig. 78. Then bring the two lobes around to the
+left, or to the right if that comes easier, hold them close together
+and lap them over the upper lobe on that side. That makes the two side
+bends which join at the middle bend (Fig. 78), and rounds the cup into
+shape.
+
+[Illustration: Fig.78 - The drinking cup was made of a leaf like this.]
+
+[Illustration: Fig.79 - A fine drinking cup made by folding a Grape
+leaf.]
+
+[Illustration: Fig.80 - Bring the two lower lobes of the leaf together.]
+
+The bottom of the cup is pointed, as you see, and, of course, will not
+stand; then, too, the cup falls apart when you loosen your hold, but
+neither of these things are of any consequence, for you can let your
+cup lie flat and fold it again very quickly when it is needed. As
+long as the folds are held tight in your fingers, the cup will keep
+its shape and hold water without leaking a particle. Use the upper, or
+green, side of the leaf for the inside of the cup; the under, or light,
+side is fuzzy and may harbor small insects even after it is washed. Be
+sure you look into the water before drinking it. This should be done no
+matter what you drink from or where you get the water.
+
+
+
+
+CHAPTER XIII
+
+GREEN-LEAF DESIGNS
+
+
+Beech-Leaves
+
+REMARKABLY pretty designs can be made entirely of green leaves; also
+with leaves and their seed-pods, their nuts and berries. You can press
+a design of leaves alone, but one having seed-pods, berries, or nuts
+cannot be pressed. It is fun to make it, even if it cannot be preserved
+by pressing, and you will like to do it.
+
+[Illustration: Fig.81 - Two twigs broken off a Beech Tree made this
+design.]
+
+Fig. 81 is the drawing of a charming design made of two twigs broken
+off a beech-tree. On one twig were two beechnuts in their pretty green,
+spiky outer shells; on the other was just one nut. Each twig had three
+leaves. Nothing was cut off and nothing was added for this design; the
+twigs were used exactly as they came from the tree. The stems were
+simply crossed, with the lower leaf of one twig falling over the stem
+of the other twig, and that finished it. The easiest thing in the world
+to do if you happen to think of it.
+
+
+Violet-Leaves
+
+There is one thing about the green leaves of the violet which makes it
+a joy to use them in a design, and that is, the stems are so pliable,
+so easily bent and curved, you can do almost anything with them.
+
+[Illustration: Fig.82 - Design made of Violet leaves.]
+
+See how the stems add to the beauty of the violet-leaf design Fig. 82.
+
+[Illustration: Fig.83 - The stem curves naturally.]
+
+[Illustration: Fig.84 - Under side of the small leaf in the design.]
+
+The curve of the stem of Fig. 83 is a natural one for it to take, and
+you can probably find a leaf with its stem curved very much like it,
+but it is another thing to come across one of the same size which has a
+stem curved in the opposite direction, and such a stem is necessary for
+a design like Fig. 82.
+
+Very well! Since the stem does not naturally curve the way we want it,
+we will make it do so. All we have to do is to draw it through our
+fingers several times and, by pressure, gently persuade it to turn as
+we wish.
+
+Fig. 84 is the under-side of the small leaf at the bottom of the design
+(Fig. 82), and shows how the stem loop above the leaf was made.
+
+[Illustration: Fig.85 - This is the way the curling Ground-Pine grows.]
+
+First a violet-leaf with stem curved like the one in Fig. 83 was laid
+down on a sheet of paper, then another leaf of the same size, with stem
+_made_ to curve in the opposite direction, was placed beside but not
+touching the first leaf, and with its stem crossing the other stem. The
+two stems meeting at the bottom formed a pear-shaped loop. The small
+leaf, after its stem had been formed into a loop and the end tucked in
+at the back, was fitted on top of the stems of the large leaves, as you
+see it in Fig. 82.
+
+[Illustration: Fig.86 - Beautiful, tiny, green Pine-Tree made of a
+curling branch of the Ground-Pine.]
+
+Violet-leaves are seldom flat; they are apt to curl at the edges; some
+are so curled as to form little cornucopias. Choose the flattest you
+can find for a design like Fig. 82, and paste them to the paper with a
+touch of paste on the under-part of the tip and of the two lobes at the
+bottom of each leaf. Paste the stems down also with a touch of paste
+here and there.
+
+The violet-leaf design can be pressed.
+
+
+Ground-Pine
+
+Deep in the shadowy woods, often where pine-trees are growing, you
+will find the ground-pine. Clinging close to the ground, curling in
+feathery, green clusters on its vine-like root, it runs for yards over
+the surface, while its root, lying along the top, sends down slender
+rootlets into the earth. Push away the dry leaves or pine-needles that
+usually cover the root, and you can pull up long strips and soon gather
+enough to make the prettiest kind of festive decorations.
+
+Festoons of the ground-pine are very pretty on walls, stair-banisters,
+porch-railings, over picture-frames, and hanging from chandeliers, and
+this ready-made evergreen rope is as suitable for outdoor as for indoor
+decoration, as beautiful in summer as in winter.
+
+When you want to "dress-up" in the woods use the ground-pine for
+trimmings. Loop it over your skirt and make a wreath for your
+hair. Last summer at camp we used the ground-pine in this way and
+the little girls, arrayed for a dance, never looked prettier. For
+table decorations at camp and for decorating the tent doorways the
+ground-pine is charming.
+
+Fig. 85 shows how the short, curled clusters grow on the long root, and
+Fig. 86 gives a wee pine-tree made of one cluster picked off the root
+and planted in an outdoor doll's garden.
+
+This is what our American writer and poet, Ralph Waldo Emerson, said of
+the ground-pine:
+
+    "As I spoke, beneath my feet
+     The ground-pine curled its pretty wreath."
+
+
+
+
+_PART IV_
+
+CULTIVATED FLOWERS
+
+
+
+
+CHAPTER XIV
+
+PHLOX
+
+
+Phlox Tower and Phlox Design
+
+IN a great bunch of garden-flowers given me by a friend I found some
+pink-and-white phlox (Fig. 87), and from it I made first a
+
+
+Phlox Tower
+
+As you know, the blossom is trumpet-shaped and flares at the open end
+into five petals. The tube part is long and narrows to a point, so
+it is easy to push one flower into another. That is what you do in
+building the phlox tower. You pull the blossom off its stem and out of
+the little green calyx which holds it, then you push the end of the
+tube part into the round red eye in the centre of another flower as far
+down as it will go. Then you push another blossom into that one and
+build up until your tower is as high as you want it, or as high as it
+will stand without toppling over. A bud stuck in the top flower makes a
+good finish (Fig. 88).
+
+
+Phlox Design
+
+The design Fig. 89 was made by first putting three blossoms together,
+sticking one inside the other as for the tower, to form the long side
+sprays, and afterward arranging three blossoms below the side sprays
+and one above with their stems meeting at the middle, as they are in
+Fig. 89. On each side of the upper flower was placed a sprig of buds;
+then the tube part of a blossom was cut off and the petal part fitted
+in the centre of the design to cover the ends of the other flowers
+where they met.
+
+[Illustration: Fig.87 - Blossoms of the Phlox.]
+
+[Illustration: Fig.88 - Build your Phlox Tower like this.]
+
+The tube parts of three more flowers were cut away, and the petal parts
+arranged in the position shown in Fig. 89. This formed a scattered
+design quite different from any of the others made of flowers.
+
+Touches of paste on the under part held all the flowers in place. The
+phlox design is a good one to preserve by pressing.
+
+
+The Tiger-Lily Leopard
+
+[Illustration: Fig.89 - This phlox design should be pressed.]
+
+From the brilliant-orange tiger-lily, with its dark-brown or black
+spots, we are going to make a--tiger? No, a leopard. Tiger-lilies may
+have spots, but tigers, you know, are striped.
+
+It is really wonderful how much this little animal, made of parts of a
+beautiful flower and broom-straws, looks like the stealthy, prowling,
+wild creature which lives in Africa and Asia. The yellow coat of the
+live leopard is covered with black spots, and so is that of our flower
+leopard. The fierce living animal has a long tail that it moves slowly
+back and forth in anger or when it threatens to attack another animal
+or a man. Our little leopard also has a long tail which, if it does
+not really move, looks as if it were just going to. But while the live
+animal is ferocious and will kill, we can only pretend that of the
+tiger-lily leopard. Though he looks dangerous, he cannot even nibble a
+green leaf.
+
+The illustration of the tiger-lily given here is a drawing of the one
+from which the lily leopard (Fig. 90) was made. You will notice that
+at the right of the flower (Fig. 91) there is the stem and pistil of a
+blossom that has fallen apart.
+
+[Illustration: Fig.90 - The stealthy, prowling Leopard.]
+
+[Illustration: Fig.91 - The leopard is made from a Tiger Lily like
+this.]
+
+When we make the leopard we cut off this lily-stem close to the stalk,
+leaving the pistil attached, to use for the back-bone and tail. Four
+broom-straws, about an inch and a half long and sharpened at one end,
+we use for legs. The pointed ends of two of the legs are pushed into
+the stem at the front, and the other two in part of the pistil at the
+back, as shown in Fig. 92. That makes the skeleton.
+
+[Illustration: Fig.92 - This is the skeleton of the leopard.]
+
+[Illustration: Fig.93 - The leopard's spotted coat.]
+
+Now we have to fit on the skeleton the leopard's spotted coat. After
+pulling the perfect flower apart we select the petal best suited for
+this purpose (Fig. 93), and then take the curl partially out of it by
+pressing it down on the table with our fingers. The tip of the petal
+will have to be cut off because it comes down too far over the tail.
+
+The blunt end of the petal will be the leopard's head, and it can be
+rounded up and moulded with your fingers until it looks like the head
+of the leopard in Fig. 90. Small ears of bits of broom-straw, pointed
+at one end, we must stick in the head where they belong and then, in
+order to make the coat stay in place, we will pin it to the skeleton at
+the neck, in the middle of the back, and again at the tail, with fine
+broom-straws. So we have the little leopard complete.
+
+
+
+
+CHAPTER XV
+
+CULTIVATED FOXGLOVE
+
+
+Fairy-Caps
+
+[=Transcriber's Note:= Foxglove is poisonous. Do not play with
+foxgloves.]
+
+DO you know the cultivated foxglove with its tall spikes of
+thimble-shaped flowers, prettily spotted inside? (Fig. 94.) And do you
+know that these flowers will fit on the ends of your fingers like tall
+caps on the heads of little fairies?
+
+Perhaps there are foxgloves growing in your garden now. If there are,
+pick five blossoms off the stalk, selecting a large one for your thumb
+and a small one for your little finger; the others should be of a size
+in between these two.
+
+Turn these blossoms upside down and they at once become fairy-caps. Fit
+the caps on all five fingers of your left hand. Then on your fingers,
+just below the caps, draw little faces with pen and ink. Now you have
+five living, moving fairies who will do all sorts of things and be very
+spry about it (Fig. 95). They will nod at you joyously, they will bend
+low in solemn salute, and they will put their little heads together to
+plan some piece of mischief.
+
+They can be fairy children at school, if you like, with the short, fat
+thumb fairy for the teacher; and you can make the fairy pupils stand
+close together, shoulder to shoulder, then at a word from the teacher,
+separate and stand alone again.
+
+It will be fun to name the fairies, such names as Pepper-grass,
+Mustard-seed, and Catnip, and with the teacher standing before his
+class, have him call the roll and have each fairy bob his head as he
+answers to his name.
+
+[Illustration: Fig.94 - "Do you know the cultivated Fox Glove?"]
+
+Perhaps you will want the teacher to require each pupil to sing a
+little song or recite a short verse. When a fairy does that, he moves
+forward in front of the others, and stays in that place until he has
+finished. Here is a pretty verse for a flower-capped fairy to recite:
+
+    "I wonder what the Clover thinks,
+     Intimate friend of the Bobolinks,
+     Lover of Daisies, slim and white,
+     Waltzer with Buttercups at night.
+
+           *       *       *       *       *
+
+     Oh, who knows what the Clover thinks?
+     No one! Unless the Bobolinks."
+
+
+Sweet Pea--the Peacock
+
+[Illustration: Fig.95 - Five living Fairies.]
+
+You use a little pretended magic when you turn a sweet-pea blossom into
+a peacock, and that makes it seem more mysterious and more interesting.
+It doesn't take a second but while you are doing it you must repeat
+this transformation rhyme:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock.
+     I turn two down,
+     And you're a peacock."
+
+Pick out a fine, large sweet-pea blossom. It doesn't matter about the
+color. If you have a number to choose from, suit yourself. Hold the
+flower in your left hand by its stem and recite the first two lines:
+
+    "Sweet Pea, Sweet Pea,
+     Your petals unlock."
+
+[Illustration Fig.96: - "Sweet Pea, Sweet Pea, Your petals unlock."]
+
+[Illustration Fig.97: - "I turn two down and you're a Peacock."]
+
+Then as you reach around to the back of the flower with your right hand
+and put your thumb on one curled petal, X, and your first finger on the
+other curled petal, Y (Fig. 96), finish the rhyme:
+
+    "I turn two down,
+     And you're a peacock."
+
+and at the same time turn these petals down as they are in Fig. 97. You
+will see right away that the turned-down petals at the sides are the
+wings, the upright petal at the back is the tail, and the closed middle
+part is the body. The tipped-up point of the body part makes a very
+good head for the little sweet-pea peacock.
+
+[Illustration: Fig.98 - The blossoms of the cultivated Snapdragon are
+large.]
+
+
+Snapdragon--Lady's Head and Lion's Head
+
+The magic that turns a blossom of the large, cultivated snapdragon into
+a little lady's head, upon which rests a dainty, ruffled sunbonnet, or
+into a ferocious-looking lion's head, is the magic of pen and ink, not
+of rhyme.
+
+[Illustration: Fig.99 - The Snapdragon Lady's Head.]
+
+[Illustration: Fig.100 - The Snapdragon Lion's Head.]
+
+The blossoms of the cultivated snapdragon are very much larger than
+those of its wild cousin, called by some people butter-and-eggs, but
+the cultivated flowers grow on a stalk in the same way as the wild
+ones. You would hardly recognize the cultivated flowers as snapdragons
+because of their size and wonderful colors. A sure test is to pinch
+one; if it opens its mouth it is a real snapdragon; if it doesn't it
+is not; but you must know how to pinch it, else it may refuse to snap.
+
+The illustration (Fig. 98) shows a stalk of the cultivated flower, and
+looking at the blossoms in that position you can see neither the lady's
+head nor the lion's, yet they are there.
+
+
+LADY'S HEAD
+
+Pick a blossom off its stalk, leaving the little stem attached, and
+turn it around until you discover the sunbonnet and see that it looks
+like Fig. 99, then with pen and ink draw eyes, nose, and mouth on the
+part under the bonnet that is the face. This part is white, while the
+sunbonnet is sometimes a dainty pink and sometimes a gorgeous scarlet
+or orange, with deeper color on the edges.
+
+
+LION'S HEAD
+
+Turn another blossom upside down and the crown of the bonnet becomes
+the lower jaw and beard of the lion, while the other part is the lion's
+face. On the face you must make two fierce eyes like those in Fig. 100.
+When you take hold of the lion's jaws at the back and pinch them he
+will open his great, wide mouth as if to send out a tremendous roar,
+only to snap it shut again without a sound as you stop pinching. Fig.
+100 shows how to hold the flower to open the lion's mouth.
+
+The pink snapdragon is best to use for the lady's head and the
+orange-colored one for the lion's. If you would rather call it a
+dragon's head, you can, you know, but it looks more like a lion.
+
+
+
+
+CHAPTER XVI
+
+MISS HOLLYHOCK'S GARDEN-PARTY
+
+
+[Illustration: Fig.101 - Miss Hollyhock gives a garden party.]
+
+WHEN Miss Hollyhock gives a garden-party the scene is a gay one.
+All the ladies, and you can have as many as you want, are in their
+freshest, crispest summer gowns. There are dainty pink ones, white,
+rose-colored, and deep red; there are light yellow and orange; there
+are gowns almost brown and others almost black, but whatever the color
+of the skirt the waist is always green. Green waists are the style
+where Miss Hollyhock lives, and she and all her friends follow the
+style very closely.
+
+[Illustration: Fig.102 - Cut the Pistil out of the flowers.]
+
+The hats these little ladies wear to the party are of the same silky
+material as their skirts and are usually of the same color, though
+sometimes a lady in white will appear in a pink or yellow hat, or a
+pink lady can be seen wearing a white hat, and the lady in rose knows
+how well she looks in a hat that is almost black. When there are two
+or more gowns of the same color the hollyhock ladies prefer to have
+different colored hats so that they will not all look alike.
+
+Fig. 101 shows how Miss Hollyhock and her friends are made from the
+flowers of that name. When you have gathered the flowers you must cut
+off the stem of each close to the green calyx which is Miss Hollyhock's
+waist, and then cut out the pistil which grows inside the blossom. This
+pistil is shaped something like a little club, and is covered with the
+yellow grains of pollen (ask some one what pollen is). It looks like
+Fig. 102. The pollen will make the flower wilt quickly. That is why it
+is best to take the pistil out.
+
+[Illustration: Fig.103 - This is the way to make Miss Hollyhock.]
+
+Now select a nice, round, hard, green bud for a head and leave its stem
+on for the neck. Turn the sharp point of your scissors around in the
+top of the hollyhock calyx to make a little round hole, then push the
+stem of the bud into the hole, screwing it round and round until the
+bud almost, but not quite, touches the calyx. If you push it all the
+way down your lady will have no neck; her head will grow directly out
+of her shoulders.
+
+[Illustration: Fig.104 - Miss Hollyhock's Tea Table.]
+
+[Illustration: Fig.105 - Teapot and cups for the Hollyhock tea table.]
+
+Wooden toothpicks are used for legs, arms, and support, but strong
+broom-straws will answer as well, or straight, slender twigs. Push
+three toothpicks, twigs, or broom-straws up into the centre of the
+flower, two in front and one at the back as you see them in Fig. 103.
+The dotted lines show where they go inside the blossom. Be sure to have
+all three the same length so that the little lady will stand firmly.
+The arrows on Fig. 103 show where to insert the arms. Cut sharp points
+on the broom-straws to make them slide in easily. Blunt ends will tear
+the flower.
+
+With pen and ink make the eyes, nose, and mouth on the head, and use
+a petal of another hollyhock for a hat. Pin the hat to the top of the
+lady's head with a pin or short broom-straw.
+
+A garden-party would not be complete without
+
+
+A Tea-Table
+
+Make the tea-table of the hollyhock's round cake of unripe seeds which
+most children call a cheese. This is covered with a green case which
+is easily taken off and then you have a round, white disk like a
+little table-top turned up at the edge. Select the largest one you can
+find and push the ends of three toothpicks or broom-straws into the
+under-side for the table legs (Fig. 104). Now the tea-table must have a
+
+
+Teapot and Cups
+
+Find a green bud for a teapot shaped like Z (Fig. 105). Push two short
+straws into the bud in the places shown by the arrows in Z (Fig. 105),
+one for the spout and one for the handle. Cut the tops off smaller buds
+to make them into teacups (A and B, Fig. 105). A drop of paste at the
+bottom of the teapot and the cups will keep them in place on the table.
+
+
+
+
+CHAPTER XVII
+
+DAFFODILS
+
+
+Dancing Flowers and Whirligigs
+
+DAFFODILS, yellow as sunshine, always come with the beautiful
+springtime. The blossoms of the single daffodils, with their tall,
+golden cups resting in the saucers of lighter-colored petals, are
+the daintiest, though both single and double are so like a song of
+cheerfulness it is a joy to have them near. They look as if they wanted
+to dance for sheer happiness and, wonder of wonders, you can actually
+make them dance.
+
+[Illustration: Fig.106 - The Daffodil Dancer.]
+
+[Illustration: Fig.107 - The Daffodil Animal.]
+
+Gather a few of the single daffies, leaving on them the very short
+stems which hold them to the main stalk. These little green stems will
+be the stiff ornaments at the top of the dancers' green caps when you
+turn the flowers upside down, which is right side up for the dancers.
+
+
+Daffodil Dancers
+
+To make a flower stand alone and give it feet to dance on, push three
+wooden toothpicks firmly up under the little yellow skirt into the
+centre of the blossom. It doesn't matter if a flower has three feet;
+like an insect, it may have more than two and it won't stand on two.
+Spread the bottom ends of the toothpicks out a trifle like a tripod to
+make the flower stand steady (Fig. 106).
+
+When you have made several dancers, stand them on a tin tray, and they
+will be a group of "daffy-down-dillies just come to town," arrayed in
+their best gowns and ready to take part in the dance. Tap the tray
+gently from underneath and the dancers will begin to move. Tap a little
+harder and they will begin to dance. Tip the tray slightly forward and
+they will dance toward you; tip it backward and they will dance away
+again.
+
+[Illustration: Fig.108 - Daffodil stalk for you to turn into a
+whirligig.]
+
+[Illustration: Fig.109 - The Whirligig.]
+
+
+A Daffodil Animal
+
+Queer little animals that come only from Daffy land can be made of the
+single daffodil-blossoms. Take one of the flowers and carefully cut
+away the outstanding petals, leaving the perfect, long cup. Hold the
+cup in your left hand with the short, green stem hanging down; the stem
+is the animal's head; then break off about half an inch from the blunt
+ends of four wooden toothpicks and use the longest parts for legs. Push
+the pointed ends of the tooth pick legs up into the under-side of the
+long, slender cup as it is held in your left hand. Keep the legs of an
+even length and the animal will stand firmly. This little fellow, with
+his green head and long green nose, is very comical (Fig. 107). He can
+dance on the tin tray too, and run about when you tip it.
+
+The daffodil toys will keep their color a long while even after the
+blossoms are dry. Do not take off the brown calyx which is lightly
+wrapped around the bottom of each flower. It represents the hair of the
+dancers and the ears of the animal.
+
+
+The Whirligig
+
+You can have some fun with the daffodil stalk, too, after taking off
+the flowers.
+
+Fig. 108 is a daffodil stalk; look at it closely, then look at Fig.
+109. They are really the very same though they appear to be so
+different. One seems to have a blossom at the top, and you know that
+the other has not.
+
+If you want to do the trick and make a stalk blossom, select a stalk
+like Fig. 108, hold the stem closely between your open hands and roll
+it rapidly by first sliding your right hand forward while the left
+slides backward, then the left forward and the right hand back. This
+makes a whirligig of your stalk, and the flower will appear at the top
+as you see it in Fig. 109.
+
+Try making whirligigs of other kinds of stems; of grasses, twigs, and
+leaves.
+
+
+
+
+_PART V_
+
+SEED-VESSELS
+
+
+
+
+CHAPTER XVIII
+
+SEED-VESSEL PLAYTHINGS
+
+
+WHEN the flowers have gone then come the seed-vessels, equally as good
+for playthings but very different.
+
+Of course, you know the rose-haws, the little red and yellow and green
+apples that you find on the rose-bushes in the fall. They are the
+seed-vessels of the rose, and every rose which is allowed to remain on
+the bush until it fades and falls apart leaves a seed-vessel to take
+its place.
+
+[Illustration: Fig.110 - Rose-haw apples for your doll's table.]
+
+[Illustration: Fig.112 - The bronze-green Rose-haw.]
+
+[Illustration: Fig.111: - This necklace is made of Rose-haws and
+Plantain Lily seed pods.]
+
+
+The Doll's Fruit Piece
+
+The rose-haws look very much like little apples. Rosy-cheeked Baldwins,
+yellow harvest-apples, and greenings, and they will make a fine
+fruit-piece for the centre of your doll's table. Pile them up on one
+of the toy dishes and put the smallest of green rose-leaves around the
+edge (Fig. 110).
+
+
+Rose-Haw Necklace
+
+But the rose-haws can be used for something besides toy apples; you can
+pretend they are jewels and string them for a real necklace.
+
+One necklace can be entirely of the haws and another like Fig. 111,
+which is made of bronze-green haws (Fig. 112), and the long, green
+seed-pods of the plantain (Fig. 113). The blossoms of the plantain
+are pale purple or lavender, and hang from the stalk as the seed-pods
+do. They are bell-shaped and about an inch long. The leaf is like a
+lily-leaf.
+
+[Illustration: Fig.113 - The long, green seed pods of the Plantain
+Lily.]
+
+[Illustration: Fig.114 - The seed pod earring.]
+
+As you see, the haws and seed-pods are strung alternately; first a
+haw, then a seed-pod, again a haw and so on. Thread your needle with
+strong thread and be sure the thread is long enough for the necklace.
+Measure it around your neck, letting it droop as much as you wish; then
+allow several inches at each end for tying. If you cannot find the
+large, brownish-green haws use yellow or red ones, but the green haws,
+when strung with the green seed-pods, are more beautiful.
+
+[Illustration: Fig.115 - This necklace is made of Barberries and
+Plantain Lily Stalk.]
+
+[Illustration: Fig.116 - A branch of the Barberry Bush.]
+
+
+Seed-Pod Earrings
+
+To match the necklace, make long, green earrings of the plantain
+seed-pods. Fig. 114 shows a seed-pod earring. You see it is strung on
+a thread and the ends of the thread are then tied to form a loop. The
+loop must be just large enough to fit comfortably over your ear, and
+when you wear the earring, the green jewel will hang down and dangle
+delightfully. The upper end of the seed-pod should almost touch your
+ear.
+
+[Illustration: Fig.117 - Make the earring in this way.]
+
+
+Necklace of Barberries and Plantain-Stalk
+
+Plantain is very useful in making jewelry because you can use the stalk
+as well as the seed-pods.
+
+Fig. 115 is a necklace made of the plantain-stalk cut in short pieces,
+all the same length, and the coral-red berries of the barberry-bush.
+The crooked branches of the barberry-bush grow very close together and
+are covered with thorns which stand out straight and sharp like pins.
+That is why it is so often used for hedges; nothing can get through it
+without being terribly scratched. From the branches the red berries
+hang down like coral drops. Fig. 116 shows the way they grow. To make
+this necklace, string first a piece of the plantain-stalk, pushing the
+needle through lengthwise, then string a barberry and again a piece of
+the green stalk; after that a barberry. Keep on in this way until the
+necklace is as long as you want it.
+
+[Illustration: Fig.118 - Maple seed vessel used as bird wings.]
+
+The berries are exceedingly pretty strung as you see them, hanging down
+in their natural way, and really, you cannot string them any other way.
+The upper part of the berry is the only part through which you can
+pass your needle because of the large, hard seed which fills the space
+below.
+
+
+Plantain-Stalk and Barberry Earrings
+
+How to make the earrings to complete this set of jewelry is shown
+in Fig. 117. First you string a piece of the plantain-stalk, then a
+barberry; then you put your needle back through the stalk and tie the
+thread at the top. After that you make the loop to put over your ear as
+you did in making the seed-pod earring.
+
+
+Birds of Maple-Tree Seed-Vessels
+
+You see it is not only the seed-vessels of flowers that can be turned
+into playthings. The trees also furnish abundant material for toys.
+
+[Illustration: Fig.119 - Maple seed vessel bird.]
+
+Gather the winged seed-vessels that fall from the maple-trees, Fig.
+118 is a maple seed-vessel, and let us sit on the dry, sun-warmed
+grass and turn them into odd little birds like Fig. 119. These birds
+are very near the size of our ruby-throated humming-birds, a trifle
+larger perhaps, but they do not in the least resemble the beautiful,
+jewel-colored, long-beaked wild bird, either in looks or habits.
+However, they are nice, tame, quiet little birds and never object
+to being handled, played with, and placed on any bush or low tree
+where you may happen to want to put them. You cannot say that of the
+humming-bird, can you?
+
+You will need two seed-vessels for each bird. Divide one through the
+centre, separating the two wings, and use one of these wings for the
+body of the bird, as you see in the diagram Fig. 120. Clip off the two
+corners of the square end where the arrows point to shape it like a
+bird's head, then carefully bend up the seed-vessel pair of wings, and
+fit the body down in between them, resting it on the centre part that
+holds the wings together. One or two stitches with needle and thread,
+passed through wings and body, will keep them close and secure.
+
+[Illustration: Fig.120 - Bird's body.]
+
+When your bird is finished (Fig. 119), thread a needle with black
+thread, tie a good-sized knot in the end of the thread, and push the
+needle from underneath up through the back of the bird where it will
+come out between the wings. Draw the knot up close to the body and tie
+the other end of the thread to a low branch of a tree. When you stand
+off a little distance you cannot see the thread and your bird will seem
+to be hovering in mid-air. A gentle breeze will stir the bird and make
+it look as if flying. If there is no breeze, you can blow on it, or fan
+it until the little thing flutters about almost as if alive.
+
+Be careful to string the thread through the bird at a place that will
+make it evenly balanced.
+
+
+
+
+CHAPTER XIX
+
+BUCKEYE HORSE AND BUCKEYE RIDER
+
+
+All children love the clean, glossy, brown horse-chestnuts or buckeyes.
+There are so many buckeye-trees in Ohio that it is called the Buckeye
+State, and many villages of Long Island are full of them. They are
+used for shade-trees and often line the streets, where they send
+down showers of their nuts, pretty but not good to eat. Everywhere
+the children gather basketfuls and take them home to play with, and
+in other Beard books we have told of some things that can be made of
+buckeyes, but the buckeye horse and rider which you see here have just
+arrived.
+
+He is a very remarkable-looking horse with his funny round head and
+stiff legs and tail, though not more remarkable than the little man
+who rides him. Both are made simply of buckeyes and slender twigs. The
+head and body of the horse and of the man are buckeyes. The neck, ears,
+tail, and legs of the horse are smooth, straight twigs; the neck, arms,
+and legs of the man are also twigs.
+
+
+The Buckeye Horse
+
+When you make a horse let the light-colored part of the buckeye be his
+face. This part usually has a dark spot on it which looks like an eye.
+You will see it in Fig. 121. He will have only one eye unless you put
+in another with lead-pencil or pen and ink, but very frequently horses
+are blind in one eye, so it will not matter whether he has two eyes or
+one.
+
+Stick two short pieces of twigs in the head for ears and a longer
+twig for the neck. You will have to sharpen the ends of the twigs
+to a point so that they will go in easily. The neck twig will need
+sharpening at both ends.
+
+Before putting the head on the body of the horse, which should be as
+large a buckeye as you can find, push in four twigs for the legs. The
+front legs must slant forward, the hind legs slant backward. This will
+make him stand firmly. Then choose a slender twig for the tail, and
+split it several times at one end to show that it has hair on it, as
+in Fig. 121. Fasten the tail on and then push in the neck twig. This
+finishes the horse.
+
+[Illustration: Fig.121 - He is a remarkable looking Horse.]
+
+
+The Buckeye Man
+
+For the body of the man who sits astride the horse, choose a buckeye
+which is rather flat on one side. A round buckeye will roll off. Find a
+small buckeye for the man's head and give him a twig neck (Fig. 122).
+Do not make his twig arms stand out straight at his sides; push them in
+slantingly so that he will hold them out in front. Put his twig legs in
+far apart and slant them a little forward.
+
+Now place the man on the horse, and if he does not fit, change the
+position of his legs until he sits securely. Your buckeye man and
+buckeye horse will then look like Fig. 122.
+
+
+Pine-Cones. Pine-Cone Forest
+
+Of course you like to gather the rich-brown pine-cones that lie
+scattered on the ground under the pine-trees; we all do. Collect
+a number of those which have loosened and opened out their little
+leaf-like scales, then stand them up like trees in an open space on the
+ground. They look so much like toy trees we immediately want to play we
+are foresters, way off in the wild western lands, planting forest-trees
+for Uncle Sam.
+
+[Illustration: Fig.122 - The Buckeye Horse and Rider.]
+
+We can make our forest as large as we want it and plant trees every day
+if we like, or we can gather up our nice, clean, dry cones and take
+them into the house to use in some other way. They make nice playthings.
+
+
+A Fruit-and-Vegetable Market
+
+If you find small, short cones, not fully opened out, notice how
+much they look like little pineapples; you must save these for
+our fruit-and-vegetable market, where we sell fat, short acorns
+as hazelnuts, the long acorns as pecans, and the buckeyes, or
+horse-chestnuts, all shiny, dark, and smooth, as eggplants, and
+rose-haws as apples.
+
+There are other things in our store, too. String-beans, which are
+really locust-pods, and heads of white cauliflower made of bunches of
+the wild carrot or Queen Anne's Lace blossoms, tied together so that
+the pretty white flowers of the wide-spreading clusters lie evenly with
+edges touching. A number of these clusters are used for one head of
+cauliflower, and around each head are arranged green leaves with their
+tops cut off just as you see them around the real vegetable.
+
+
+Cone Card-Rack
+
+Save one of your fine, large-sized, wide-open cones and make a
+card-rack of it like the one shown in the photograph Fig. 123.
+
+[Illustration: Fig.123 - Card rack and pin box combined.]
+
+You must have a small, round or square wooden box for the base and glue
+the flat bottom of the cone on the lid. The box can be filled with
+small brass clips for holding sheets of paper together, or with pins,
+and it will then make a fine birthday or Christmas present for some
+one. The cone card-rack is very useful on a writing-desk.
+
+If you make a number of these cone-racks they will be something new for
+your next fair. Remember to stick some pretty cards in each rack.
+
+
+Christmas-Tree Ornaments
+
+Perhaps you would like to keep some of your cones for Christmas-tree
+ornaments; they make very pretty ones.
+
+Gild several until they shine like gold, then silver others, and they
+will look as if covered with white frost. If you have collected any of
+the prickly sweet-gum balls that look as if they were carved in little
+starry patterns, gild and silver these, too, and let them dangle from
+the tree on long gilt or silver cords.
+
+These natural, outdoor ornaments are not easily broken, and may be kept
+from year to year for your Christmas tree.
+
+
+
+
+CHAPTER XX
+
+BURDOCK-BURRS
+
+
+The Little House of Burrs
+
+NOW let us build a little woodsy house of burrs (Fig. 124) and put
+it in a little garden. Gather two heaping handfuls of large-sized
+burdock-burrs, small ones are not strong enough, and begin building.
+These burrs grow on a bush; they are about the size of a marble, are
+almost round, are prickly, and are pinkish at the top.
+
+Make the roof first (Fig. 125). Stick ten or twelve burrs together in a
+row with pink heads all pointing in the same direction. Place this row
+on a flat, smooth surface, a board, flat stone, table, or, perhaps, the
+hard earth, and attach another row of burrs along the side edge of the
+first row. Continue to add more burrs until you have six or seven rows
+fastened into one flat piece.
+
+Be sure that this piece does not bulge out or sink down in places, for
+the roof must be perfectly flat. Make the two side walls (Figs. 126 and
+127) and the back wall of the house as you made the roof; the back wall
+must be the length of the roof and the height of the side walls (Fig.
+128). The side walls must each fit on the ends of the roof and be high
+enough to look well.
+
+The front wall of the house must have a doorway and a window (Fig.
+129). But first make it solid, exactly like the back wall and exactly
+the same size, then lay it down on the flat surface that you are using
+for a table, and open a hole for the doorway by taking out five or six
+burrs, counting from the bottom up, and two or three burrs, counting
+from side to side. That will make about ten or twelve burrs to be
+removed. Take out the burrs for the window and make the opening three
+or four burrs high and two burrs wide. (See Fig. 129).
+
+Use four burrs for each side of the hollow square chimney (Fig. 130),
+which is open at top and bottom.
+
+[Illustration: Fig.124 - The little woodsey house of Burdock-burrs with
+ornamental trees of grass.]
+
+To put the different parts of the house together lay the roof down flat
+and stick the edge of the back wall on top of the outer row of burrs
+which forms one of the long edges of the roof. Fasten one side wall on
+one short edge of the roof in the same way and press the edge of the
+back wall and the edge of the side wall together, making the corner
+firm and square. Next attach the second side wall, and lastly fit in
+the front wall.
+
+[Illustration: Fig.125 - Roof of house of Burs.]
+
+[Illustration: Fig.130 - Chimney of house of Burs.]
+
+[Illustration: Fig.126 - Side wall of house of Burs.]
+
+[Illustration: Fig.128 - Back wall of house of Burs.]
+
+[Illustration: Fig.127 - Side wall of house of Burs.]
+
+[Illustration: Fig.129 - Front wall of house of Burs.]
+
+Now lift the house carefully, place it right side up on the ground, and
+adjust the chimney to the roof. As you work keep the picture of the
+house in front of you so that you may see at a glance whether you are
+building it correctly or not. If you cannot find large burrs, let the
+sides and the roof of the house be two layers of burrs stuck firmly
+together. Make a path leading up to the door of very small shells,
+sand, or fresh earth.
+
+[Illustration: Fig.131 - Cat-tail for little pond made of
+Timothy-Grass.]
+
+[Illustration: Fig.132 - Cat-tail held upright by Burdock-burrs.]
+
+
+Pond, with Water-Lilies, in the Garden
+
+Would you like to have a little pond near the house, with white
+water-lilies floating on its surface and wee cattails growing here and
+there in and near the water's edge?
+
+You can easily make such a pond. Sink a shallow pan in the ground, a
+hole must be dug to fit it, you know, and fill the pan with water.
+Cover the edges with moss or earth and plant short-stemmed heads of
+timothy-grass (Fig. 131) and slender, stiff grass-blades in scattered
+groups near the water. It is timothy-grass that looks so much like
+cattails, and also the grass called foxtail.
+
+[Illustration: Fig.133 - The play Water-Lily made of a White Clover
+floating on water.]
+
+[Illustration: Fig.134 - Cut leaves for the water lilies from a Maple
+leaf as shown here.]
+
+Some of the cattails can be made to look as if they were growing in the
+pond if you make a flat-bottomed ball of burrs around the ends of the
+stems to hold them upright (Fig. 132), and put some small stones on top
+of the ball to weight it down in the water.
+
+For the little water-lilies select perfect white clover-blossoms (Fig.
+133), and for the leaves, or lily-pads, use any rather small, smooth,
+round leaves. The marsh-marigold leaf will answer, or you can cut out
+water-lily leaves from oak or maple. Make them the shape of the pattern
+Fig. 134. The pattern here is laid on a maple-leaf ready to cut out a
+leaf for the water-lily. Make a number of lilies and float them and the
+leaves on top of the water.
+
+[Illustration: Fig.135 - Pea-pod Canoe.]
+
+[Illustration: Fig.136 - Cut open the pea-pod along dotted line.]
+
+
+A Pea-Pod Canoe
+
+You might add a pea-pod canoe (Fig. 135), with a tiny American flag
+standing proudly erect at the bow.
+
+When you make the canoe, open the pod where you see the dotted line
+in Fig. 136. To keep the pod open make little braces of broom-straws,
+and put them in crosswise with one end against each side of the canoe.
+There are four braces in the canoe (Fig. 135), but you may not need
+that many.
+
+
+The Trees
+
+In the picture given here the tree on the left of the little house
+of burrs is just two stalks of the common grass called meadow
+muhlenbergia, which are held up as if really growing, by several green
+burrs left from building the house. The burrs are squeezed up tight to
+the grass-stems and then pressed down tight to the ground. You can find
+the grass for these trees almost any place; it is very social and loves
+to make its home with other grasses.
+
+[Illustration: Fig.137 - Burdock-burr target.]
+
+The graceful, drooping tree on the right of the house is made of the
+grass called brome-grass. Keep your eyes open and you will find it some
+time while playing out-of-doors. As soon as you see it, run to the
+brome-grass and whisper its name. You will be glad to discover it and
+will remember its name afterward whenever you see the grass.
+
+Look at the picture again and notice the odd plants near the
+brome-grass tree. Their name is Bermuda-grass. See how they spread out
+their long, slender fingers. They look very much like a grass named the
+small crab-grass, and another the large crab-grass, and like another
+still called the wire-grass; but if you put all these side by side and
+examine them closely you will see how they differ.
+
+
+Burdock-Burr Game
+
+Besides making things of burdock-burrs, you can play a game with them.
+The game is something like archery, only, instead of shooting arrows at
+a target, you throw burrs at it.
+
+Get a good-sized piece of woollen cloth or some kind of material with a
+rough surface to which the burrs will cling. Tack this up on the fence
+or on a board; then, with a large piece of chalk that will make a wide
+mark, draw four circles, one inside the other like Fig. 137. It doesn't
+matter if your circles are not perfect. Do the best you can and finish
+your target. Number the spaces between the circles 1, 2, 3, 10. The
+outer space is 1, the next, 2, next to the centre 3, and the centre 10.
+The centre, being the bull's-eye, counts most.
+
+[Illustration: Fig.138 - Hold the burr this way when you throw it at
+the target.]
+
+Have ready a lot of burrs for each player; mark a boundary-line on
+the ground, beyond which no one must step in throwing the burrs, and,
+standing at the boundary-line, let each player in turn throw three
+burrs at the target. The burrs that stick to the target make the score
+if they are in the numbered spaces. Fig. 138 shows how to hold the
+burr. Suppose one burr sticks to the space numbered 2, and the two
+others are in number 1, the player would then have two ones and one two
+which, added together, make four; her score then would be four.
+
+Always pull the burrs of one player off the target before the next
+player takes her turn, and there will be no question as to who should
+claim them. After each player has had three turns, let every one add up
+her scores. The player who has the highest wins the game. If divided
+into sides, the players on the side having the highest score are the
+winners and they should be given a hearty cheer by the losing side.
+Even very little girls and boys should learn to be good losers and to
+help celebrate the victory of others.
+
+
+
+
+CHAPTER XXI
+
+THINGS TO MAKE OF ENGLISH-WALNUT SHELLS
+
+
+NUTS are the seed-vessels of the nut-trees; did you ever think of that?
+They do not grow only that we may have something delicious to eat. They
+ripen and fall on the ground, where some of them take root and grow up
+into trees themselves. If you plant a hickory-nut a little hickory-tree
+should come up, and it will if the conditions are all right. If you
+plant a walnut it will be a walnut-tree that will appear; so you see a
+nutshell is the seed-vessel of the nut-tree.
+
+English walnuts do not grow wild in this country, but are cultivated
+here and you all know what the English walnut is like. Our American
+walnut is very hard to crack; its shell is rough and deeply grooved,
+but the English-walnut shell is smooth and without sharp edges, though
+its surface is uneven. There is a shallow groove running round the
+shell, like a seam, and the shell cracks open along this seam evenly
+and easily.
+
+
+To Open an English Walnut
+
+The easiest way to open an English walnut so that the shell will be
+in two perfect halves is to push the tip of a penknife-blade into the
+groove at the large end of the nut, and then slowly and carefully turn
+the knife to pry the halves apart. When opened this way the shell is
+never broken (Fig. 139).
+
+After you have opened several nuts and taken out the kernels, use the
+knife to cut away the thin, papery divisions inside the shells. You
+will then be ready to make
+
+
+The Professor
+
+and one half-shell is to be his head. Draw a face on the shell like
+the face of the professor (Fig. 140). The narrow part of the shell is
+his chin, the wide part, the top of his head. He has an intellectual
+forehead, high and broad, with furrows of thought showing plainly on it.
+
+[Illustration: Fig.139 - This is the way to open the shell.]
+
+
+The Professor's Robe
+
+As a rule professors wear black robes when they wear any, but our
+nutshell professor wears white because it is more becoming to his dark
+complexion, and because it is more effective and draws attention to
+him.
+
+[Illustration: Fig.140 - The English Walnutshell Professor.]
+
+[Illustration: Fig.141 - The Professor's Robe.]
+
+To make the robe, fold an oblong piece of white paper into a square,
+which makes the square double. The edges should measure about four
+inches. If you have a large white envelope cut off one end to make it
+square and use that. Fold the square diagonally across from point to
+point, as is shown by the dotted line in Fig. 141. Now turn back first
+one side point, then the other side point, and make them meet over the
+first fold to form a fanlike pleat, wider at the bottom than at the
+top. The dotted lines on either side of the middle one in Fig. 141 show
+where the folds should come. The middle fold is bent out, or toward
+you; the side folds are bent in, or away from you. The side points now
+extending toward you are the wide, flowing sleeves of the professor's
+gown.
+
+Take the robe in your hand at the bottom point, holding it from the
+back, and on the top point hang the professor's nutshell head (Fig.
+140).
+
+[Illustration: Fig.142 - The Nutshell Mouse.]
+
+[Illustration: Fig.143 - Ear for the mouse.]
+
+While the head balances quite securely on the point, you can make it
+wag from side to side, make it shake and tremble when the professor
+grows very earnest in his discourse, and make the chin thrust itself
+forward when he is emphatic. You do all this merely by shaking
+and tipping the paper robe. He is an amusing little lecturer, this
+English-walnut shell professor, and seems very much alive.
+
+
+English-Walnut Shell Mouse
+
+It is a far cry from a lecturer to a little mouse, yet one
+English-walnut shell will make both, half a shell for each.
+
+This is a nice, cosey-looking little mouse who crouches down
+comfortably and does not show his legs (Fig. 142).
+
+The point of the shell is the nose of the mouse; above it make two
+round, black eyes and then paste on two brown-paper ears. Cut the ears
+like Fig. 143, bend back the little stems at the bottom, put a touch
+of paste on each stem and stick the ears to the mouse's head in the
+position shown in Fig. 142. Cut a piece of string about three inches
+long for the tail and paste one end of it on the inside edge of the
+shell at the large end.
+
+[Illustration: Fig.144 - The Nutshell Thimble Box.]
+
+[Illustration: Fig.145 - Tie a ribbon around the nut.]
+
+If you make three of these mice and glue them to a piece of cardboard
+they will look very cunning. Or you can glue one mouse to a small card
+and use it for the top of a Christmas pen-wiper.
+
+
+English-Walnut Shell Thimble-Box
+
+A pretty way to give a small present at Christmas or on a birthday is
+to put it into an English-walnut shell box. A thimble fits in the box
+beautifully (see Fig. 144).
+
+Open the shell of an English walnut in the way described (Fig. 139).
+Cut away the inside partitions and, with jeweller's cotton, make a
+soft little bed in one-half of the shell. Press down the cotton in the
+middle to make a hollow, and in this hollow fit the new thimble. Put a
+layer of cotton over the top of the thimble and tuck in the edges. The
+way to close the box is to cover the edges of the other half-shell with
+glue and then fit it on the half that holds the thimble, just as it was
+before you opened it.
+
+Now you have a whole nut again, but the meat inside is very different
+from that which you took out. You can gild the nutshell after the
+glue has hardened or leave it as it is. Its own brown color is pretty
+enough. In either case you must have a piece of narrow ribbon to tie
+around the box and form a loop by which to hang it (Fig. 145).
+
+Pass the ribbon under the small end of the nutshell, then bring it up
+and tie it securely at the top of the large end. The ribbon should not
+be over the seam but should pass across the middle of each half-shell.
+It will then hold the two parts together and keep the glue from
+loosening. After the ribbon is tied at the top of the nut, make a long
+loop above it and tie again in a bow-knot.
+
+
+
+
+_PART VI_
+
+VEGETABLES
+
+
+
+
+CHAPTER XXII
+
+THINGS YOU CAN MAKE OF LIMA BEANS
+
+
+[Illustration: Fig.146 - The Lima Bean Fish will swim.]
+
+[Illustration: Fig.147 - The pod for the fish must be open at the
+bottom.]
+
+VEGETABLES are good to eat, certainly, and you know what they are like
+when cooked and on the dinner-table; but many are also good to play
+with. You can make fine toys of them, toys that are entirely different
+from any you have ever seen. Here is the
+
+
+Swimming Fish Made of a Lima-Bean Pod
+
+A fish that really swims, not on top of the water but in it, is the
+little fish (Fig. 146). You won't find that in a shop or anywhere
+else, for I have only just discovered how to make it myself.
+
+A paper tail and two paper fins must be added, but that won't take
+five minutes when you know how to do it. The tail and fins make it
+wonderfully lifelike, for when the fish swims around in a big basin
+or dish-pan, the tail sways this way and that, the fins move back and
+forth exactly as they do on a living fish in a real lake or in the
+great ocean.
+
+[Illustration: Fig.148 - The fin of Bean-pod Fish.]
+
+[Illustration: Fig.149 - Tail of Bean-pod Fish.]
+
+Choose a good, firm bean-pod, one as flat and even as you can find,
+open it carefully along the straight edge and take out the beans. Save
+the beans, for you can make something of them too. Do not let the pod
+close again after the beans are out. It must be open about half an
+inch, or maybe a little more, at the middle. You can widen the opening
+by pushing your finger in. Be careful not to split it along the upper
+edge. It should be like Fig. 147, which shows the opening at the bottom.
+
+With the small blade of a pocket-knife make a slit on each side of the
+pod at the large end where it is marked C in Fig. 147.
+
+[Illustration: Fig.150 - The Lima Bean Man will stand.]
+
+These slits are to hold the fins. Directly on the curved edge of the
+small end of the pod, at the place marked D, cut another short slit.
+Don't let it reach the lower edge. This is to hold the tail.
+
+From writing-paper, not the very heavy kind, cut two fins like Fig.
+148. Double the paper and cut out both at once so that they may be
+exactly alike. From the same kind of paper cut the tail like Fig. 149.
+All you have to do now is to push the sharp point of one paper fin into
+the slit on one side of the pod, the other fin into the slit on the
+other side of the pod, and the sharp point of the tail into the slit
+in the edge of the pod, and there is your fish. You see the fins and
+tail are not pasted on and they really seem a living part of the fish.
+Notice that the top of fins and tail are different from the bottom, and
+be sure to have the top edge up when you put them in the slits.
+
+[Illustration: Fig.151 - Parts of Lima Bean Man]
+
+The way to make the lima-bean fish swim is to place it, open edge down,
+in a large basin of water; then with a stick or spoon begin at the
+centre to stir the water gently and gradually round and round until
+it all moves faster and faster, and keeps on moving after you stop
+stirring. Then your little green fish will swim. Round and round the
+basin he will go, his tail waving and his fins moving so naturally you
+will shout with delight.
+
+If at first the fish insists upon turning over on his side and floating
+about like a dead fish, don't give him up. He is only playing 'possum.
+He _can_ swim and he _will_ if you are patient and keep setting him
+upright until he gains his balance and becomes used to the water.
+Remember to put the fish _in_ the water, not on top.
+
+Don't let the beans, that you have taken out of the pod when making the
+fish, get dry and hard. They can be turned into a
+
+
+Lima-Bean Man
+
+Three beans and several strong, straight broom-straws you will need for
+making this comical little fellow, who, upright and independent, stands
+squarely on his own feet. That is a good thing for any one to do, let
+alone a little bean man (Fig. 150).
+
+The beans should be of different sizes. A large one for the body, next
+in size for the feet and a smaller one for the head. Some beans have a
+little point that stands out on one edge and looks like a tiny nose,
+while below it there is a round hollow that looks like a little open
+mouth. That is the kind of bean to choose for the little man's head.
+
+The broom-straw for Mr. Bean's arms should be quite four inches long,
+if he is to be four inches tall. Cut one end of this broom-straw
+slanting to a point like E in Fig. 151, and push the point through the
+upper part of the body bean and out far enough on the other side to
+make the arms of equal length; then bend one arm up at the middle where
+the elbow should be, and the other arm down as you see them in the
+drawing of the man (Fig. 150).
+
+The broom-straws for the legs must be two and a half inches long and
+cut pointed at both ends, for one end of the leg is pushed into the
+lower part of the body bean and the other end into the half bean which
+is the foot. Split the foot bean in half to make two feet and push the
+leg straw into the rounded side. The flat side is the bottom of the
+foot.
+
+[Illustration: Fig.152 - The beans are not taken out of the pod for the
+Lima Bean Pig.]
+
+A short piece of broom-straw, hardly an inch long, is the neck. Cut
+this straw pointed at each end, push one end into the top of the body
+bean and the other end into the lower part of the head bean. Use
+one-half of the outer skin, that comes off the foot bean when you split
+it, for a hat. Being curved like a rose-petal, it fits the head very
+nicely, but a drop of paste on the little man's head will make it more
+secure.
+
+Your lima-bean man may be a farmer and own
+
+
+A Lima-Bean Pig
+
+--a funny pig with fat sides and a turned-up snout (Fig. 152).
+
+Look over all your bean-pods that still have beans in them, and select
+the one shaped most like Fig. 153. Do not take the beans out of the
+pod; they make the pig fat and solid. The stem end forms the snout and
+the head.
+
+[Illustration: Fig.153 - Choose a bean-pod shaped like this for your
+pig.]
+
+Cut four broom-straws about one and a half inches long for the legs.
+Sharpen each of these straws at one end and push the pointed end into
+the lower part of the body, two on each side, in the places shown by
+small rings on Fig. 153.
+
+From part of another bean-pod cut two ears like F, Fig. 154, and pin
+them on the pig's head with a short straw as they are shown in the
+picture of the pig. Run the straw through one ear near the bottom,
+through the head and then through the other ear on the other side of
+the head.
+
+[Illustration: Fig.154 - Make these of a bean-pod or of paper.]
+
+Pull a narrow strip from the edge of a bean-pod for the tail (G, Fig.
+154). Curl it by drawing it lightly over the blade of the scissors.
+Punch a small hole with the point of the scissors in the upper edge of
+the pig's back at the place marked by the arrow on Fig. 153, and push
+one end of the tail into the hole. Make small round dots with a pencil,
+or pen and ink, for the eyes. The ears and tail may be made of paper if
+you find that easier to use.
+
+
+
+
+CHAPTER XXIII
+
+SWEET-POTATO ALLIGATOR AND WHAT TO MAKE OF A RADISH
+
+
+IF you have ever seen an alligator, a long-tailed sweet potato will
+make you think of one immediately.
+
+Fig. 155 is a baby alligator with a sweet-potato body and paper head
+and legs. It is just the size of the little alligators they sell for
+pets down in Florida. That is, the alligator from which the drawing was
+made is the size of the live ones; the drawing is, of course, smaller.
+
+[Illustration: Fig.155 - The Baby Alligator made of a Sweet Potato.]
+
+[Illustration: Fig.156 - Find a potato shaped like this for the
+alligator.]
+
+Find a potato shaped like Fig. 156. Cut a slit in the large end and
+two slits on each side where you see them in Fig. 156. When you make
+the side slits push your knife in with the blade slanting upward and
+backward for the front legs, and slanting downward and backward for
+the back legs. This will allow the paper legs to slide in without
+bending.
+
+[Illustration: Fig.157 - Make the alligator's head like this.]
+
+[Illustration: Fig.158 - Cut two front legs by this pattern.]
+
+[Illustration: Fig.159 - Make the two hind legs by this pattern.]
+
+Use brown paper, as near the color of the potato as you can get, for
+the alligator's head and legs. Make the head like Fig. 157, cutting
+along the heavy lines and bending along the dotted ones. Bend down the
+sides of the head and of the neck, then bend the head first up, then
+down, to lift it above the neck (Fig. 155.)
+
+The eyes of a baby alligator are large and prominent. Draw them on the
+head as you see them in Fig. 157. That is as near as we can come to the
+real eyes.
+
+[Illustration: Fig.160 - The Radish Imp is a decorative little fellow.]
+
+Cut out of the same paper used for the head two fore legs like Fig.
+158, and two hind legs like Fig. 159. Slide the fore legs into the
+slits nearest the large end of the potato and the hind legs into the
+slits near the tail. Push the point of the paper neck into the slit at
+the large end of the potato. That finishes the baby alligator, which is
+wonderfully true to life.
+
+
+What to Make of a Radish
+
+A crisp, fresh, clean radish is very tempting, but don't eat it this
+time; turn it into something else by the magic your ten fingers can
+work.
+
+
+The Radish Imp
+
+Fig. 160 shows a round white radish which, with its long, slender root
+and leaves still on it, has been changed into a queer little radish imp
+by using strong broom-straws to stiffen his leaf arms, his leaf legs,
+and his leaf body. His eyes are bits of broom-straw, his mouth is a
+slit with a broom-straw tongue, and his absurd, stand-out ears are also
+pieces of stout broom-straw.
+
+The root growing out of the top of his head is like a Chinaman's queue
+standing on end with little, crinkly separate hairs at its base.
+
+[Illustration: Fig.161 - Cut two broom-straws for the arms and two for
+the legs.]
+
+When you make your radish imp cut two broom-straws about four inches
+long for his arms; point these at the ends. Cut two more strong
+broom-straws a little longer than the distance between the radish and
+the tips of the two longest leaves. Point these at both ends (Fig.
+161). Now choose two leaves of even length, nearest the radish, for the
+arms. Don't take them off but push a broom-straw through each leaf,
+first in, then out, then push the other end of the straw into the thick
+part of the stems just under the radish. Look at Fig. 160 and see how
+this is done.
+
+[Illustration: Fig.162 - White Mouse.]
+
+[Illustration: Fig.163 - These belong to the mouse.]
+
+The leaves with the longest stems must be used for the legs. If there
+are more than two long-stemmed leaves, cut off all except those wanted
+for the legs. Bend the long, stout broom-straws at one end, as in Fig.
+161, and push the other end up through the thick part of the stems and
+into the radish; then with a piece of string or strong blade of grass
+tie the stems of the leaves to the straws, as shown in Fig. 160. This
+forms a little belt at the waist-line. Leave a large leaf with short
+stem loose at the back for a cape and run the bent ends of the long
+straws in and out of the leaves intended for the feet.
+
+Cut a curved slit in the radish for a mouth and push in a small piece
+of broom-straw for a tongue, then put in bits of straw for eyes, nose,
+and uplifted ears.
+
+
+A White Mouse
+
+You can make a most amusing little white mouse of a white radish; not
+a round one like that used for the imp, but egg-shaped, like Fig. 162.
+The long root is the tail of the mouse and the other end of the radish
+is his head. Cut two paper ears like H, Fig. 163. Make two slits in the
+head and slip the pointed ends of the ears into the slits.
+
+For whiskers (all mice have whiskers) find two sprays of fine branching
+broom-straws (I, Fig. 163), cut them the proper length, and push a
+spray into the head on each side of the nose. Put bits of broom-straw
+in for eyes and then cut four thick straws like J, Fig. 163, and push
+the pointed ends slantingly in the lower part of the radish for the
+feet of the mouse. His legs are not seen because he is crouching. The
+drawing of the mouse shows where to put the feet.
+
+
+
+
+CHAPTER XXIV
+
+GREEN-PEA TOYS AND A GREEN-PEA DESIGN
+
+
+PRESS your thumb on the rounded edge of a fresh, fat green pea-pod,
+and, pop! it goes splitting open at the top. Then push your thumb into
+the opening, run it down the pod and the two halves separate, showing
+a row of fine, large peas that look like great green pearls in a soft,
+silk-lined case made expressly for them.
+
+[Illustration: Fig.164 - The Green Pea Greenies, cousins of the
+Brownies.]
+
+You have done this ever so many times when helping mother, haven't you?
+And you know that the next thing to do when the pod is open is to run
+that same little thumb down again and scoop out all those round green
+peas, letting them fall with a patter into the pan in your lap.
+
+Now as a reward for such helpfulness suppose you ask mother or the cook
+to give you a good big handful of peas which have not been shelled, and
+ask also for some wooden toothpicks such as are used in the kitchen
+for fastening meat together; or a number of nice, straight, strong
+broom-straws if there are no wooden toothpicks. Take all these out
+on the porch if the day is fine and sit down comfortably to make the
+remarkable things which I am going to tell you how to make. It is a
+good plan to have a box and its cover to hold the shelled peas and
+their pods, but it does not really matter except that the round peas
+are apt to roll away and get lost if you put them in your lap.
+
+[Illustration: Fig.165 - Parts of the Greeny Girl and how to put them
+together.]
+
+
+The Greeny Girl
+
+The little green-pea greenies, cousins of the brownies, shown in the
+illustration are funny, aren't they? But the drawing is not as funny
+as the real greenies, and you can make them in all sorts of absurd
+positions.
+
+Two little men and a widely smiling greeny girl are given here (Fig.
+164). The large green peas that come late in the season are used to
+make these little people. In fact, it is only the large peas that
+can be used for any of the things described. Fig. 165 shows how the
+greeny girl is put together. Her arms, legs, and neck are made of
+broom-straws. Her body and head are green peas. Her dress is one end of
+a pea-pod and her feet are bits of a pea-pod cut the shape you see in
+Fig. 165.
+
+First cut short pieces of broom-straws for the legs and point them at
+both ends so that they will be easy to push into the peas and pods. Cut
+another piece the same length, pointed at the top end for the support.
+Push the legs and support into the large pea used for the body as you
+see them in Fig. 165. Now cut another piece of broom-straw pointed at
+both ends for the neck and push one end into the pea you have selected
+for the head.
+
+[Illustration: Fig.166 - Begin the tent in this way.]
+
+[Illustration: Fig.167 - The Greenies' Pea-pod tent.]
+
+Cut off the stem of a large pea-pod, leaving the little leaves at the
+top, which were the calyx of the pea-blossom, for a collar, and then
+cut the pea-pod dress the proper length to fit the little woman. When
+that is done put the dress on over the headless body and push the lower
+end of the broom-straw neck in at the top, down through the collar,
+and into the pea which forms the body. With a pin make a hole on each
+side just under the collar and push a broom-straw arm in each of the
+armholes you have made. Bend one straw in the middle, as in Fig. 165,
+to give the bent elbow.
+
+Last of all cut two three-cornered feet like the one in Fig. 165 from
+a pea-pod and push a foot on the end of each leg. Turn the toes in and
+the little figure will look very comical. To give her a face, dip a pen
+in black ink and make two round eyes in the head, a round nose, and a
+wide mouth turned up at the corners. The pen must be pushed through the
+skin of the pea to do this. When the greeny girl stands up, her dress
+hides the support at the back so that it cannot always be seen, and she
+looks as if she stood on her two feet just as you stand on yours.
+
+
+The Greeny Men
+
+The illustration (Fig. 164) shows how the greeny men are put together.
+The little dancing fellow must have two supports because one foot is
+lifted. The tiny ridiculous cap on the head of the other man is the
+little cap that holds the pea to the pod and sometimes clings to the
+pea after it is shelled.
+
+
+Pea-Pod Tents
+
+The greenies' little tents are made of pea-pods and it takes three pods
+for each tent. After you have taken out the peas split the pods up
+along the back edge, but leave the two halves fastened together at the
+stem. Stand up two pods by pushing the stem end of one pod between the
+two halves at the top of the other, as they are shown in Fig. 166. Then
+separate the halves of the third and longest pod and place it astride
+the first two (Fig. 167). This will make quite a strong tent, and, if
+you like, you can have a whole camp of them.
+
+
+The Green-Pea House
+
+The greenies need not always live in tents. Like other people, they can
+have houses as well.
+
+It is best to use the wooden toothpicks in making the house. They are
+stronger than broom-straws and all the same length. Begin by putting
+the front of the house together. Make the peak first. Choose a large
+pea, push the end of a toothpick into it, then not far from that push
+in the end of another toothpick slantingly so that the lower ends will
+be separated as you see them in Fig. 168. On each of these lower ends
+stick a pea like Fig. 169. That is the peak for the roof. Now make a
+long upright for each side by using a pea to join two sticks (Fig.
+170), and push the upper end of each upright into the peas at the lower
+ends of the peak (Fig. 171).
+
+[Illustration: Fig.168 - Begin the peak in this way.]
+
+[Illustration: Fig.169 - Stick a pea on the lower ends of each
+toothpick to finish the peak.]
+
+Shorten two toothpicks by breaking half an inch off each of them, then
+join them as you did the uprights by pushing one end of each stick
+into a large pea (Fig. 172). This is the front joist or crosspiece of
+the upper floor of the house, and you must fit it in between the two
+uprights of the front by pushing the ends of the crosspiece into the
+peas at the middle of the uprights (Fig. 173).
+
+[Illustration: Fig.170 - The long upright.]
+
+[Illustration: Fig.171 - Add the uprights to the peak.]
+
+[Illustration: Fig.172 - This is the front joist.]
+
+[Illustration: Fig.173 - Fit the joist in between the two uprights.]
+
+[Illustration: Fig.174 - The back of the house.]
+
+The back of the house is made in the same way with a third upright
+added which runs down through the middle from the point of the peak
+to the bottom of the house. This third upright is made by shortening
+two toothpicks and joining them with a pea, then fitting them in
+between the pea at the top of the peak and the pea at the middle of
+the crosspiece. A whole toothpick with the upper end pushed into the
+lower part of the pea at the middle of the crosspiece finishes the long
+upright (Fig. 174).
+
+[Illustration: Fig.176 - The Greenies' little house.]
+
+When the front and back are made all there is to do to finish the frame
+of the house is to put in the crosspieces to hold them together. Fig.
+175 shows all these crosspieces or joists. One crosspiece between the
+two peas at the top of the front and back peaks for the ridge-pole (K,
+Fig. 175), one on each side between the peas at the bottom of the peaks
+(L and M), one at each side between the peas at the ends of the front
+and back crosspieces (N, O), and one between the two peas at the middle
+of the front and back crosspieces (P).
+
+[Illustration: Fig.177 - The first bar of the fence.]
+
+[Illustration: Fig.175 - This is the frame of the house.]
+
+
+Now you have the frame of a two-storied house or a house with only
+an upper story, but it needs a roof and a floor. Split some of your
+pea-pods in half and lay one at a time across the ridge-pole at the
+top and the crosspiece at the bottom of the peak. Put half of a pod on
+one side of the peak, half a pod on the other side of the peak, then
+another half pod on the first side, and the next one on the second
+side, and so on until the space is covered and the house is roofed in.
+The stem ends of the pods must be up. The stems lock together and hold
+the roof in place.
+
+Make the loosely laid floor also of the split pea-pods, putting them
+across from front to back.
+
+[Illustration: Fig.178 - Push in two uprights.]
+
+Your little house (Fig. 176) now looks like those which strange people
+in far-away, hot countries build for themselves. They have no lower
+story or what we call a first floor, but are lifted on posts far above
+the sometimes very damp ground, and out of reach of any wild animals
+that may be prowling around.
+
+
+The Fence
+
+You can make a fence to put around the house in this way: Push a large
+pea on each end of a whole toothpick like Fig. 177, then break a
+toothpick exactly in half, stick one end of each half into the lower
+parts of the peas to form uprights, and push the lower end of each of
+these uprights into another pea as shown in Fig. 178. For the slanting
+crosspiece stick one end of another toothpick into the upper pea at the
+left-hand side, and the other end into the lower pea at the right-hand
+side (Fig. 179). Add a toothpick between the two lower peas, and one
+section of the fence is finished (Fig. 180).
+
+[Illustration: Fig.179 - Put in a slanting crosspiece.]
+
+[Illustration: Fig.180 - The finished section and the way to begin a
+new section of the fence.]
+
+Begin another section by sticking one end of a toothpick into a new pea
+and the other end into the upper pea at the left side of the section
+you have just finished (Fig. 180), then put in half a toothpick for
+the upright, a pea on the bottom of that, a whole toothpick for the
+slanting crosspiece, and another whole toothpick for the bottom.
+
+In this way you can keep on adding section after section and make your
+fence any length. To turn a corner all you have to do is to push the
+toothpicks which form the upper and lower crosspieces of a new section
+in at the back of the top and bottom peas of an end section of the
+fence.
+
+
+The Tropical Plant
+
+You will notice that in the illustration there is a plant growing at
+the side of the house which looks something like a cactus and adds to
+the tropical, or hot-country look of the little greeny people's home.
+
+[Illustration: Fig.181 - Draw curves like these for the design.]
+
+[Illustration: Fig.182 - The Green Pea design.]
+
+Seven half pea-pods are used to make this plant, four to stand up and
+three to lie down flat. Wrap and tie the stem ends of the four half
+pods together with a bit of string. Push a toothpick for a flower-stem
+through the middle of the bunch. Cut away the stem of a pea-pod, then
+cut off the calyx, or circle of little leaves, with the knob below
+attached. This is to be the blossom of the strange plant. Stick the
+flower on its toothpick stem, knob down, as you see it in the picture.
+
+To make the plant stand firmly lay the three extra half pods down flat
+with the stem ends one on top of the other and the outer ends at equal
+distances apart, and force the toothpick flower-stem through the pods
+where they cross. These three flat pods make a base which holds the
+rest of the plant upright, while they look as if they were a part of it.
+
+
+A Pretty Design of Green Peas
+
+This is not a toy, but you will like to make it just the same, and
+afterward, perhaps, you will want to try another design all by
+yourself. If you can draw at all, with a soft pencil make some curves
+on a piece of white paper like Fig. 181, only ever so much larger,
+then a straight line up from the centre. The distance between the two
+largest curves at their widest part should be about eight inches. If
+you cannot draw these curves, ask some older person to do it for you.
+
+[Illustration: Fig.183 - Do not open the pods wide.]
+
+Lay your paper with the pattern drawn on it flat on the table before
+you, shell some peas and carefully place them on the pencil lines of
+the curves. Begin with the largest peas at the centre of the design and
+finish with the smallest at the ends of the curves. Fig. 182 shows how
+this is done. Put the first pea on the curve at the place shown by the
+arrow in Fig. 181.
+
+You won't be able to keep the peas in place unless you stick them to
+the paper with paste. Hold the tube of paste in your left hand, squeeze
+out a very little, take it off the tube with one of the peas and push
+the pea, paste side down, onto the paper where it belongs.
+
+When the peas are all placed on the curves open two pea-pods as you
+did for the greenies' tent, slide one pod between the two halves of the
+other, and with a little paste on the stem ends and the tips, fasten
+them in the middle above the curves of peas as they are shown in Fig.
+182. The two halves of each pod are not opened wide but are like Fig.
+183. Above the pods, on the straight, upright line, place four more
+peas, beginning at the bottom with a large pea and ending with one much
+smaller.
+
+The success of this design will depend upon making one side just like
+the other and in keeping it equally balanced. That is, one side must
+not sag down below the other and the pods at the top must fit exactly
+on the line, half on one side, half on the other.
+
+The peas, you see, do not touch each other, but are separated by little
+spaces, and the spaces are all of the same length.
+
+
+
+
+CHAPTER XXV
+
+CORN-HUSKS AND CORN-COBS
+
+
+How to Make American History Seem Real--Our First Thanksgiving
+
+LET us play that we are really celebrating America's first Thanksgiving!
+
+You can see one of our long, rude puncheon tables spread out in the
+mild, sweet air of Indian summer, laden with delectable dishes of clam
+chowder, oysters, fish, turkey, duck, goose, venison pasties, turnips,
+dumplings of barley flour, corn bread, wheat cakes, pumpkin pies,
+grapes, plums, great flagons of cider, and "all manner of tasty eats."
+
+William Bradford, our good governor, with his old flintlock in hand,
+is just returning from a successful hunt for additional wild turkey.
+We shall need these, as ninety friendly Indians are to be our guests
+for three days and nights. Later they, too, will hunt and bring us wild
+deer.
+
+Elder Brewster, in his festive doublet and hose, has stopped a moment
+to speak to Master Bradford. Sitting at table, you can see Captain
+Miles Standish with arms outstretched in glad welcome as he calls more
+Indians to join the feast, while Massasoit, the mighty chief, stands at
+the table signalling with his arrow for the braves to approach.
+
+Already Quadquina and Hobomok are at the festive board, seated between
+Captain Miles Standish and John Alden. Squanto, who tells the boys how
+to trap game and teaches settlers how to plant corn, is resting on the
+ground with his feather-bedecked shield in one hand, and the calumet,
+or pipe of peace, in the other.
+
+[Illustration: The First American Thanksgiving Dinner in the year
+1621.]
+
+Now winsome Priscilla Alden comes, bearing on a pewter platter one of
+her savory hot baked turkeys, and her friend, Mary Chilton, is watching
+the delicious stew which simmers in the big iron pot over the outdoor
+fire.
+
+[Illustration: Fig.184 - Begin to make the pioneer in this way.]
+
+Mistress Brewster, on her way to cut pumpkin pie, must needs stay her
+steps a moment to give ear to Governor Bradford's remarks, and Desire
+Minter is hurrying forward, ahead of the other young women, to serve
+the men at the feast.
+
+All this would be told you by one of the little corn-husk pioneers
+shown in the photograph if only they could speak.
+
+[Illustration: Fig.185 - Fold the husks across the centre.]
+
+At all events, they can stand alone. They can be made to sit down, too,
+and their arms can be bent in any position. You may lift and place them
+in various parts of the grounds at pleasure. You might even imagine
+them to be the real characters they represent, and so live over again
+that Thanksgiving of 1621.
+
+The making of these little people is most interesting. Use the rather
+soft between-layers of corn-husks; about two husks for each pioneer.
+If the husks seem brittle, soak them in water and make them pliable.
+Lay one husk partially over the top of the other (Fig. 184), bend them
+across the centre (Fig. 185), and let the smoothest side be the front
+of the doll. Fold each side of the front to the back until the front
+somewhat resembles Fig. 186; then wind slender, soft string around to
+form the neck and head of the doll. Wind another soft string around
+lower down for the belt-line (Fig. 187).
+
+[Illustration: Fig.186 - The head and neck are made.]
+
+[Illustration: Fig.187 - Wind the waist with string.]
+
+[Illustration: Fig.188 - Arms for the pioneer.]
+
+Make the arms of soft corn-husk (Fig. 188) by turning the lengthwise
+edges of the husk inward again and again, until the roll is of the
+desired size. Cut off the ends evenly and wind the arms with string at
+the centre and near each end.
+
+Run the small blade of a penknife through the shoulders of the doll
+from side to side. Turn the blade flat side uppermost and allow it to
+remain in this position while you slide in the arms and screw them
+through the opening, pushing them along on top of the flat side of the
+blade. When in place, withdraw the knife and your little woman will be
+ready for her costume.
+
+[Illustration: Fig.189 - The pioneer is ready for his costume.]
+
+To make the man, cut Fig. 187 up from the bottom to within a short
+distance of the belt, thus dividing the husk skirts into two equal
+parts. Wind each half with string at the top, middle, and near the end
+to form the legs (Fig. 189).
+
+Use black tissue-paper for the loose knee-trousers. Cut
+
+[Illustration: Fig.190 - First leg of the trousers.]
+
+[Illustration: Fig.191 - The trousers are pushed into shape and coat
+is ready for its belt.] two strips of the paper, fit one strip over a
+leg (Fig. 190), push the paper up on the inside until it resembles Fig.
+191, then fasten in place with strong paste. Make the other trouser leg
+in the same way (Fig. 191).
+
+[Illustration: Fig.192 - Pattern of pioneer's collar.]
+
+[Illustration: Fig.193 - Make the hair of paper fringe.]
+
+[Illustration: Fig.194 - Crown of pioneer hat.]
+
+[Illustration: Fig.195 - Glue the hat crown on the man's head.]
+
+[Illustration: Fig.196 - How to slash the hat brim.]
+
+Cut the coat from a folded piece of dull-green tissue-paper, and
+just at the neck make a hole large enough for the man's head to slip
+through (Fig. 191). Paste the front edges of the sleeves over the back
+edges and lay the front edges of the coat over those of the back. Fit
+the coat in at the belt-line with your fingers. Cut a black belt of
+tissue-paper, fold it lengthwise, and belt in the fulness of the coat,
+then paste the belt ends together. Be careful to make the belt loose,
+for men's waists are large. Make the collar (Fig. 192) of white paper
+and fasten it around the man's neck with a drop of paste in front.
+
+From black, brown, or drab-yellow tissue-paper cut a strip of fine
+fringe and paste it on the man's head for hair (Fig. 193). Then make
+his hat. To do this, roll a small square of stiff black paper into a
+cornucopia to fit the man's head, paste the edges together, and trim
+off the corner which hangs down at the bottom (Fig. 194). Glue the
+hat-crown on the man's head, cut off the sharp top peak, and tilt the
+crown back a little (Fig. 195).
+
+Now cut a disk of the black paper for the hat-brim, slash it across
+the centre into four points (Fig. 196), but only just far enough to
+make the opening fit over the hat-crown. Slide the brim on the crown,
+allowing the slashed central points to lie up against it, and fasten
+them there with paste (Fig. 197). Glue the pioneer's feet into holes
+cut part-way through a small piece of the corrugated flat pasteboard
+used for packing purposes. In this way the little man becomes
+independent and able to stand alone (Fig. 197).
+
+[Illustration: Fig.197 - The pioneer is fully dressed and wearing his
+hat.]
+
+The corn-husk women also wear tissue-paper clothes. The waists are
+made in the same manner as the men's coats, only shorter and confined
+at the belt-line with paste. Straight dress skirts are slipped over
+the waists, and held in place at the belt by winding string around the
+pinched-up gathers. Long, severely plain white aprons, minus strings,
+are pasted to the waist-line, and white-bordered black caps and large
+white three-cornered neckerchiefs complete the costume.
+
+The cap is a straight piece of black tissue-paper with a narrow strip
+of white folded over the front edge. When ready, the white-bordered
+black strip is laid over the head, smoothly brought down on the sides,
+puckered together at the back and tied around the neck with a string.
+You have only to clip loose the outside layer of white close to the
+string at the neck-line to give the flare to the cap's white border.
+
+The crisp dress skirt forms sufficient support to enable the little
+women to stand alone.
+
+With the exception of Squanto, whose manly chest, back, and arms
+have no covering, the Indians wear suits of tan tissue-paper made on
+the same principle as the white men's costume, only the trouser-legs
+are narrow, long, and have the seam cut in fringe and run up on the
+outside. The bottom edge of the coat and the sleeve seams are also
+fringed. The coat is not wide and no belt is worn.
+
+Pieces of colored tissue-paper adjusted blanket fashion over the
+Indians, and fastened here and there with bits of paste to hold them in
+place, form the Indian blankets.
+
+The Indians' hair is merely a strip of black tissue-paper pasted over
+the top, back, and sides of the head with the ends loosely twisted and
+allowed to hang down in front on either side.
+
+[Illustration: Governor Bradford, Priscilla, Chief Massasoit and Elder
+Brewster. Made of corn-husks.]
+
+The war-bonnet is cut from a strip of white writing-paper, the tips
+of the feathers are inked, and one end of the strip is then pasted
+around Massasoit's head, as shown in the picture.
+
+It is best to make a number of corn-husk people at one time. Put the
+two husks together for each pioneer and Indian, then wind a string
+around the neck of each to form the head (Fig. 186). Again tie a string
+around each at the belt-line (Fig. 187). Continue making the people in
+this way, step by step, until all are finished at the same time. Have
+ready as many arms as you have people, and run the arms through each,
+one after another.
+
+When bending the arms or legs of the little people do it slowly and
+gently. If they are inclined to spring back, tie them in position
+overnight and they will stay bent.
+
+When dressing the dolls, cut out all the men's collars at one time. You
+can do this by cutting through as many layers of paper as there are
+men. Adopt the same plan with the other parts of clothing for the men,
+women, and Indians, and your work will be rapid.
+
+With ink draw features on all. The women must have ink hair, parted in
+the middle.
+
+Remember when making Miles Standish to cut his hair of red paper, for
+he had auburn hair.
+
+The "sad" colors worn by the pioneers were really the cheerful autumn
+hues, rich, dull reds, greens, browns, and yellows. These will give you
+quite a variety of colors for the costumes of both men and women.
+
+Make the puncheon table of a flat, narrow piece of wood. With a gimlet
+bore holes through the board, slanting them toward the centre, one hole
+near each corner. Any kind of round sticks will do for the legs. Cut
+them all of the same length and glue one in each hole.
+
+[Illustration: Pioneer puncheon table spread for America's First
+Thanksgiving Dinner.]
+
+The pewter dishes are made from one of the collapsible lead tubes
+used for oil-paints and various other things. Cut open the empty tube
+and smooth it out flat, then cut out round pieces for plates, mould
+the plates over the tops of wooden spools, and the flagons over a
+pen-handle or other round stick. Make the flagon-handles of slender
+strips of the tube bent into rings, and slip one end of the strip over
+the edge of the flagon.
+
+A piece of yellow paper pasted over the cover of a very small
+baking-powder can makes a pumpkin pie. The turkey is merely pinched-up
+paper with brown tissue-paper laid smoothly over the breast. Its wings
+and legs are of bits of lighter-colored paper rolled and bent into
+shape, then pasted on the turkey.
+
+[Illustration: Fig.198 - Corn-cob log for pioneer log cabin with
+notches cut and marked.]
+
+Fresh, green, uncooked corn-cobs from which the corn has been cut and
+scraped make delightful pioneer log-houses. Cooked cobs are too hard
+to cut. Choose slender cobs, long ones for the front and back of the
+house, shorter ones for the sides. Cut a notch, or saw it, if the cobs
+are dry and hard, on the tops of the ends of each of the two foundation
+logs (Fig. 198). Cut a notch on both top and bottom of each remaining
+log as indicated by the black lines in Fig. 198.
+
+Always make a larger notch in the small end of the cob than in the
+large end, so that the large end of another cob may fit in it; for,
+when building, it is necessary to place small ends and large ends
+together, and never two large ends or two small ends, or the house will
+be unevenly balanced.
+
+Lay the two foundation cobs down parallel to each other and a short
+distance apart; then bridge across the ends with shorter cobs, fitting
+the notches into each other. Continue building in this log-cabin
+fashion until the house is of sufficient height.
+
+On the front of the house draw two straight lines down across the cobs,
+one for each side of the doorway. Then take your house apart and cut
+the doorway out from the marked cobs. Rebuild the house, gluing layer
+upon layer. Make the doorway jambs of straight pieces of corn-stalk,
+and glue them on each side of the open doorway.
+
+[Illustration: Pioneer log cabin made of corn-cobs.]
+
+Before the roof can be added, corn-cobs, graduated in length and
+without notches, must be laid at each end of the house to support
+the roof and give it its gable ends. These graduated cobs are the
+"trap-logs." They rest upon long strips of corn-stalk, called "ribs,"
+which are placed across from one end of the house to the other. Build
+the roof log-cabin fashion as you built the body of the house, laying a
+rib between the ends of each layer of graduated cobs, and as you build,
+fasten the parts together with glue.
+
+Cut enough clapboards of corn-stalk to cover both sides of the roof.
+Make them all of the same length and long enough to reach from the top
+of the roof to a trifle beyond its lower edge.
+
+The clapboards must be held down by means of "weight-poles" laid
+across, and to keep the weight-poles from rolling off use pegs called
+"knees."
+
+Make the knee-pegs of corn-stalk. Cut a hole near both ends of four of
+the clapboards and glue in pegs, slanting them upward. You will then
+have two pegged clapboards for the front of the roof and two for the
+back. Place them near the ends of the roof and glue all the clapboards
+in place. Cut four slender lengths of corn-stalk for weight-poles, and
+lay them across the roof, resting against the knee-pegs. Glue them to
+the roof only where they buck the knee-pegs. When finished, set the
+house aside until the glue is entirely dry. It may then be moved.
+
+Corn-tassels standing in empty spools make fine trees.
+
+It is fitting that the story of our country's first Thanksgiving should
+be retold this year by means of corn. You remember, of course, that
+friendly Indians showed the pioneers how to plant and cultivate corn,
+which, to them, was a new grain. Later, when a wonderful harvest had
+been gathered, our forefathers decided to set aside a day to thank God
+for His goodness. That was the first Thanksgiving.
+
+
+
+
+PART VII
+
+FRUIT
+
+
+
+
+CHAPTER XXVI
+
+THE FUNNY ORANGE HEAD
+
+
+YOU will hardly believe it is only an ordinary, everyday orange when
+you have made it into the head that I am going to tell you about.
+
+Select a small, firm, perfect orange and with a pencil mark features on
+it, first the eyes like Fig. 199. Carefully cut out the little spaces
+of skin between the lines, then mark the nose (Fig. 200); cut this and
+mark the mouth (Fig. 201); cut this and at each side of the head draw
+the ears like Fig. 202. You will see that the line of the ear does not
+continue all the way around; that means that you are simply to run your
+knife along the line, cutting through the skin so that the ears may be
+lifted up and peeled forward to stand out from the head; the front part
+remains attached (Fig. 203).
+
+Make the neck of a slender, strong, round stick sharpened to a point at
+one end. Push the point up into the under part of the orange, where the
+neck should be, by twisting the stick around as it goes in (Fig. 204).
+
+The orange is the head, but your hand and fingers are to be the body
+and arms to go with it. Look at Fig. 204. That will show you how to
+hold the stick firmly and at the same time leave your first finger and
+thumb free to use as arms.
+
+[Illustration: Fig.199 - Eyes marked on orange head.]
+
+[Illustration: Fig.200 - Eyes cut, nose marked.]
+
+[Illustration: Fig.202 - Ear marked, ready to cut and peel forward.]
+
+[Illustration: Fig.201 - Nose cut, mouth marked.]
+
+[Illustration: Fig.203 - Mouth cut, ears cut and peeled forward.]
+
+Pin a handkerchief, or other soft cloth, around Mr. Orange's neck,
+bring it around to cover your hand and then pretend he is talking while
+you move his arms and say as many funny things as you can think of.
+By moving the stick while you hold it in your hand, you can make the
+orange head turn in various ways (Figs. 205 and 206), and a little
+paper hat fitted on it will make it still funnier (Fig. 207).
+
+[Illustration: Fig.204 - Hold the orange this way.]
+
+The orange need not always be a man. You can play it is a little girl
+and make a cunning little wreath of flowers for her small head; or
+pretend it is a baby and have it wear a baby's cap made of paper.
+If you want to turn it into a young lady, pierce the ears and fit
+in earrings made of violets. You do this simply by threading the
+flower-stems through the holes you have pierced, and drawing the
+blossoms up close to them. Then, you can make believe the orange is an
+old man and put a pipe in his mouth. Make the pipe of an acorn with a
+twig for the stem. If you want the baby to cry, squeeze the orange a
+little and tears of orange-juice will roll from its eyes and stream
+down its face. Little holes must first be punctured in the eyes to let
+the tears run out.
+
+[Illustration: Fig.205 - "Now I'll tell you a funny story."]
+
+
+Things You Can Make of Orange-Skins
+
+A TOY JAPANESE STOOL
+
+The soft, golden orange-skin, lined with silvery white, is fine
+material for moulding and making into different kinds of things to play
+with. Bring your orange and we will begin by making a toy stool for
+your doll-house (Fig. 208). It will look very much like the real stools
+which the Japanese make for real people to sit on, though nothing is
+used for it but the orange-skin.
+
+[Illustration: Fig.206 - "Can't remember what I was going to say."]
+
+First cut the orange across from side to side, making two halves, and
+after you have taken out the pieces of juicy fruit and enjoyed eating
+them, examine the two pretty yellow orange-skin bowls that are left.
+See how soft and pliable they are. Now take one of the bowls and pinch
+the edges of two opposite sides toward each other; hold them steady
+while, with your other hand, you pinch the other two sides toward each
+other. Hold all four sides bent inward for a moment, then let go of
+them and the sides will stay bent while you wind string across, first
+one way then the other, between the curved stool legs you have just
+made by bending the sides of the bowl inward.
+
+[Illustration: Fig.207 - "What a joke."]
+
+[Illustration: Fig.208 - Japanese stool made of half an Orange peel.]
+
+Set the stool away to dry and stiffen into shape; then, when it has
+become hard, take off the string and you will have a little Japanese
+stool quite as strong as if made of wood.
+
+
+A CANDY-BOX
+
+A candy-box can be made in the same way of the other half of the
+orange-skin, but you must curve the sides in only a little for this;
+not nearly as much as for the stool. Stand the candy-box, with open
+part up, ready to be filled with candy.
+
+
+A BASKET
+
+An orange-skin basket is a substantial little affair when finished, and
+will hold almost anything you want to put in it. It looks like Fig.
+209. For this you will again need half of an orange-skin. Bend in two
+opposite sides after first cutting a short slit in each side near the
+edge. Make the handle of strong paper, cutting it like Fig. 210, with a
+tongue at each end. Bend over the two side points of each tongue, and
+slide one tongue through the slit in one side of the basket, the other
+tongue through the slit in the other side, then open out the points
+again and they will make secure fastenings for the handle. You will see
+from the illustration that the tongues are put through the basket from
+the inside and show on the outside.
+
+Before setting away to dry, tie a string around the bent-in sides of
+the basket, and stuff the open part with crushed paper to keep it in
+shape.
+
+[Illustration: Fig.209 - Half of Orange skin used for a basket.]
+
+[Illustration: Fig.210 - Make the handle of paper.]
+
+
+ORANGE-SKIN BOWLS
+
+When you have another orange save the two halves of the skin, pack each
+full of crumpled, clean, blank paper, flatten the bottom of the bowls
+so that they will stand firmly, then set them away to dry.
+
+If you do all this carefully the bowls will harden in good shape and
+you can use them to eat and to drink from.
+
+[Illustration: Fig.211 - A little summer house made of half of an
+Orange skin.]
+
+
+Other Things Made of Orange-Skins
+
+Cunning little toy summer-houses may be made from an orange-skin in a
+moment's time (Fig. 211). Take half of an orange-skin and stick the
+sharp ends of four wooden toothpicks into the edge of its rim. Place
+the toothpicks upright, at equal distances apart, and they will form
+the pillars to support the golden, dome-shaped roof. Stand the little
+summer-house on the table, and you will think it charming.
+
+By slicing an orange you can have a number of little, yellow hoops for
+your dolls, made of the rind around each slice. When the hoops are
+carefully dried in perfect circles, you can roll them on top of a table
+or on the floor, and play the dolls are having great fun racing with
+their orange-skin hoops.
+
+
+
+
+CHAPTER XXVII
+
+APPLES AND APPLE FUN
+
+
+WHEN the apple-trees are in bloom, stand under one and look up through
+the wonderful tent of flowers at the little bits of blue sky peeping
+down at you between the blossoms. Isn't it delightful to see so many,
+many apple-blossoms all at once? How beautiful they are and how sweet
+they smell!
+
+Now, pick one little blossom and examine it carefully. Count the pretty
+pink-and-white petals. Five petals? Yes. Look again, see how they grow
+from the centre and notice their shape. Be very particular, so that you
+will remember exactly how the blossom looks; make sure you know, for I
+am going to tell you about the flower you can find inside the big, ripe
+apple after all the other apple-blossoms are gone.
+
+
+Apple-Blossom in Apple
+
+Cut the apple into thin slices from side to side through the core. Take
+one of the slices from near the middle of the apple and hold it up to
+the light, so that the light will shine through it, then look carefully
+and you will see in the centre a perfect pattern of the apple-blossom
+you gathered from the tree (Fig. 212). Apple-seeds form the centre of
+the flower. The petals, five in number, are of the flesh of the fruit.
+They are of the same shape and size as the real blossom. Isn't it
+wonderful?
+
+[Illustration: Fig.212 - Apple blossom inside of the fruit.]
+
+[Illustration: Fig.213 - Design begun on apple slice.]
+
+[Illustration: Fig.214 - Design pierced through apple slice.]
+
+Now, take the seeds from their hard, glossy cases, again hold the slice
+up to the light and lo, in the centre of the slice, you will find a
+five-pointed star which twinkles as the light shines through.
+
+You can add to this and make a pretty, shining pattern in this way:
+Take a wooden toothpick, and with its pointed end pierce little holes
+all along the edge of the flower pattern; then make a loop of little
+holes above one of the petals (Q, Fig. 213), and still another above
+that one (R, Fig. 213). Pierce the edges of all the petals and make the
+same kind of double loops above them also, then the design will be like
+Fig. 214. Hold it up to the light, turn it this way and that and your
+slice of apple will look as if spangled with glittering diamonds. Fig.
+215 shows a wheel design which you can make of another slice.
+
+[Illustration: Fig.215 - Another design on apple slice.]
+
+
+Apple Candle in its Candlestick
+
+When I was a little girl I used to make apple candles that stood up in
+their own candlesticks. I always ate the fresh, juicy slices as I cut
+them off. Fig. 216 shows how the candles look when finished. The stem
+is the wick, and as it is usually dark at the end, it is a very good
+imitation of a candlewick that is partially burnt. The dotted lines on
+Fig. 217 show how to cut away the apple to leave the candle and its
+holder.
+
+[Illustration: Fig.216 - Apple candle ready for table.]
+
+[Illustration: Fig.217 - Cut away apple leaving candle in candle-stick.]
+
+First cut off a slice at the blossom end, so that the candle-stick
+will stand without tipping. The dotted line at the bottom of Fig. 217
+indicates where this cut is to be made. Then run your knife around the
+apple without cutting all the way through to the core, where you see
+the middle dotted line on Fig. 217. After that, begin at the sides and
+gradually shave down the upper part little by little, being careful not
+to cut below the slit you have made around the apple. When the middle
+part standing up around the core is the size of a real candle it is
+time to stop cutting. Because of the core inside you cannot make your
+candle very slender, but you can cut off the sharp edges and make it
+round.
+
+
+A Roasted Apple
+
+Another thing I used to love to do with my apple when I was a little
+girl was to tie a long string to the stem and hang it before an open
+fire to roast. I think you will enjoy it too.
+
+Tie one end of the string securely to the stem of your apple, and don't
+break the stem off in doing it (Fig. 218); then tie the other end to
+something heavy on the mantel-shelf that will hold it securely. The
+apple should hang in front of a grate of glowing coals, or near the
+red-hot coals of a wood-fire.
+
+[Illustration: Fig.218 - Roast your apple this way.]
+
+As soon as cooking begins, twist the string and make the apple spin
+round and round so that it may be roasted evenly on all sides; it is
+fun to do that. When the juice begins to run and drop from the apple,
+set a saucer under to catch the hot, sweet syrup. It is good poured
+over the apple when that is thoroughly cooked. Add sugar to the juice
+while it is hot if it is not sweet enough.
+
+
+The Spice Apple
+
+In New England, many years ago, there was always to be found in every
+household at least one spice apple. It sounds good to eat, doesn't it?
+But they were not made for eating, they were used for sweet-smelling
+ornaments, and for keeping away moths and other troublesome insects.
+Perhaps you will like to make a spice apple to give away; it will be a
+pretty and very sweet gift and will last for years.
+
+Choose a small, perfectly sound apple and have ready a lot of cloves.
+Stick the cloves into the apple as you would stick pins into a cushion,
+only the cloves must be put in very close together, touching each other
+and making the apple look like a large, prickly, brown nut. That is
+all, unless you want to hang the apple up. In that case run a wooden
+toothpick through one raised side at the top, across the little hollow
+where the stem grows, and out through the raised side opposite, after
+first breaking off the stem. Cross this toothpick with another pushed
+through the apple and also bridging the hollow. This will make a low
+handle in the form of a cross. At the middle, where the toothpicks
+touch, tie a bright ribbon, leaving a loop by which to hang it.
+
+
+Other Things to Make of an Apple
+
+When an apple is cut across into round slices, you can make a doll's
+table of the largest slice by using four wooden toothpicks for legs,
+pushing them into the apple at equal distances apart. Half of a slice,
+with halves of toothpicks for legs, makes a very suitable seat for this
+remarkable table.
+
+If you cut a thick flat slice from a small apple you can make it into a
+top that will spin by pushing a toothpick through the centre, leaving
+a long end on one side and a shorter end on the other. The short end
+is the peg upon which the top spins. Take the long, upper end of the
+toothpick between your thumb and first finger, give it a hard, quick
+twist and drop the top on a table having a hard, smooth finish, where
+it will spin merrily. The little fruit-top will not spin on a carpet or
+any rough, uneven surface.
+
+
+
+
+THE BEARD BOOKS FOR GIRLS
+
+By LINA BEARD 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
+    $1.50 net
+
+The authors tell everything that girls want to know about sports,
+games, winter afternoon and evening amusements and work, in a clear,
+simple, entertaining way.
+
+
+Things Worth Doing and How to Do Them
+
+    With some 600 drawings by the Authors that show exactly
+    how they should be done
+    $1.50 net
+
+This book comprises an infinite variety of amusing things that are
+worth doing; for instance: "A Wonderful Circus at Home," "How to Weave
+without a Loom," "How to Make Friends with the Stars," "A Living
+Christmas Tree," etc.
+
+
+Little Folks' Handy Book
+
+    With many illustrations
+    80 cents net
+
+This book furnishes the means of gratifying the impulse toward
+self-expression that, properly directed, is a great factor in a child's
+development. It opens a large field of simple handicrafts for little
+folk by showing how toys can be made from such ordinary things as empty
+spools, clothes-pins, old envelopes, etc.
+
+    CHARLES SCRIBNER'S SONS
+
+
+
+
+THE BEARD BOOKS FOR BOYS
+
+By DAN C. BEARD
+
+
+Shelters, Shacks, and Shanties
+
+    Illustrated by the Author      $1.25 net
+
+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.
+
+Page 109, caption Fig.124, "Burdock-burs" changed to "Burdock-burrs"
+(house of Burdock-burrs)
+
+Page 111, caption Fig.132, "Burdock-burs" changed to "Burdock-burrs"
+(by Burdock-burrs)
+
+Page 114, caption Fig.137, same as above (Burdock-burr target.)
+
+Page 114, caption Fig.138, "bur" changed to "burr" (Hold the burr)
+
+Page 143, caption Fig.177, "ig" changed to "Fig" (Fig.177)
+
+Page 164, caption Fig.203, "pealed" changed to "peeled" (peeled forward)
+
+
+
+
+
+End of the Project Gutenberg EBook of Mother Nature's Toy-Shop, by
+Lina Beard and Adelia B. Beard
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MOTHER NATURE'S TOY-SHOP ***
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