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diff --git a/old/51896-0.txt b/old/51896-0.txt deleted file mode 100644 index 79ea055..0000000 --- a/old/51896-0.txt +++ /dev/null @@ -1,8813 +0,0 @@ -The Project Gutenberg EBook of Popular Pastimes for Field and Fireside, by -Caroline L. Smith - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Popular Pastimes for Field and Fireside - or Amusements for young and old - -Author: Caroline L. Smith - -Release Date: April 30, 2016 [EBook #51896] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK POPULAR PASTIMES--FIELD, FIRESIDE *** - - - - -Produced by Giovanni Fini, 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 NOTES: - -—Obvious print and punctuation errors were corrected. - -—Bold text have been rendered as =bold text=. - - - - -[Illustration: - POPULAR - PASTIMES - For - - Field & Fireside.] - - - - - Popular Pastimes - - FOR - - Field and Fireside, - - OR - - Amusements for Young and Old. - - CAREFULLY COMPILED BY - - AUNT CARRIE. - - SPRINGFIELD, MASS.: - - PUBLISHED BY MILTON BRADLEY & CO. - 1867. - - - - - Entered according to Act of Congress, in the year 1866, by - - MILTON BRADLEY & COMPANY, - - In the Clerk’s Office of the District Court of the District - of Massachusetts. - - - SAMUEL BOWLES AND COMPANY. - Printers, Binders and Electrotypers. - - - - - AUNT CARRIE - - DEDICATES - - TO HER YOUNG FRIENDS - - THIS BOOK, - - IN THE HOPE THAT IT WILL ADD - TO THEIR - - HOME PLEASURES. - - - - -Preface. - - -I WOULD like to make a few suggestions on “home influence,” before I -commence a list of amusements. They may be superfluous; if so, I trust -you will pardon me. - -All parents, I am sure, must feel a deep interest in this subject, and -I think will agree with me that judicious praise is quite as necessary -in the training of a child as wholesome correction. But if we wish -our children to have a genuine love for us, and our homes, we must -sympathize with them, and never forget we were once children, and loved -childish things. - -Mothers have by nature far more sympathy and patience than most -fathers. Some fathers are apt to think that home is only a place in -which to eat, sleep, and be generally comfortable; but as to giving -any of their valuable time to entertaining their own children, why, -the very idea is preposterous! A wife is presuming to expect it! Let -me appeal to your selfish instincts. You all wish to be loved and -revered, and are gratified if your children are attentive to your -comforts. Can you expect such manifestations, unless you set them an -example, and prove by a real interest in their pleasures, that you -sincerely love them? Is it not better to devote at least an hour a day -to your children, than to spend every moment in earning money for them, -which, unless you rightly direct and train them, will surely prove -their ruin? - -There is no time in the day when home is so pleasant as at twilight, -or in the early evening hour. Then all are gathered (or should -be) together at home. In the country it is after tea; in cities, -particularly New York, it is after dinner. Then, I entreat you, fathers -and mothers, assemble your children around you, devote your time for -an hour or two in being children with them, join heartily in all their -plays; let them tell what has interested them during the day; draw them -out, and encourage them to open their little hearts freely and confide -in you. - -Some think it childish and silly to play games. Yet if we would only -keep our hearts young and happy, we should retain our youth longer, and -love our friends and homes better. A good hearty laugh is wholesome. - -Mothers, I intreat you to train your own children. Do not leave them to -servants. Hire them to relieve you of the care of your house, and to -do your sewing; but give your time to your children. “Verily, you will -have your reward.” - -I have compiled this book to assist you in your home amusements. May it -carry to your home circle that spirit of enjoyment which is natural to -the young heart, and which should not be absent from the more mature. - - - - - Contents. - - - PAGE - - PREFACE, v - - - CROQUET. - - MATERIALS used in the Game—Preparation of the - Ground—Choice of Sides—General Principles of the - Game—Arrangement of the Bridges—Diagrams—Rules of - the Game—Striking the Ball—Running a Bridge—Striking - Out—The Rover—Roquet—Croquet and Roquet-Croquet—The - Flinch—Suggestions to Beginners—Hints to Players—Carpet - Croquet—The Board Game—Vocabulary of Terms, 13 - - - BASE BALL. - - Origin of the Game—Rules adopted by “the National - Association of Base Ball Players”—Selection and Measuring of - Ground—Diagram—Pitcher’s Point and Home Base—Use of the - Bat—Description of the Game—The Catcher—The Pitcher—The - Short Stop—First Base—Second Base—Third Base—Left - Field—Center Field—Right Field—The Umpire—The Scorer, 42 - - - ARCHERY. - - Position of the Targets—Attitude in - Shooting—Directions—Bows—Targets, 64 - - - GARDENING AND FLOWERS. - - Benefit of Children’s Gardens—The Woods—How to Plant - Seeds—Ferneries—Ivies—Pressed Flowers—How to Plant and Grow - Strawberries—Grapes—Designs for Flowers—To Produce various - Flowers from one stem—To Preserve Roses till Winter, 67 - - - ILLUMINATION. - - Materials—Lists of Selected Colors—Brushes—Coloring—Table - of Colors and Mixed Tints—Design, 85 - - - HOUSE AND HOME ARTS. - - Decalcomanie, 98 - - Engraved Boxes, 101 - - Coral Flowers and Baskets, 102 - - Imitation of Inlaid Ivory, 103 - - Alum Baskets, 103 - - Painting on Glass, 104 - - Painting on Velvet, 106 - - Casting in Plaster, Sulphur, &c., 109 - - Leather Work, 111 - - Cigar Boxes made Useful, 116 - - Potichimanie, 118 - - Ornaments in Rice Shell Work, 120 - - Allspice Baskets, 124 - - Rice or Shell Baskets, 125 - - Wafer Baskets, 125 - - Impressions of Butterflies, 126 - - How to take Impressions of Leaves, 126 - - Paper Landscapes, 127 - - - NATURAL MAGIC. - - The Æolian Harp, 128 - - The Magic of Acoustics, 129 - - How Sound travels through a Solid, 129 - - Singular Example of Superstition, 130 - - Theory of the Voice, 131 - - The visibly growing Acorn, 132 - - - DANCING. - - Pop goes the Weasel, 134 - - Lancers, 134 - - Le Prince Imperial Quadrille, 137 - - Common Cotillion, 139 - - Basket Dance, 140 - - White Cockade, 141 - - The Waltz and Polka Quadrille, 141 - - Sir Roger De Coverly or Virginia Reel, 141 - - Nine-Pin Dance, 142 - - Caledonian Quadrilles, 142 - - - DRAMATIC AMUSEMENTS. - - General Directions for Private Theatricals, 144 - - Dramatic Reading Clubs, 147 - - Charades and how to Act them—Examples, 149 - - Tableaux Vivants, 154 - - - THE SIBYL. - - Sibylline Leaves—The Fiat of Fate—Flower Fate—Fate Box, 156 - - - THE PUZZLER. - - Conundrums, 160 - - Enigmas, Charades and Riddles, 162 - - An Enigmatical Dinner, 168 - - Paradoxes and Puzzles, 170 - - Arithmetical Problems, 173 - - Answers to Conundrums, 175 - - Answers to Enigmas and Charades, 176 - - Answers to Paradoxes and Puzzles, 178 - - Answers to Arithmetical Problems, 180 - - - GAMES FOR OLD AND YOUNG. - - Blind Man’s Buff, 182 - - Shadow Buff, 183 - - Blind Man’s Wand, 183 - - Chinese Shadows, 184 - - The Comical Concert, 184 - - The Menagerie, 186 - - Quaker Meeting, 186 - - Resemblances, 187 - - Put in a Word, 188 - - Proverbs, 188 - - Game of Characters, 189 - - Lawyer, 190 - - Consequences, 190 - - Fox and Geese, 191 - - Stage-Coach, 192 - - Hunt the Fox, 193 - - Sneezing, 193 - - The Ready Writer, 193 - - Rhyming Words in Pantomime, 194 - - Exhibition of the Modern Giant, 196 - - The Shadow at Command, 197 - - The Wizard of the East, 198 - - How to Bring a Person down upon a Feather, 199 - - The Apparent Impossibility, 200 - - The Turned Head, 200 - - Statuary, 201 - - “He can do little who can’t do this,” 201 - - “Brother, I’m Bobbed,” 202 - - “How do You Like it? When do You Like it? And Where - will You Put it?” 202 - - The Bird Catcher, 203 - - Questions and Answers, 206 - - The Magic Wand, 206 - - The Rhyming Game, 207 - - The Game of Twenty Questions, 208 - - Game of Photograph, 210 - - York and Lancaster, or the War of the Roses, 212 - - Post-Office, 214 - - Hand-writing on the Wall, 214 - - Graces, 215 - - Family Newspaper, 216 - - - GAMES OF MEMORY. - - Grand Panjandrum, 218 - - “Le Jardin de ma tante,” 219 - - A Good Fat Hand 219 - - - PARLOR GAMES. - - Squails, 222 - - Parlor, or Carpet Bowls, 226 - - The Union Game, or Red, White and Blue, 227 - - Zoetrope, or Wheel of Life, 229 - - Grecian Games, 230 - - Jack-Straws, 231 - - - GAMES FOR LITTLE CHILDREN. - - Dance, Thumbkin, Dance! 233 - - Uncle John, 234 - - Mother Goose, 234 - - Clap out and Clap in, 235 - - Fingers and Thumbs, 236 - - “You are nothing but a Goose,” 237 - - Buzz, 238 - - The Puzzle Wall, 239 - - Dolls, 240 - - Boys, 241 - - Play-Ground Rhymes, 243 - - Forfeits, 244 - - - - -Croquet. - - -CROQUET has been for several years one of the most popular pastimes -in England, and is now very justly receiving a large and rapidly -increasing share of attention in this country. It is unmistakably a -game of _science_, in which the brain, as well as the muscles and -nerves, has an essential part to perform,—thus very closely resembling -billiards, to which game it is in some respects superior, in that it -is a more social game, and gives an opportunity for healthful open air -exercise. - -Unlike most of out-of-door sports, it does not require the possession -of great strength or powers of endurance, or severe muscular exertion -on the part of the player. Excellence in it is almost equally -attainable to the weakly and delicate as to the healthy and robust. -Old and young meet on its arena on more nearly equal terms than in any -other known game of skill. A “correct eye,” steady hands and nerves, -and good judgment, are the essential qualifications for a good player, -and the possession of these advantages of course is not dependent upon -the age, sex, or condition of the person. - -And it may perhaps be considered as the chief excellence of this game -that it gives this opportunity, which very few other games, combining -scientific play and physical exercise, afford, for persons of the -opposite sexes and disparity of age to join in one common amusement. -It should be a matter of congratulation to all to see the rapidly -increasing popularity of any healthful open air sport in this country. - -We predict for Croquet a success wider in this than it has reached in -any other country. When we work or fight, we work and fight harder than -any other people, and we should be as enthusiastic in our play. - -In preparing this chapter on Croquet we have endeavored to explain the -general principles of the game, and to present a code of rules, simple, -concise, and shorn as far as possible of technicalities of expression, -but comprehensive enough to include all points necessary to a thorough -understanding of the game. - -In Rules of the Game, explanatory remarks are enclosed in brackets. - - -MATERIALS OF THE GAME. - -A COMPLETE set of Croquet consists of _eight balls, eight mallets, ten -iron bridges, and two posts_. - -The balls should be about ten inches in circumference, perfectly -spherical, and should weigh about eight ounces. They should be -designated by different colors, either by painting the entire surface -of the ball, or by a stripe of the color merely. But the first method -is much to be preferred, as a ball needs all the protection it can have -to preserve it from the effects of the weather, and for this purpose -nothing is better than good oil paint and varnish. There is a universal -predisposition towards large balls by all novices in the game; but -experience will invariably give the preference to a ball not more than -ten inches in circumference, if of rock maple or birch, and if of -box-wood, not more than nine and one-half inches. - -[Illustration: MALLET.] - -The mallet head should be about 2⅜ inches in diameter, and 4¼ inches -long, shaped somewhat like a dice-box; and the handle 33 inches long, -15/16 of an inch in diameter in the largest part, and ⅝ of an inch in -the smallest. It is customary to paint some portion of the mallets to -correspond to the colors on the balls. This is a very great advantage -in distinguishing the different players and assisting the memory to -connect them with their respective balls, and we much prefer it; but -some players prefer to leave the mallets undistinguished, and to allow -each player to select his own,—choosing such weight, size and length -as he may desire—and perhaps there is no objection to this. A feeble -or delicate person may not be able to play as well with a mallet of the -standard size as his opponent, and thus will be upon an unequal footing -with him at the outset; while, if each selects such as is suitable to -his or her condition, all will be satisfactorily equipped, and, of -course, upon equal terms, as far as the implements are concerned. For -balls and mallet heads good rock maple is the most desirable of all -our native woods, and hickory is the best for mallet handles. Box-wood -is very good for mallet heads, but is too heavy for balls. Box-wood -mallet heads and good rock maple balls, well painted, make an elegant -and superior set, and are preferable to a complete box-wood set, -while rosewood and lignum-vitæ balls are little better than iron, and -entirely unfit to use. - -The bridges should be made of iron wire about 5/16 of an inch in -diameter, in form like an ox-bow. The width of the bridge should be -equal to the circumference of the ball, and the hight such that when -firmly set it will stand out of the ground a distance equal to its -width. They should be uniform in color. White is best, as it is more -easily seen, and contrasts more pleasingly with the green of the turf. -Some have adopted the practice of painting them of different colors, -but the reason assigned seems not to be a good one, and experience -almost unanimously pronounces in favor of a uniform light color. - -[Illustration: THE BRIDGE.] - -One manufacturer has adopted and patented the happy idea of galvanizing -or plating the iron bridges with zinc, which gives them a _permanent_ -light color, and at the same time perfectly preserves them from rust. - -Some writers assert that withs or firkin hoops answer very well for -bridges. They may answer as a very poor substitute, but a good croquet -player would no sooner play with such materials than a billiard player -with a slack rope for a cushion or an umbrella for a cue. In many of -the scientific “shots” of the game, the player calculates upon the -rigidity of the bridges, and an iron bridge, when set in sandy soil, -is at best none too rigid; and with loose or springy bridges the game -loses much of its attraction to a good player. - -[Illustration: THE POST.] - -The posts should be about 28 inches long, 1½ inches in diameter in the -largest part, and pointed so as to be driven into the ground. They -should have rings painted on them corresponding to the colors of the -balls, and of such width that the bottom ring will be as high from -the ground as the top of the bridges. Thus, supposing the post to be -28 inches long, commencing at the top, make each ring 1¼ inches wide. -This will occupy 10 inches, and hence allow the posts to be driven -into the ground 8 inches, and still have the lowest color so high from -the turf that it can be easily seen from any portion of the ground. The -order of the colors on the post is not essential so long as the light -and dark colors alternate; but the two uppermost colors belong to the -chiefs of the two sides, and therefore most properly should be black -and white, as those are the best representatives of dark and light -colors. The exact arrangement of the succeeding colors is immaterial, -but the following is very good, commencing at the top: - - 1. Black. │ 5. Brown. - 2. White. │ 6. Red. - 3. Blue. │ 7. Green. - 4. Yellow. │ 8. Pink. - -As the order of the colors on the posts governs that of the play, and -since those on each side play alternately, it follows that in a game -of eight the dark balls, black, blue, brown, and green, are matched -against the light ones, white, yellow, red and pink. - -Many devices have been suggested for marking the bridges when run, such -as clips or markers, painting the bridges different colors, &c., &c., -but they have all proved to be useless, as a player who is interested -in the game will remember his own position more easily than he will -remember to change the marker. - - -THE GROUND. - -IN contemplating the preparation of a Croquet ground, the first -question that occurs is, how much and what kind of ground is necessary. -The size of the ground, as well as the distance between the bridges, -is governed very much by the taste and accommodation of the owner. - -A model Croquet ground has been defined as an elliptical field one -hundred feet long and sixty feet wide, with the bridges from nine to -twelve feet apart; but persons possessed of only a limited plot of -ground need not conclude that the above dimensions are absolutely -necessary, for a very interesting game may be played on ground not -more than sixty feet long and thirty feet wide, with the bridges from -six to eight feet apart. The bounds may be imaginary lines defined by -corner bounds, or they may be walks or other natural bounds suggested -by the nature of the ground; or if a plot is prepared expressly for the -purpose, a ditch about eight inches wide, and six inches deep, well -turfed is probably the best bound that can be made. - -A smooth, closely cut turf is always to be chosen, and is improved -by a thorough rolling with a very heavy roller, or, if that is not -available, a few hours’ work with a heavy mall will bring the ground -into very good condition. Next to having the turf smooth, the most -important point is to have the ground level; and yet a very good game -can be played on an uneven or sloping ground, if in making the strokes -and determining the necessary force and direction, a proper calculation -is made with reference to the condition of the surface over which the -ball is to pass. It in fact shows more skill to play a good game upon a -poor ground than upon a perfect one. - - -GENERAL PRINCIPLES OF THE GAME. - -TWO players being designated captains or chiefs, one for each side, -sides are chosen in the usual manner. The privilege of first choice -of players is very conveniently decided between the chiefs by each -placing his ball under the first bridge and striking for the starting -post; the one who thus drives his ball nearest the post gaining the -first choice. - -The chief who has the first choice takes the ball corresponding in -color with the top of the post, and the other chief the next ball -according to the order of the colors on the posts, while the remaining -balls are given to the other players in the order in which they are -chosen. (See remark under Rule II.) - -[Illustration] - -Eight persons can play, but a game of four or six is the most -interesting. If four or more play, each player uses but one ball; but -if only two play, the game is improved by each player taking two balls -and playing them alternately as usual. If there be an odd number of -players—either three, five or seven—the players play against each -other individually, or one person takes two balls and plays each in its -proper turn. - -Assuming that each player has a ball and a mallet, that the bridges -are arranged in either of the three positions given in diagrams Nos. -1, 2 and 3, we now come to the mode of playing the game. The object is -to drive the balls through all the bridges, in the direction indicated -by the dotted lines on the diagrams, and to strike the two posts. The -side, all of whose members succeed in performing this feat first, wins -the game. Now although this is the chief object of the game, yet the -act from which it derives its title, to wit: “Croquet,” is of much -greater importance than would at first be imagined. If a player hit -with his ball any of the others, he is allowed to place his own against -the ball he has struck, and setting his foot upon his own ball, he hits -it with the mallet, and the force of the blow drives off the other -ball while the playing ball remains stationary. As a player is allowed -to Croquet either friend or foe, it is evident that he can do a great -deal of damage or service, according to his inclination, since he is at -liberty to drive the ball in any direction he pleases. - -The Roquet-Croquet is an operation still more interesting than the -Croquet as it is susceptible of much greater skill in its execution. -This is accomplished the same as the Croquet, except that instead of -holding one ball firmly by placing the foot upon it, both balls are -left free to be driven together by the blow of the mallet. By practice -and a skillful placing of the balls a stroke may be made that will -cause the balls to diverge in any forward directions the player may -desire. - -In commencing a game, the first chief places his ball one-third the -distance from the starting post to the first bridge, and endeavors, -by striking it with the end of his mallet’s head, to drive it through -the first bridge. If he succeeds, he continues his turn and attempts -to send the ball through the second bridge, and then through the -third, for driving the ball through a bridge, or hitting another ball, -generally imparts the privilege of an additional stroke. - -When one ball driven by a blow of the mallet hits another, it is said -to make _Roquet_ on that ball. - -When the first player, who should be black, has missed, white goes on, -and the other players follow in the order of the colors on the posts, -and very soon comes the opportunity to use the great advantages of the -Croquet and Roquet-Croquet. Often when a player has his ball in a good -position in front of a bridge, another will hit it, and then by Croquet -or Roquet-Croquet drive it to the other end of the ground, compelling -it perhaps to take two or three turns before it can regain its former -position. Occasionally two or three balls lie close together, and one -is struck by a ball which was some distance off. The player is now -allowed to place his ball by the side of the one it has struck, thus -gaining position near the others, so that after croqueting it he is -almost sure of hitting the others. - -As an example of the use of the _Roquet-Croquet_, we will take diagram -No. 1, and suppose that white plays with success through the first -two bridges, and that black lies somewhere beyond the second bridge. -Now if there was no other ball near, it would be impossible for white -to continue to play and pass through the third bridge, because it -will require one stroke to get in position for that bridge: but if -white can _Roquet_ black, then she can _Roquet-Croquet_ with black up -in front of the third bridge, and then, as the Roquet gives another -stroke, play through the third bridge and perhaps through the fourth -and fifth. If below the fifth she should find, say the brown ball, -to _Roquet-Croquet_ with, it would be possible to get in front of -No. 6, and then down to the turning post and hitting that return up -through No. 6. Here the brown ball may again be roqueted, and then -roquet-croqueted, into position for No. 8, and so on. This of course -could only happen if _white_ was an extra player and the other balls -were in very favorable positions, but it serves as an illustration -of the use of this very valuable stroke. The player who reaches the -turning-post first, has great advantages for a time, for as soon as -he touches it, he commences his return journey, and meeting the other -players on their way to the farthest point of their journey, he is able -to croquet them and considerably impede their progress. - -When a player has passed through all the bridges, he becomes what is -called in the technical language of Croquet, a rover, and is privileged -to rove about all over the ground, croqueting his friends and foes. -It is therefore obvious that a good player can prove, when thus -situated, of immense advantage to his side, and should generally avoid -hitting the starting post till all on his side have passed through -the last bridge. The excitement towards the end of the game, often -becomes intense, and each stroke is watched with the keenest interest. -Gradually, one by one, the players hit the post, until perhaps only two -remain, and now occurs an opportunity for skillful play. The object -of both is first to hit the post, and failing in that, to keep as far -off his adversary as he can. Each endeavors, at the same time drawing -nearer to the great object in view, to keep the post between his and -the other ball. At length one plays at the post, misses it, and sends -his ball near his adversary, who first hits it, next croquets it away, -and then strikes the post, and wins the victory. - - -ARRANGEMENT OF THE BRIDGES. - -Diagram No. 1. - -THIS arrangement of the bridges, which is the simplest of the three we -have drawn, is the one which we recommend for all eight handed games, -or for beginners. - -[Illustration: DIAGRAM No. 1.] - -The figures marked on this diagram are intended merely to furnish a -relative scale of distances. Thus with these distances the posts are 53 -feet apart, which is perhaps more than is desirable, unless the ground -is very perfect, or the players experts. - -The course of the ball is indicated by the dotted lines, and the arrows -show the direction in which the balls proceed on the round. It will be -observed that bridge No. 3 is to the left of No. 2. As represented in -this diagram, bridges 3 and 10 are set a little in advance of 2, and 6 -a little in advance of 5 and 8. Some players prefer that 10, 2 and 3 -should be in a straight line, and the same with 8, 6 and 5. We prefer -to have 3 and 10 enough in advance of 2 to make it just possible for an -expert by a _very_ superior stroke to run No. 2 and get position for -No. 3 at one blow, and the same with 5, 6 and 8. In short, we would -have the arrangement such that it is not absolutely _impossible_ for -a player to make the grand round in one tour, without the aid of the -roquet. This of course would very rarely be accomplished,—never, -except by extraordinarily skillful play,—yet it should be made -possible, but very difficult. - -[Illustration: DIAGRAM No. 2.] - - -Diagram No. 2. - -In this the same number of bridges are used, as in the first diagram; -but the bridges numbered respectively 4 and 9, instead of being placed -parallel to the others, are now at right angles to them; thus in -playing from 3 to 4, the ball must keep to the left of 4, and then -pass through it, from the outside of the game; a much more difficult -arrangement than the first, and somewhat more difficult than the third, -although at first sight it may not appear so. - - -Diagram No. 3. - -In this, the third diagram, it will be seen that the two center side -bridges are done away with, and that one is placed in the center of -the ground instead; but although in the play we now require one bridge -less than in the former diagram, yet the player will have to pass -through the same number of bridges as before, since he travels twice -through the bridge in the center, once on his way to the turning post, -and once on his return. This is the best arrangement of bridges for a -four-handed game. As the player’s knowledge of Croquet increases, many -other positions will suggest themselves; but those we have presented -are the simplest, and are the diagrams in general use at the present -time. Some authors recommend the invariable use of diagram No. 1, as -being sufficiently difficult, especially when bridges 10, 2 and 3 are -on a line. - -[Illustration: DIAGRAM No. 3.] - - -RULES OF THE GAME. - - -Striking the Ball. - -I. AT the commencement of the game the ball should be placed on a line -drawn from the starting post to the center of the first bridge, and at -a distance from the starting post, equal to one-third the distance from -the post to the bridge. - -[The rule usually given, i. e., to place the ball a mallet’s length -from the post is very well for a large ground where the distance from -post to bridge is nine or ten feet, but for a small ground it brings -the ball too near the first bridge.] - -1. In striking, the mallet should be used with one hand, and the -striker should stand on one side of, and not behind the ball. - -2. The ball _must be struck_ and not pushed—a push never being -allowable under any circumstances; and the blow must be given with the -_face_—never with the side—of the mallet head. - -[A ball can never get into such a position on a croquet-ground that -it cannot be struck in some direction, and if it is in a bad position -it is either the fault or the misfortune of the player owning the -ball—which he is not to be allowed to rectify by a push, for that -would sometimes be rewarding bad play.] - -3. Whenever the mallet hits the ball, if it moves it however slightly, -it must be considered a stroke. - -4. The player may if he wholly miss his ball, strike at it again. - -II. The game is opened by the chief holding the ball corresponding in -color with the top of the post, and the players on the two sides follow -alternately according to the order of the colors on the posts. - -[The playing must necessarily be in the order of the colors on the -post. But on some grounds the chief is allowed to assign the balls to -the several players on his side according to his own choice; thus -according to this rule the chief is not compelled to play the first -ball. We do not advise this practice as there is generally some real -or fancied difference in the mallets and hence a chief is liable to -offend some one in the distribution of the materials. There are other -objections which we have not space to discuss.] - -1. A player who misses the first bridge is called a booby, and at his -next turn must strike his ball from the position to which it last -rolled. - -[The above rule is based upon the almost universal practice of the best -players in this country. The following is gaining favor in England: “A -ball missing the first bridge must be immediately picked up and played -from the starting spot, at its next turn.” Both practices have peculiar -advantages over the other, which we have not space to discuss.] - -2. A roquet made _upon_, or _by_, a booby does not entitle the player -to an extra stroke; neither can a booby croquet or be croqueted. - -3. If any ball is played out of its proper turn and discovered before -the play of another ball has commenced, the misplayed ball may be -returned to its original place, or permitted to remain in that to which -it has rolled, at the option of the chief of the opposing side. But -if the mistake is discovered before the player has finished his turn -and the misplay be allowed, the misplayer shall be permitted to finish -his turn. If the chief does not permit the misplay, the misplayed ball -shall be returned to its original place, and any damages sustained or -advantages gained by either side shall be canceled. If the misplay -is not discovered before the play of another ball commences, or is -allowed, the misplayer cannot use his next turn as he has anticipated -it. - -4. If a player use a wrong ball, all the balls moved by such play must -be returned to their former position, and the misplayer lose his turn. - - -Running a Bridge. - -III. A player continues to play so long as he makes a point in the game. - -1. Making a point is running one or more bridges, striking the -turning-post in order, or performing the roquet (except on a booby, or -on a ball the second time in one tour without making an intervening -_step_.) - -2. A player is allowed but one extra stroke, even though he make roquet -and run one or more bridges at one stroke. - -3. If a player makes two steps at one stroke, he may take position one -mallet’s length or less, in any direction from where the ball rested. - -4. If a player makes three steps at one stroke, he may take position as -above up to two mallet lengths or less. - -IV. The bridges must be passed through in their regular order in the -direction of the course. (This is called running a bridge.) - -1. A ball runs a bridge when it passes through it in order and course, -by a direct blow, by roquet, roquet-croquet, croquet or concussion. -Hence, for a player to drive his ball through a bridge out of its -regular order, or from the wrong side counts no more than to pass over -any other part of the field. - -2. A ball is not through its bridge when the handle of the mallet laid -across the two piers of the bridge upon the side from whence the ball -came, touches the ball without moving the bridge. - -3. A ball passing under its bridge in the wrong direction is not in -position to run the bridge until it has passed clear through according -to the foregoing rule. - -4. A ball lying under a bridge is not in position for that bridge -if it has been so placed by the hand for the purpose of croquet or -roquet-croquet, no matter from what position it may have been taken. - -[If the ball was taken from the back of the bridge, it would not be in -position, having come from the wrong side, as above. Now if it should -be allowed that a ball may be taken from the front of the bridge and -placed under the bridge without losing position, as would at first seem -proper, then the question immediately arises as to a ball when taken -from a position directly on a line with the two piers of the bridge, -thus coming from neither front nor back. This question can rarely be -settled without dispute, to avoid which we have considered the adoption -of the above rule as most judicious.] - -V. Tolling the _turning_ post is in all respects equivalent to running -a bridge, but the post may be tolled from any quarter. - - -Striking Out. - -VI. A ball, after it has run all the bridges, may hit the starting post -either by a blow from its owner’s mallet, by roquet, roquet-croquet, -croquet or concussion, and is then a _dead ball_, and must be -_immediately_ removed from the field. - -1. A player who having run all the bridges strikes the starting post, -is out of the game, his turn is omitted, and the play goes on as -before. If, instead of striking the post, he continues to play, he is -called a _rover_. - -2. When all the balls on one side have made the grand round and hit the -starting post, that side has won the game. - -[Some authors on Croquet require the ball to be placed on the _spot_ or -starting point before continuing play as a rover. But this rule seems -to be entirely arbitrary—useless—and to have been adopted for no -sufficient reason.] - - -The Rover. - -VII. If the roquet-croquet is allowed to all players alike, the rover -is governed entirely by the same laws as other players. - -1. Therefore, a rover having completed the grand round, and having no -other steps to make (except _stepping out_, when of course his play -ceases,) can only acquire the right to continuance of play by the -roquet. He may (after roquet upon it) croquet or roquet-croquet each -ball once only during a tour. Roquet upon a ball the second time during -a tour does not entitle him to a continuance of play. - - -Roquet. - -VIII. A ball roquets another when it comes in contact with it by a -direct blow of the mallet, or rebounds upon it after the blow, from any -fixed obstacle of the ground or from another ball. - -1. A ball having roqueted another ball, except a booby, is at liberty -to croquet or roquet-croquet it or proceed on its round; providing that -the playing ball has not already in that tour roqueted that same ball -since making a step on the round. - -2. A ball may roquet another ball twice between two consecutive steps, -but the second roquet does not entitle the player to a continuance of -play. - -3. Any player in his turn is at liberty at any time to make roquet on -_any_ ball on the ground. - -4. Roquet does not entitle a booby to a continuance of play. - -5. Roquet on a booby does not entitle the playing ball to a continuance -of play. - -6. A ball having made roquet and declined the croquet, may continue its -play either from the position to which it has rolled after the roquet, -or from the side of the roqueted ball. - -7. If a ball roquet another and thereby gain the privilege of croquet, -and afterwards, at the same blow, run a bridge; it may croquet the -roqueted ball, then proceed to roquet it again, then croquet again and -proceed on its round; or waiving either or both croquets, or the last -roquet and croquet, may proceed on its round. - -[Thus supposing the playing ball roquets a ball that it has not -roqueted since making a step, and _afterwards_ at the same blow runs a -bridge; it of course has a right to croquet the roqueted ball; then as -that roquet was made _before_ the playing ball run its bridge there is -no reason why it cannot again roquet and croquet the same ball. But had -the playing ball _first_ run a bridge and afterwards at the same blow -roqueted a ball then it can have but one croquet according to Rule IX.] - -8. The continuance of play is gained by virtue of the roquet, and not -of the croquet. The croquet is merely a privilege consequent upon the -roquet. Therefore to waive a croquet does not terminate the play. -This principle once fixed in the mind will avoid much confusion in -understanding and interpreting the rules. - -[One author on Croquet, assumes to propound a set of rules on double -points which are entirely new and at variance with all previously -established principles of the game, inasmuch as they allow a player -to waive any point made or privilege gained. It is an established -fact in Croquet that a player may waive any _privilege_ that he has -acquired—but it is also as well established that a _step_ once made -can not be taken back. The beauty of Croquet is in a great degree due -to its simplicity, and the granting of the above right to players adds -one-half to the difficulties of the game, without adding in the least -to its interest. A game of Croquet in which all the players except -the rover are denied the privilege of roquet-croquet, and in which -the right to waive a step is introduced, becomes at once twice as -intricate, requires double the rules to explain it, and loses one-half -its interest.] - - -The Croquet and Roquet-Croquet. - -IX. A player may croquet or roquet-croquet any number of balls -consecutively; but he can croquet or roquet-croquet only those balls on -which he has made roquet, and roquet on the same ball the second time -in one tour without an intervening step does not entitle the player to -a croquet. - -1. If a player in the act of croqueting does not _separate_ the balls, -he is at liberty to take the stroke over again. - -[Instead of the above the following rule is often given. A croquet is -completed when the mallet makes a perceptible (that is an audible) blow -against the croqueting ball, whether that to be croqueted move from its -place or not. This rule gives rise to frequent disputes whether the -blow was perceptible or not, and is not as generally acceptable as the -one we have given.] - -2. If a player in executing the roquet-croquet does not move the -croqueted ball from its position, his tour of play ceases, unless by -the same stroke he makes a point. - -[If it is in dispute whether or not the ball has been moved as above -required, the question shall be decided by the umpire if there be one, -if not, by the chief of the side opposing the player. Some authors -allow the roquet-croquet to the rover only—but as it is one of the -most scientific operations of the game, the majority of players are -not willing to give it exclusively to the rover, especially when it is -considered that a person who is able to become an early rover, will -naturally have advantage enough without any extra favors. Further, -the argument that the universal use of the roquet-croquet tends to -perceptibly prolong the game has been proved by actual test to be -without foundation.] - -3. If a ball is croqueted either through its own bridge or upon the -turning or starting post when in order, a point so made holds good. - -4. In making ricochet the player is at liberty to croquet either a part -or all of the balls roqueted; but the order of croquet must be that of -the ricochet,—the player, however, has only one additional stroke, and -not one for each ball he has roqueted. - -5. If a ball when croqueted or driven through its own bridge from the -rear roll back through the bridge, it has not run that bridge. - -[This rule is based upon the principle that all questions as to -position can only be satisfactorily determined when the ball is not in -motion. In the case put it would frequently be impossible to decide -whether the ball when it began to roll back was in position or not.] - -X. The laws that govern Croquet all apply to Roquet-Croquet, except as -to points for which special rules are herein given. - - -The Flinch. - -XI. If a ball flinch in the execution of the croquet, it is considered -as merely an accidental roquet-croquet, and subject to the same laws. -In this case of course any point made or advantage gained by either -ball holds good. - -[By adopting this rule all unpleasant difference of opinion as to the -proper positions of the balls is avoided, and as the origin of the -roquet-croquet was this very practice of placing the foot lightly -upon the playing ball and then allowing both balls to be moved -together—there seems to be no objection to the rule.] - -1. The above rule only applies in a game where the roquet-croquet is -allowed to all players. - -2. In case the roquet-croquet is only allowed to the rover, the -following rule applies: If the player’s ball flinch in executing the -croquet, he forfeits the remainder of his tour, and no point made by a -flinching ball is valid, and the balls are considered as accidentally -displaced and are replaced in accordance with the rule applying to -accidentally displaced balls. - -XII. A ball accidentally displaced must be returned, by the chief of -the side opposed to the person displacing it, to the place where it was -lying before the play proceeds. - -XIII. If a ball be hit off the ground it is to be placed _at once_, -and before the play proceeds, twelve inches within the limit of the -boundary and at a point nearest to where it stopped, which of course -causes the ball to be brought in _square_ with the boundary. - -XIV. If a ball in its progress over the ground, be interrupted by the -person or mallet of an enemy the ball may be placed by the chief of the -side owning the ball, in such position as he may judge it would have -rested had it not been interrupted in its progress. If interrupted by -the person or mallet of a friend the ball may be placed by the chief -of the _opposing side_ in such position as he may judge it would have -rested. - -_A person not taking part in the game, should never be within the -bounds of a croquet ground when a game is in progress_—but should such -person accidentally be in such a position and either displace a ball, -or interrupt it in its progress—such person shall be considered as an -enemy to the owner of the ball—and the ball be replaced according to -rules XII. and XIV. - - -SUGGESTIONS TO BEGINNERS. - -KEEP YOUR TEMPER—_and remember when your turn comes_. - -Make good use of the privilege of croquet and roquet-croquet, and not -consider it the sole object of the game to run the bridges,—and yet it -is not well to too much neglect the bridges, as they must all be run -before you can become a rover. - -Practice the roquet-croquet whenever an opportunity offers, as it is -susceptible of more scientific playing than any other stroke. - -Accustom yourself to be guided strictly according to established rules -as far as you are informed on the subject. - -Do not attempt to use a kind of push and call it a stroke although it -may not be expressly forbidden in some manual of croquet. - -Avoid acquiring the habit of standing behind the ball and holding -the mallet in a perpendicular position with both hands when making -a stroke, even though you play with those who do not object to -the practice, as it will not be allowed on any well-regulated -croquet ground. In making a stroke grasp your mallet firmly; strike -squarely—take care that your wrist does not turn or twist, (unless -you wish to give a twist to your ball,) and after getting your aim -look rather at your mark than at your ball when giving the blow. After -calculating distance, direction, &c., there is no more use in looking -at your ball except to be sure you can hit it, than in throwing a -stone, to look at your hand, rather than the mark. - -If the enemy have an expert rover it is generally advisable to use -every effort to strike him out. - -As an offset to this method of play it is often advisable to neglect to -make the last bridge till near the close of the game, as in this way -you can venture as near the starting post as you please without the -fear of being deaded. - -It is often the case that you and an enemy may both be in position for -the last bridge. In such a case as a general rule roquet him, then -croquet or roquet-croquet through the bridge, roquet again and croquet -him against the starting post, thus depriving the other side of a -rover, and gaining the advantage of bringing two of your own side into -consecutive play. - -Leave your own ball as near your friend and as far from an enemy as -possible. - -Accustom yourself as much as possible to strike with one hand, as it is -much more graceful, and many players allow no other blow. - -The ladies will very much oblige all their associates in croquet by -avoiding long dresses, which are continually dragging the balls about -over the ground greatly to the annoyance of the players and disturbance -of the game. - -To the gentlemen we would say it is no proof of skill in executing the -croquet, to swing your mallet with both hands, and give a blow hard -enough to kill an ox. If you want to do that sort of thing—it would be -more agreeable to all concerned for you to go off alone somewhere and -split wood. An easy skillful stroke will send a ball anywhere within -the bounds, and a ball out of bounds may be brought in, so nothing -is gained by “sledge hammering,” except injuring the implements, -irritating the players and delaying the game. - -In executing the roquet-croquet the stroke may be varied so as to -produce three very different results. First, if it is desirable to have -the secondary ball go much further than your own, strike a _sharp_, -_quick_ blow, proportioned in force to the distance you wish your own -ball to go, checking the force the instant the mallet hits the ball. -Secondly, if you wish to send both balls along together strike a more -sweeping blow, (not a push) permitting the mallet to have its full -swing. The difference in these two blows is much more easily discovered -by the player than described with the pen. - -The third stroke may partake of the nature of either of the above, but -differs in the fact that the blow of the mallet is not delivered in a -line with the centers of the two balls, but partially to one side of -the rear ball, thus producing the splitting stroke, i. e., sending the -two balls in courses diverging from each other. This is much the most -difficult stroke of the three. - -In procuring a set of croquet materials be sure that you know what you -want, or else buy a set manufactured by some recognized manufacturer. -It may seem a very simple thing to have a set of mallets, &c., made -from a description, but having tried the experiment we can testify that -to procure suitable lumber—well seasoned, have mallets well shaped, -the handles serviceable and not bungling, the balls _perfectly round_, -the bridges well formed and proportioned—and the painting brilliant -and properly arranged is a very difficult matter. An English author on -this subject says, “It was our fortune (or rather misfortune) when in -the country last year to take part in a game of Croquet played with -home-made materials. We only hope that it will never be our lot to play -with such things again. The mallets were so large they had to be used -as one would a scythe in mowing grass. The heads, instead of tapering -at the center, bore a great resemblance to an ale barrel on a small -scale, and were so large that if one attempted to croquet, one was sure -to hit one’s own foot instead of the ball. These, by-the-by, were any -shape but round. They bobbed up and down when in progress, and scarcely -ever went in the direction which it was intended for them to go.... -Such was the unsatisfactory result of the combined labors of the local -carpenter and blacksmith. We therefore earnestly recommend our readers -to eschew the use of home-made sets of Croquet altogether.” - -We endorse the foregoing statement, adding that responsible -manufacturers in various parts of the country are now furnishing -excellent sets of implements at a cheaper rate than individuals can get -up equally good sets for themselves. There is therefore no economy in -using a home-made set. - -_Parlor Croquet_ is a very good substitute for the Lawn game, and may -be enjoyed in a winter day or evening very much as canned fruit or -preserved flowers are enjoyed as excellent and beautiful substitutes -for the delicious fruits of autumn and fragrant flowers of summer. But -as the canned fruit is insipid when used beside the fresh fruit of -autumn, so will the parlor game seem when attempted in the season of -the field sport. There are two kinds of Parlor Croquet—which may be -termed Carpet Croquet, and Table or Board Croquet. - -The Carpet Croquet is played exactly like the field game and with -similar materials except that they are usually smaller, being reduced -in size in the same proportion that the space available in a room is -smaller than the Lawn Croquet ground. The same relative proportion -in the size of materials should be preserved as that given for the -materials of the Lawn game—assuming as a standard—a ball from 2¼ -to 2½ inches in diameter. There are several ingenious devices for -fastening the bridges to the floor or carpet. Each one of those which -we have seen have some objections; but those which are fastened with -tacks are the simplest and we consider them the best. - -_The Board game_ is played on a board of any convenient size—say five -feet long and three feet wide—covered with baize or flannel, and -surrounded by a ledge or thin strip projecting above the top surface -three-fourths of an inch. - -The bridges and posts are set in this board in the same manner that the -larger bridges are set in the ground on the lawn. The balls should be -about one inch in diameter and may be of glass—but box-wood or ivory -are better. - -The size of the mallets should be in proportion to that of the -balls—with handles about eight inches long. - -The method of play is the same as in Lawn Croquet, except the croquet -is executed by placing the finger instead of the foot on the playing -ball. The rules are the same, except that, _first_, a player driving -his ball off the board terminates his tour of play by that stroke and -the ball must be placed immediately on the starting spot; _second_, -making two or more steps at one stroke does not entitle the player to -the privilege of taking position up to one or more mallet’s length. - -The Board Croquet is the most popular for the reason that it does not -injure the furniture in any room, while the Carpet Croquet, although -more like the Lawn game, requires a large room—well cleared—or there -will soon be an action of Croquet _vs._ furniture. - - -VOCABULARY. - -A BOOBY.—A ball that has attempted to run the first bridge and failed. - -BRIDGES OR ARCHES.—The iron hoops or bows through which the balls pass. - -BRIDGED BALL.—A ball that has run the first bridge. - -CONCUSSION.—The displacement of a ball by another driven against it -by roquet, croquet, ricochet, or roquet-croquet, and not hit directly -either by the mallet or by the playing ball. - -CROQUET.—(Pronounced Cró-kay.) The title of the game. - -THE CROQUET.—Any ball having struck another, is taken up and placed in -contact with the ball it has struck. The player sets his foot upon his -own ball, pressing firmly so as to hold it in place, and with a blow -of his mallet, delivered upon his own ball, drives the other ball in -whatever direction he may desire. (See cut, page 19.) - -DEAD BALL.—One that has made the grand round and hit the starting post. - -DISTANCED.—A ball is distanced when at the termination of the game it -has not tolled the turning post. - -DOWN.—The course from the turning post to the starting post. - -A FLINCH.—When in the croquet, the playing ball is driven from under -the foot by the blow of the mallet, it is called a flinch. - -FRONT OF A BRIDGE.—The side from which the ball must proceed in -running it, and with the central bridges is not constant, but is -decided in each case by the course of the ball under consideration. - -GRAND ROUND.—A ball has made the grand round when it has run all the -bridges and tolled the turning post, and is then a rover. - -PLAYING BALL.—The ball struck with the mallet. - -POINT.—A player makes a point, by running a bridge or tolling a post, -or by roqueting a ball that he has not previously roqueted during the -tour—since making the step—or in other words, by roqueting a ball -under such circumstances as would entitle him to the privilege of the -croquet. - -POSITION.—A ball is in position when it lies in front of its proper -bridge with a possibility of running it by a single blow of the mallet. - -PROPER BRIDGE.—A bridge which it is a player’s turn to run next in -order is said to be that player’s bridge or his proper bridge. - -PUSH.—A stroke in which the mallet remains in contact with the ball -after the instant of contact. - -RICOCHET.—(Rick´-o-shay.)—A ball making Roquet on two or more balls -by the same blow of the mallet. - -ROQUET.—(Ro´-kay.) A ball makes Roquet on another ball when proceeding -from a blow of the mallet it comes in contact with it either directly -or by rebounding from a fixed obstacle in the ground or from another -ball. - -[Some writers define the Roquet as the contact of the playing ball with -another ball under such circumstances as to constitute a point. This is -merely a matter of choice regarding the facility of defining the other -operations of the game. We consider that our definition renders the -whole matter much the most simple.] - -ROQUET-CROQUET.—The same as Croquet, except that the playing ball is -not held under the foot, but both balls are free to move in accordance -with the blow of the mallet. - -A ROVER.—A ball that has run all the bridges and has not hit the -starting post. - -STARTING POST.—The stake from which the play proceeds. See diagram. - -A STEP.—Running a bridge, or tolling the turning post. - -STRIKING OUT.—A ball struck against the starting post after having run -all the bridges in their proper order, is struck out, and is out of the -game. - -THE TURNING POST.—The post opposite the starting post. - -TOLLING THE TURNING POST.—Striking the turning post in its proper -order. - -UNDER A BRIDGE.—A ball is under a bridge when if the mallet handle is -placed across the piers of the bridge on each side it will touch the -ball in both positions of the handle. - -UP.—The course from the starting post to the turning post. - -[Illustration] - - - - -Base Ball. - - -THE game of Base Ball is fast becoming with Americans what Cricket -has already become with the English, a national game. The sport is -both graceful and invigorating, and requires when properly played the -possession both of muscularity of body and strength of nerve. The -exercise attendant on this game develops all the physical powers and -calls into action every muscle and sinew in the human frame. There are -few sights more exhilarating and captivating than a well contested -match game between evenly matched clubs. Such a spectacle rarely fails -to draw admiring throngs, and to be considered a first class player -is a distinction of which any American youth may feel proud. As our -readers will find this subject fully treated in professional works, we -do not propose to enter into any lengthy description of the origin or -progress of the game of Base Ball. We shall therefore simply state that -this game was derived from the old English game of Rounders, reduced -to a system, and governed by rules and regulations adopted by “The -National Association of Base Ball Players,” held in New York, December -13, 1865. These regulations for the convenience of our readers we here -insert. - -[Illustration] - - -RULES OF THE GAME. - -SECTION 1. The ball must weigh not less than five and one-half, nor -more than five and three-fourths ounces avoirdupois. It must measure -not less than nine and one-half, nor more than nine and three-fourths -inches in circumference. It must be composed of India rubber and yarn, -and covered with leather, and, in all match games, shall be furnished -by the challenging club, and become the property of the winning club as -a trophy of victory. - -SEC. 2. The bat must be round, and must not exceed two and a half -inches in diameter in the thickest part. It must be made of wood, and -may be of any length to suit the striker. - -SEC. 3. The bases must be four in number, placed at equal distances -from each other, and securely fastened upon each corner of a square, -whose sides are respectively thirty yards. They must be so constructed -as to be distinctly seen by the umpire, and must cover a space equal to -one square foot of surface. The first, second, and third bases shall -be canvas bags, painted white, and filled with some soft material; the -home base and pitcher’s point to be each marked by a flat circular iron -plate, painted or enameled white. - -SEC. 4. The base from which the ball is struck shall be designated the -home base, and must be directly opposite to the second base; the first -base must always be that upon the right-hand, and the third base that -upon the left-hand side of the striker, when occupying his position at -the home base. And in all match games, a line connecting the home and -first base and the home and third base, shall be marked by the use of -chalk, or other suitable material, so as to be distinctly seen by the -umpire. - -Many of our clubs have an iron quoit for the home base, that is in -direct violation of the rule which states that the home base must be -marked by “a _flat_ circular iron plate.” Those we allude to rise in -the center, and the consequence is, when a ball touches the base, it -flies off at a tangent, instead of rebounding as if it had touched the -ground, as it would do were it flat, as the rule prescribes. - -SEC. 5. The pitcher’s position shall be designated by two lines, four -yards in length, drawn at right angles to a line from home to second -base, having their centers upon that line at two fixed iron plates, -placed at points 15 and 16 1-3 yards distant from the home base. The -pitcher must stand within the lines, and must deliver the ball as near -as possible over the center of the home base, and for the striker. - -[It will be seen that the rule requires the ball to be pitched as near -as possible over the home base, _and for the striker_; the pitcher, -therefore, has no right to pitch the ball to the catcher especially, as -is often done when a player is on the first base, and umpires should -see that the rule is enforced. - -This important change was made by the Convention of 1863. The object -being to do away with the unfair style of pitching that was in vogue -during 1861, ’62, and ’63, during which period those pitchers who -failed in achieving the success attained by the lamented Creighton, -offset their want of skill by trying to intimidate the batsmen by -pitching the ball _at_ them instead of _for_ them as the rules -require.] - -SEC. 6. Should the pitcher repeatedly fail to deliver to the striker -fair balls for the apparent purpose of delaying the game, or for any -cause, the umpire, after warning him, shall call one ball, and if the -pitcher persists in such action, two and three balls; when three balls -shall have been called, the striker shall take the first base; and -should any base be occupied at that time, each player occupying it or -them shall take one base without being put out. - -[In warning the pitcher before calling balls on him, all that is -necessary is to call “ball to the bat;” and if two balls are pitched -unfairly after such warning, “one ball” should be called, and if one -unfair ball be delivered after that call, then “two” and “three” balls -should be promptly called. A pitcher “repeatedly” fails if he fails -twice in succession; and he “persists” in his unfair delivery if he -pitch one ball after the first penalty has been imposed. In the first -innings of a game, a little more latitude is allowable, but afterwards -the rule should be strictly enforced to the very letter of the law.] - -SEC. 7. The ball must be pitched, not jerked or thrown to the bat; and -whenever the pitcher moves with the apparent purpose or pretension to -deliver the ball, he shall so deliver it, and must have neither foot in -advance of the front line or off the ground at the time of delivering -the ball; and if he fails in either of these particulars, then it shall -be declared a baulk. - -[The pitcher makes a baulk when he either jerks a ball to the bat, -has either foot in advance of the line of his position, or off the -ground at the time of delivering the ball, or moves with the apparent -purpose of pitching, without delivering the ball. The sentence “time -of delivering the ball” has been interpreted by the Committee on -Rules and Regulations of the National Association to mean, the period -when the last movement of the arm is made in delivering the ball; and -consequently if either foot of the pitcher be off the ground when this -movement is made—it being nearly simultaneous with the ball’s leaving -the hand of the pitcher—umpires must declare a baulk without being -appealed to.] - -SEC. 8. When a baulk is made by the pitcher, every player running the -bases is entitled to one base, without being put out. - -[The striker cannot take a base, on a baulk, as he is not considered a -“player running the bases” until he has made the first base and ceased -to be a striker.] - -SEC. 9. If a ball, from a stroke of the bat, _first touches the -ground_, _the person of a player_, _or any other object_, behind the -range of home and the first base, or home and the third base, it shall -be termed foul, and must be so declared by the umpire, unasked. If the -ball first touches the ground, either upon, or in front of the range of -those bases, it shall be considered fair. - -[Nothing is mentioned in Section 9 in reference to any ball that is -caught, either on the fly or first bound, after touching the side of a -building, a fence, or a tree. In such cases a special rule is requisite -before beginning a match.] - -SEC. 10. A player making the home base, shall be entitled to score one -run. - -SEC. 11. If three balls are struck at, and missed, and the last one -is not caught, either flying or upon the first bound, it shall be -considered fair, and the striker must attempt to make his run. - -SEC. 12. The striker is out if a foul ball is caught, either before -touching the ground, or upon the first bound. - -SEC. 13. Or, if three balls are struck at and missed, and the last is -caught, either before touching the ground, or upon the first bound. - -[The bound-catch, in this instance—the ball striking the ground back -of the home base—is considered in the light of a foul ball, as far as -the fly-game is concerned, and consequently when the ball is caught on -the bound, on the third strike, the player must be given out, the same -as he was last year under the bound rule.] - -SEC. 14. Or, if a fair ball is struck, and the ball is caught without -having touched the ground. - -SEC. 15. Or, if a fair ball is struck, and the ball is held by an -adversary on first base, before the striker touches that base. - -SEC. 16. Any player running the bases is out, if at any time he is -touched by the ball while in play in the hands of an adversary, without -some part of his person being on the base. - -[All that is requisite for a player to “hold his base,” according to -the meaning of the rule, is, for him to touch the base bag, no matter -whether the bag is in its position or not.] - -SEC. 17. No ace or base can be made upon a foul ball; such a ball shall -be considered dead, and not in play until it shall first have been -settled in the hands of the pitcher. In such cases players running -bases shall return to them, and may be put out in so returning in the -same manner as the striker when running to the first base. - -SEC. 18. No ace nor base can be made when a fair ball has been caught -without having touched the ground; such a ball shall be considered -alive and in play. In such case players running bases shall return to -them, and may be put out in so returning, in the same manner as the -striker when running to first base; but players, when balls are so -caught, may run their bases immediately after the ball has been settled -in the hands of the player catching it. - -[It will be seen by the above two Sections that a player running a base -on a foul ball must return to the base he has left _and remain on it_ -until the ball has been fairly settled in the hands of the pitcher. But -in case of fly-catches, a player running a base is only required to -return and touch the base, after which he can leave it at once and try -and make the next base. He must, however, touch the base _after_ the -ball has been caught.] - -SEC. 19. The striker must stand on a line drawn through the center of -the home base, not exceeding in length three feet from either side -thereof, and parallel with the line occupied by the pitcher. He shall -be considered the striker until he has made the first base. Players -must strike in regular rotation, and, after the first innings is -played, the turn commences with the player who stands on the list next -to the one who lost the third hand. - -[This rule should be strictly enforced by the umpire.] A striker has -no right to avail himself of the advantage derived from standing back -of the line of his position, thereby increasing the distance between -himself and the pitcher, and obtaining a better opportunity of judging -the ball. Besides which, a poorly hit ball which would strike the -ground in front of the home base—if the batsman stood on the line of -his base—and lead to his being put out, is changed to a foul ball by -his standing back of his base, and he thereby escapes the penalty of -his poor batting. - -SEC. 20. Players must make their bases in the order of striking; and -when a fair ball is struck, and not caught flying, the first base must -be vacated, as also the second and third bases, if they are occupied -at the same time. Players may be put out on any base, under these -circumstances, in the same manner as the striker when running to the -first base. - -SEC. 21. Players running bases must touch them; and, so far as -possible, keep upon the direct line between them; and must touch -them in the following order: first, second, third, and home; and if -returning must reverse this order; and should any player run three feet -out of this line, for the purpose of avoiding the ball in the hands of -an adversary, he shall be declared out. - -[A player failing to touch his base must be declared out—after an -appeal—unless he can return to the base before he is touched.] - -SEC. 22. Any player, who shall intentionally prevent an adversary from -catching or fielding the ball, shall be declared out. - -SEC. 23. If the player is prevented from making a base, by the -intentional obstruction of an adversary, he shall be entitled to that -base, and not be put out. - -[These two latter sections are, of course, intended solely for any -willful or unnecessary obstruction. It is impossible that a player, -while in the act of fielding a swiftly sent ball, can always be on the -lookout as to where his adversary is running, or that a player running -the bases can always be equally careful in regard to his preventing an -adversary from getting to his base. Some base players have a habit of -pushing players off their bases while in the act of receiving the ball. -Such unfair play should be punished by promptly inflicting the above -penalty.] - -SEC. 24. If an adversary stops the ball with his hat or cap, or if a -ball be stopped by any person not engaged in the game, or _if it be -taken from the hands of any one not engaged in the game_, no player can -be put out unless the ball shall first have been settled in the hands -of the pitcher. - -SEC. 25. If a ball, from the stroke of a bat, is held under any other -circumstances than as enumerated in Section 22, and without having -touched the ground more than once, the striker is out. - -SEC. 26. If two hands are already out, no player running home at the -time the ball is struck, can make a _run to count in the score of the -game_ if the striker is put out. - -SEC. 27. An innings must be concluded at the time the third hand is put -out. - -SEC. 28. The game should consist of nine innings to each side, when, -should the number of runs be equal, the play shall be continued until a -majority of runs, upon an equal number of innings, shall be declared, -which shall conclude the game. - -SEC. 29. In playing all matches, nine players from each club shall -constitute a full field, and they must have been regular members of -the club which they represent, and of no other club, _either in or out -of the National Association_, for thirty days prior to the match. No -change or substitution shall be made after the game has been commenced, -unless for reason of illness or injury. Position of players and choice -of innings shall be determined by captains, previously appointed for -that purpose by the respective clubs. - -[This rule of course excludes players belonging to Junior clubs from -taking part in Senior club matches, and likewise excludes players -belonging to any base ball club, but not cricket clubs, as cricket is a -distinct game of ball.] - -SEC. 30. The umpire shall take care that the regulations respecting -the ball, bats, bases, and the pitcher’s and striker’s position, are -strictly observed. He shall be the judge of fair and unfair play, and -shall determine all disputes and differences which may occur during the -game; he shall take special care to declare all foul balls and baulks -immediately upon their occurrence, unasked, in a distinct and audible -manner. He shall, in every instance, before leaving the ground, declare -the winning club, and shall record his decision in the books of the -scorers. - -SEC. 31. In all matches the umpire shall be selected by the captains -of the respective sides, and shall perform all the duties enumerated -in Section 30, except recording the game, which shall be done by two -scorers, one of whom shall be appointed by each of the contending clubs. - -SEC. 32. No person engaged in a match, either as umpire, scorer, or -player, shall be either directly or indirectly interested in any bet -upon the game. Neither umpire, scorer, nor player shall be changed -during a match, unless with the consent of both parties (except for a -violation of this law) except as provided in Section 29, and then the -umpire may dismiss any transgressors. - -[This rule was almost entirely ignored last season; for there was -scarcely a game played in which some one or other of the parties -abovenamed did not bet on the result. This year more care will be -taken to observe the rule; for those who bet large sums on the -leading contests of the season, intend to dispute the loss of their -bets in all cases wherein this rule is not observed; and they will -have the right—according to the best sporting authority—to hold -the stake-holder responsible in every instance in which he pays over -the stakes to the winner when this rule has been broken; for under -such circumstances the wager is not fairly won, unless those who bet -mutually agree beforehand to allow of such infringement of the rules of -the game.] - -SEC. 33. The umpire in any match shall determine when play shall be -suspended; and if the game cannot be concluded, it shall be decided by -the last even innings, provided five innings have been played, and the -party having the greatest number of runs shall be declared the winner. - -SEC. 34. Clubs may adopt such rules respecting balls knocked beyond or -outside of the bounds of the field, as the circumstances of the ground -may demand; and these rules shall govern all matches played upon the -ground, provided, that they are distinctly made known to every player -and umpire, previous to the commencement of the game. - -SEC. 35. No person shall be permitted to approach or to speak with the -umpire, scorers, or players, or in any manner to interrupt or interfere -during the progress of the game, unless by special request of the -umpire. - -SEC. 36. No person shall be permitted to act as umpire or scorer in -any match, unless he shall be a member of a Base-Ball Club governed by -these rules. - -This rule has never been properly observed. Every club should appoint -a regular scorer for the season, and he should be competent to record -the fielding as well as batting score of the game. Until this is done a -full analysis of the season’s play of a club can not be obtained. - -SEC. 37. Whenever a match shall have been determined upon between two -clubs, play shall be called at the exact hour appointed; and should -either party fail to produce their players within fifteen minutes -thereafter, the party so failing shall admit a defeat. - -[This rule has always been a dead letter. When clubs appoint a time for -calling the game, it should be promptly proceeded with after the time -allowed by the rule has expired.] - -SEC. 38. Any match game played by any club in contravention of the -rules adopted by this Association, shall be considered null and void, -and shall not be counted in the list of match games won or lost, except -a game be delayed by rain beyond the time appointed to commence the -same. Any match game can be put off by mutual consent of the parties -about engaging in the game. No match game shall be commenced in the -rain. - -[This is a new rule and was designed to obviate the difficulty -attending upon the repudiation of any rule of the game any two clubs -may mutually agree to ignore. Thus, for instance, any two clubs -agreeing to allow a member of either club to play in a match who has -not been a member for thirty days previous to a match, by this rule -cannot claim the ball won, or count the match played as a regular game. -The exception made in case of rain refers to that rule which requires a -game to be commenced within fifteen minutes of the time appointed.] - -SEC. 39. No person who shall be in arrears to any other club, or who -shall at any time receive compensation for his services as player, -shall be competent to play in any match. - -SEC. 40. Should a striker stand at the bat without striking at good -balls repeatedly pitched to him, for the apparent purpose of delaying -the game, or of giving advantage to a player, the umpire, after warning -him, shall call one strike, and if he persists in such action, two and -three strikes. When three strikes are called he shall be subject to the -same rules as if he had struck at three fair balls. - -[Section 40 is a rule that should be strictly enforced, as it refers -to a part of the game that is oft-times a very tedious and annoying -feature. How often do we see the striker, the moment his predecessor -has made his first base, stand still at the home base and await the -moment when the player on the first base can avail himself of the -failure of either the pitcher or catcher to hold the ball while tossing -it backward and forward to each other. Some catchers—chiefly among -boys, however—actually stand to the right of the home base purposely -for this style of game; and even when the pitcher and catcher are -inclined to do their duty, the batsman is not, and the latter is -frequently allowed to stop the progress of the game by his refusal to -strike at good balls, under the plea that they do not suit him, when -it is apparent to all that he simply wants to allow his partner to -get to his second base. In every respect it is preferable to play the -game manfully, and without resorting to any such trickery as this, -which not only tires the spectator, but detracts from the merit of the -game itself. Even under the new rule of pitching this unfair play was -practiced last season. It is to be hoped that umpires will do their -duty this year, and put an entire stop to it, which they have the power -to do.] - -SEC. 41. Every match hereafter made shall be decided by the best two -games out of three, unless a single game shall be mutually agreed upon -by the contesting clubs. - - -ON THE SELECTION AND MEASURING OF A GROUND. - -IT is of the greatest importance that a Base Ball ground should be -perfectly level and as free as possible from all obstructions in the -shape of irregularities, stones, &c., and a fine, short turf will be -found to add materially to the comfort of the players. The length of -the field should be 600 feet, while the breadth about 400. The home -base or batter’s stand, should be 70 feet from the head of the field. -The space between the home base and the catcher’s stand, must be firmly -packed earth as hard and level as a billiard table. The bases should -be square blocks of wood covered with a double thickness of canvas and -they are sometimes stuffed with hair to prevent accidents from falling, -and here let us suggest that one point be not overlooked in preparing -the ground, that is the erection of seats protected by an awning, for -the accommodation of the “fair sex,” who manifest great interest in -this game, and whose presence never fails to inspire the players with -renewed ardor. - -The bases should be firmly secured by leathern straps passing -completely around them. The simplest method of laying out your ground -is to first determine the point of your home base. Then measure down -the field 127 feet 4 inches, which will give the position of your -second base. Then taking a cord 180 feet in length and fastening either -end to the second and home bases, by grasping the center and extending -it to the right and left you have the points of your first and third -bases. You have now found a square whose sides are 90 feet. Then draw -a line from the home to second base, and at a point 45 feet from the -former will be the pitcher’s first point, and three feet further on the -same line his second point. - -Posts painted white, and elevated from the ground so as to be -distinctly seen by the umpire, are placed on a line with the home and -first base, and home and third base, at least 100 feet from the bases. -These are termed “foul ball posts,” and are used by the umpire in his -decisions in reference to foul balls. - -[Illustration: DIAGRAM OF BASE BALL FIELD.] - - -PITCHER’S POINT AND HOME BASE. - -BOTH the pitcher’s point and the home base are indicated by iron quoits -not less than nine inches in diameter and painted white, secured by -means of iron spikes from beneath. A plank six feet in length, two -inches in width, and inserted in the earth six or eight inches deep, -with enough edge above ground so that it may be distinctly seen by the -umpire, marks the line of the pitcher’s position. - - -ON THE USE OF THE BAT. - -ALL bats and balls used are made regulation size, and the bats of -different woods as may suit the striker. For a light bat the English -willow is prized by many, as its tough, close fibre recommends it to -the heavy batter, as well as the ease with which it can be wielded. -With those who prefer a heavier bat the ash and hickory are favorites. -A light bat is generally preferred to a heavier one as it meets a -swiftly pitched ball with greater promptness. There are nearly as many -different modes of handling the bat as there are players. We see some -grasping it with the left hand on the handle, and sliding the right -swiftly down the bat. Others take the bat near the middle, others swing -it with a long sweeping stroke, while still another class hold it as in -Cricket, pointing to the ground. - -It is not so necessary to strike a powerful blow as to hit with -quickness, and at the same time maintain a firm and natural position. -It is not the heaviest, who make the most powerful batters. Stand with -the foot on the line of the striker’s position, and be prepared to -strike as soon as the ball leaves the pitcher’s hand. - - -DESCRIPTION OF THE GAME. - -IN order to play the game of Base Ball, nine players of a side are -necessary, one side taking the bat and the other the field. Their -relative positions are generally determined by tossing a coin. A full -game consists of nine innings to each side, an inning lasting until -three players are “put out,” either at the bat or while running the -bases, as will be seen by referring to the rules. The side scoring the -largest number of runs during the game is declared victorious. The list -of fielders comprise catcher, pitcher, first, second and third basemen, -short stop, right, center and left fieldsmen. When each one is in his -appointed place, the captain of the fielding nine calls out “ready,” -to which the umpire promptly responds “play!”—and upon the first ball -which leaves the pitcher’s hand the game commences. - -The batsman or striker stands at the home base on a line drawn through -its center, parallel to one extending from first to third base -and extending three feet on each side of it. The batsman requires -considerable judgment to assist him in effectually striking at balls. -He must have a quick eye and ready hand to meet the deceptive pitching -of an experienced player. If these qualities are wanting he may find -himself suddenly caught out on a “foul tip,” or forced ingloriously -to retire on a “three strike.” As soon as the ball is struck, it is -the duty of a batsman to run at once for the first base, and should he -arrive there before the ball reaches the baseman he is said to have -“made his base.” Many players acquire the habit of pausing to watch the -course of a ball which may possibly fall within the “foul lines,” or if -an “air ball” be struck, waiting to see if it is caught by a fielder, -before he starts for his base. This is wrong, as if it prove a “foul,” -the umpire will announce it in time for the player to return, and -should the “fly ball” be missed or “muffed,” the player is well on his -way to the base. Upon reaching his base, the striker is succeeded by -the next batsman on the list, and when three of these are “put out,” -the fielders take their turn at the bat. A run is scored by a player -touching in succession the four bases, avoiding being himself touched -by the ball while running. A home run is made by his hitting the ball -to such a distance that he makes the four bases before it is returned. -In case of a tie at the close of the ninth inning the game may be -prolonged until one or the other of the contestants obtain the most -runs on even innings. - -Should anything occur to put a stop to the game, before five innings -have been played by each side the game is declared drawn. For all other -necessary particulars in regard to the game, the reader is referred to -the preceding rules and regulations. - - -FIELD POSITIONS. - - -1. The Catcher. - -THE duty of this player is to catch or stop all balls pitched or -thrown to the home base. To fill this position properly, requires no -small measure of dexterity and skill, always on the alert to secure -foul bounds and tips, with a vigilant eye to the bases, together with -precision and power in throwing to them, the catcher’s position is so -important that he is generally chosen captain of the nine. - -After a striker has made his first base, the catcher should advance -toward the pitcher and stand directly behind the bat so as to take the -balls before they bound and by throwing swiftly at the second base cut -off a player from making that base. When a ball is batted high to long -field and several fielders run to catch it, he should distinctly call -the fielder by name whom he thinks surest to take it, when the others -should pause, and strive only to take it on the bound, should it be -missed on the fly. - - -2. The Pitcher. - -THE position of the player is behind a line four yards in length, -drawn at right angles from the home to second base, at a distance of -45 feet from the former base. Four feet in the rear of this line, in -another parallel to it and in the space between these two must the -pitcher stand, immediately before, and while delivering the ball. -Both feet must be firmly planted on the ground while he is pitching, -and he should be careful not to jerk or throw the ball, but deliver -it directly over the home base and for the striker. The pitcher is -frequently called upon to supply the places of basemen while they are -fielding, and it is of great importance that he should be a ready -catcher and good fielder. A ball pitched at a high rate of speed, and -at the same time containing a bias or “twist” will prove the most -effective. As this position calls for a great amount of physical labor, -some person who is not easily fatigued should be selected to fill it. - - -3. The Short Stop. - -The duties of this player are many and arduous, and his position -the most dangerous one on the field. He stands in the center of the -triangle formed by the second and third bases and pitcher’s position, -though he should vary his position according to his knowledge of -different player’s style of batting. It is to this spot that nearly -all the swiftly batted ground balls come, which require more nerve and -practice to stop than any other. Upon securing the ball the short -stop should pass it swiftly to whatever base a player may be running -for, generally to the first. He should be on the alert to cover the -third base when the catcher throws to it; to back up the second when -receiving a ball from the fielders, and also to take balls on the bound -when missed by the third baseman or pitcher. - - -4. First Base. - -This player should be a splendid catch, and able to hold swiftly sent -balls, as he will be obliged to take them from the pitcher and short -stop, more frequently than any of the other basemen. He should play a -little below his base, and inside the line of the foul ball post in -order to secure balls which would otherwise pass him. As soon as the -ball is struck he should return to his base and with one foot upon it -stand ready to receive the ball from whatever player may have fielded -it. - -This is the only base where a player can be put out without being -touched by the ball, (excepting balls caught on the fly, or those that -are fouled) as it is only necessary that the baseman with ball in hand -touch the base before the striker reaches it. He should instantly -deliver the ball to the pitcher or to any base where it may be -necessary. - - -5. Second Base. - -Many ball players consider this position to be the most important point -in the whole game, and with good reason. It should never be filled but -by an accurate thrower, a sure catcher and a thorough fielder. As most -of the balls pass to the left of this base it is well to play in that -direction and a little back of it, although when a player reaches the -first base the baseman should instantly return. The second base can -give material aid to the pitcher by backing him up closely, and not -suffering a ball to pass them both if possible to stop it. If he fails -to catch a ball, let him by all means stop it in some way, in order to -put out a player by touching him, then return it to the pitcher. - - -6. Third Base. - -The position of third baseman is quite as important as any of the -others, as in this direction pass the majority of foul balls, which -with dexterity may be taken on the fly. As he has considerable fielding -to perform it is best that he play away from his base, except when a -player runs either to or from it. He should never attempt to hinder -a player from reaching his base, and this advice should be taken and -acted upon by all basemen. - - -7. Left Field. - -Here is a chance for the display of the finest of fielding, as half of -the air balls are sent in this direction. The left fielder is required -to be a swift runner, powerful thrower, and an excellent catcher in -order to acceptably fill this position. - - -8. Center Field. - -This player should be in readiness to back up the second base, and -should never go to long field except when a heavy hitter is at the bat. -He is required to possess nearly the same qualities which distinguish -the left fielder. - - -9. Right Field. - -It is difficult to find a poor place in any of the nine positions in -a well contested game of Base Ball, but if there is one which is at -all inferior to the rest, the right field should be so considered, -simply because balls are sent in this direction but occasionally. Yet -it is important that this field be occupied by one who understands his -business, as the batsman if he sees signs of weakness there, will soon -take advantage of his discovery by batting frequently into that quarter. - - -The Umpire. - -One of the most undesirable positions on a Base Ball field is that of -the umpire. He cannot fail to displease some one by his decisions, -though he govern himself by the strictest rules of the game. Great -firmness here is necessary in supporting a decision, and on any -doubtful point it is better that he adhere to his first impressions -as they are most likely to prove correct. No one should be allowed to -approach, or converse with the umpire during a game. He should close -both eyes and ears to everything outside of the game in progression, -and allow no remarks of whatever nature in reference to his judgment -to influence him in the least. All foul balls should be called in a -loud, clear and distinct tone of voice, and no member of a club should -question any decision, however incorrect it may appear to them, but -cheerfully acquiesce, and if corrections are to be made, there will be -plenty of time at the conclusion of the game. It is unnecessary to add -that the person acting as umpire should possess a thorough knowledge -of the game in all its details. He must keep a strict watch upon both -pitcher and striker, and if necessary call strikes or balls upon them -in accordance with the rules. His position is to the right of and -between the striker and catcher, on a line between the home and third -base. - - -The Scorer. - -The scorer may be regarded as the clerk of the game, and it is his -duty to record the score of each player, and make a full and complete -showing of each man’s standing throughout the game. The same person -should always be appointed scorer in all match games, and he should be -selected as well for his gentlemanly qualities as for his familiarity -with the game. - -[Illustration] - - - - -Archery. - - -ARCHERY was formerly one of the chief pastimes of England, and at -different periods in modern days it has been a fashionable amusement; -and in this country it has been practiced in some few localities. -Archery is a healthful and agreeable pastime, and ought to be revived -and in general use all over this country; it is scarcely excelled by -any recreation in which propriety permits young ladies to indulge. - -The attitude of an _accomplished_ female archer (for archery is not to -be acquired without much practice) at the moment of bending the bow -is particularly graceful; all the actions and positions tend at once -to produce a proper degree of strength in the limbs and to impart a -general elegance of bearing. - -Ladies usually shoot at a distance of about fifty yards. Two targets -are placed opposite each other, and the archers shoot from one to the -other; that is, when all the party have shot at one target, they walk -up to it, gather their arrows, and shoot back to the one they came -from, to which they again return when their arrows are expended; and so -on, shooting from one to the other in rotation. In that way not merely -the arm, but the whole frame, enjoys the benefit of salutary exercise -in the open air, while the mind is interested and the spirits elevated -by the sport. - -The attitude in shooting is a matter of much importance; the feet -should be a few inches apart, the neck slightly curved, so as to bring -the head a little downward; the face, but no part of the front of the -body, is to be turned towards the mark. The left arm must be held out -quite straight to the wrist, which should be bent inwards; the bow -is to be held easy in the hand; and the arrow, when drawn, should be -brought, not towards the eye, but the ear. The right hand should begin -to draw the string as the left raises the bow; when the arrow is three -parts drawn, the aim is to be taken. In doing this the head of the -arrow should appear to the right of the mark; the arrow is then drawn -to its head, and immediately loosened. - -To draw the arrow from the mark or ground it should be taken by the -hand, as near the head of the arrow as possible, and extracted in the -same direction as it entered. If these instructions be not attended -to, the young archer will break many arrows in drawing them from the -ground, or the mark, when she is so successful as to hit it. - -In selecting a bow the chief point to be attended to is the adaptation -of the bow to the strength of the person who is to use it. Bows, -arrows, and accoutrements can easily be obtained in any city. Any boy -can find good material for bows in almost any piece of woods, and -easily make a bow for himself or his lady friends. - -Targets are made of wood and generally painted in circles. The central -point is the one to be aimed at by the archers. - -The same dresses used at Croquet parties are desirable for Archery, and -add much to the graceful appearance of the Archer. - -Let us become skillful Archers and have Archery meetings as of old, and -let ladies and gentlemen, or boys and girls, contend for the prizes. - -It is useless here to give an elaborate essay on the history of -Archery; any person sufficiently enthusiastic to desire it, can easily -obtain English books containing detailed directions on Archery, and its -history from ancient to modern times. - -[Illustration] - - - - -Gardening, Flowers. - - -WE, as a nation, are not a happy, home-loving people. The “spirit of -unrest” pervades all classes. - -This enterprising, uneasy spirit, has been, and is, of benefit to us as -a comparatively new country, in settling and breaking our wild Western -lands. - -But the time has come, when it is well to curb that spirit, and -cultivate all quiet, home-loving influences. - -Therefore, I beseech you, parents, to begin in earliest infancy, to -cultivate a love of the beautiful in nature, give your little ones -flowers; and as soon as they are able to play in the garden, give them -a little spot of their own to dig in; and when they can understand the -process, give them seeds to plant, and some few flowers to cultivate. -I can tell you of a happy cottage home, where the children, from -earliest infancy, have lived among flowers. Each had their tiny garden, -with spade, hoe, trowel and watering-pot. The father and mother would -also assist with their own hands in training vines, roses and shrubs, -in artistic beauty. The good father never went to his counting-room -without some flowers in his hand, or in the button-hole of his coat, -the valued gift from the tiny garden of one of his darlings. Years -passed and fortune favored them, but they never would exchange their -cottage home, with its vines, trees and shrubs, for all the stately -mansions in the town. And as the daughters married, and the sons left -to seek their fortunes, they would look back with intense longing -to their loved home; and joyous were their meetings around the home -Christmas tree. - -On Sundays they always, even in midwinter, ornamented their social -table with flowers, for they are God’s smiles. Therefore, my friends, -I speak from observation, and from seeing the effect of an opposite -course. If you wish to lessen your doctor’s bill, and give the beauty -of robust health and happiness to your children, girls or boys, give -them a garden and let them plant, weed and water it. If your children -bring you even a simple field daisy, express your pleasure to them, and -let them not see you cast it aside. - -Teach your boys the use of a pruning-knife, and how to graft; then give -them some trees to experiment upon. You may save them from dissipation, -by giving them a taste for Horticulture. It is a happy, health-giving -employment. - -Decorate even your barn with graceful vines. The poorest house can be -made an agreeable place, by transplanting a few of the many simple, -wild vines. It is not natural to love intensely a stiff, ungainly -object. - -I have often thought, as I have roamed about the farming districts of -New England, and have seen the many great, stiff, square houses, with -not a graceful tree, or flower to relieve their nakedness, (though now -and then a syringa, or lilac bush, or cinnamon rose, and perhaps a -stately old butternut, may be seen,) the sons and daughters of those -households will surely emigrate. Utility is our hobby. Some farmers -think it waste time to plant a flower, as it yields no fruit. - -Remember the old saying, “all work and no play makes Jack a dull boy.” -You that dwell in a city, strive to have a small spot in the country to -which you may send your children in Summer, to roam at will. I heard a -little child, in urging her mother to go into the country in vain, cry -out, “It is too, _too bad_, mamma, I know God did not make the city for -little children, because he loves us.” - -Do not waste your money at fashionable watering-places. Even in early -years, take your children to the woods and let them see nature in its -wild state. There is nothing like a day in the woods for refreshing us -all, in body and mind. The wild music of running brooks is so lulling, -the birds carol their “native wood-notes wild” so sweetly, the strange -blended odor of the damp mould, the leaves, the wild flowers, and the -prospect of the distant meadow, are so delightful; the play of the -sunlight through the dense foliage, and on the sylvan walks, is so -beautiful, and the quiet is so marked, after the hum and roar of a -city, that the mind is tranquilized, and both you and your children -will be nearer to God, and nearer to one another, for every hour so -spent. Our whole country is full of wild beauty. Spend your spare money -in decorating your homes with trees, flowers and shrubs. The influence -upon your children will be far more beneficial. - -If your children wish for money to purchase seeds and flowers for their -gardens, if possible, give it cheerfully. It is far better so spent -than in dress and toys. Let them plan their own gardens and experiment -as much as they please. A very pretty fence can be made round such -gardens, by a number of stakes of equal lengths pointed at one end to -drive into the ground, square at the top, and painted green. Then place -them at equal distances around your garden, and bore holes about six or -seven inches apart for the twine, which should be brown linen. Pass the -twine through the holes, in lines all around the garden. Plant vines -which run rapidly, such as Cypress Vine, Madeira Vine, Nasturtium, -Maurandya Barclayanna, Dwarf Convolvulus, Mountain Fringe, &c., &c. By -midsummer your simple fence will be very beautiful. - -Having spent many years in cultivating flowers, perhaps a few practical -directions from my own experience may be of service to my readers. - - -HOW TO PLANT SEEDS. - -WE often think because the seed we plant does not germinate that we -have purchased poor seed, when the fault is in the manner of planting. - -Nearly all kinds of flower seeds require transplanting, therefore it -is best to plant in boxes, pots, or hot-beds. Old cigar boxes are -convenient and are easily handled, but first bore holes in the bottom -of the boxes, and in your pots or boxes place either broken clam -or oyster shells or pieces of old flower pots as a drainage; then -take light, rich earth and sift it or rub it carefully in your hands -to be sure there are no lumps; some bake the earth to destroy any -insects which may be in it, but it answers the same purpose to pour -boiling water on it. After you have filled your boxes or pots with -this prepared earth, sprinkle your seed carefully over it, and sift -over them light soil sufficient to cover them, moisten them with warm -water, and place the box where there is but little light and throw a -piece of paper over the top. A warm place will start them best. Let -them remain thus several days, till the seeds have a chance to swell, -before you give them much light, and keep the earth moist; (a sponge -is excellent to water them, as it does not disturb the position of the -seeds; also use warm water,) as soon as you see they are sprouting -give them light, and air, if not too cold, or else the plant will not -have strength to grow well. Hot-beds are the best, and can be made -with but little expense, by taking some old box, and if you do not -possess an old window sash you can purchase one of some builder for -a trifling sum of money, and fit it to your box by nailing strips at -the sides; dig a place the size of the box and two or three feet deep, -fill it with horse manure mixed with straw, which is the most heating, -then sprinkle soil over the top about six inches deep, place your box -on the top, carefully heaping the earth around the outside, and your -hot-bed is made, in which you can start your seeds and slips by either -placing your boxes or pots in the earth on top of the manure and plant -your seeds and slips in them, or as many prefer, planting in the soil -of your hot-bed. After your seedling plants are of sufficient size -to transplant, if you first transplant them into small pots, you can -easily plant them in your flower beds without disturbing the roots, and -the plants will not require covering; you must first dig a hole and -pour water into it, then carefully slip the plant, dirt and all, from -the pots and place into the hole made for it and press the earth tight -around it. Of course they must remain in the pot till they are well -rooted. In raising slips you need to mix in full half common scouring -sand with the soil, and they must be shaded from the light several days. - -All who care for flowers will desire to raise Verbenas, as they blossom -all Summer. If you wish to raise them from seed they should be sown -in February or first of March. One secret in raising fine Verbenas -is change of soil. It would be better to plant them every year in a -different location, but if you renew the soil it will do to plant them -twice in the same bed, but never three years in succession. Indeed, -flowers as well as vegetables need constant change of soil; they soon -exhaust the earth. Seeds are better that are raised in locations -distant from the place where they are to be sown. Flowers soon -deteriorate if you continue to plant over and over from seed raised -in the same spot; that is one of the reasons why seeds from Europe are -generally preferred by florists. Japan Pink seed should be planted in -March, in order to have them flower the first year; they are hardy and -blossom also the second year. Pansy seed should be planted as early as -Verbenas. Ten Weeks’ Stock, Phlox Drummondi, Double Zinnias, Lobelia, -Petunias, Portulaca, Salpiglossis, Candytuft, Larkspur, &c., should be -planted in April. If you desire to raise Picotee or Carnation Pinks -for the next year, and Canterbury Bells and Fox Gloves, sow in April. -Sow Asters of all kinds the last of April or first of May. Some of the -climbers, such as Maurandya, Barclayanna, Tropæolum, commonly called -Nasturtium, Cypress Vine, Thunbergia, &c., need transplanting, and -better be sown early. Sweet Peas should be sown in the open soil about -three inches deep, early in April. It is better to soak the seed in -warm water before sowing. When they have germinated and as they begin -to climb, fill in earth around them, and water now and then thoroughly -with soap suds. Mignonette should not be transplanted; sow the seed in -the open soil the first of May. Candytuft and Sweet Alyssum, are hardy, -and the seed can be sown out of doors; but if you have once had them, -they will come up self sown; look over your beds in Spring and take up -such plants, when you have the soil prepared and beds made, then you -can plant them back again where you desire. Joseph’s Coat is a very -brilliant plant, its leaves are all shades of green, red and yellow; -the seed can be sown either in or out of doors by the first of May, -also Golden Calliopsis. Balsams will grow better if the seeds are not -planted till the second week in May out of doors. - -All the flowers I have mentioned are desirable even in a small garden; -of course there are hundreds of varieties of even annuals, but unless -you have a gardener it is impossible to raise them all, for it is -desirable even in a small garden to have some flowers raised by slips, -or bought from some greenhouse, such as Fuchsias, Double Feverfews, -Scarlet Geraniums, Heliotropes, Rose Geraniums, Lemon Verbenas, Monthly -Roses and Hardy Perpetuals, &c. Hardy Perpetual Roses are desirable in -every garden, they grow so thrifty and blossom all summer, and with -a little covering will live out all Winter; and if they are showered -often early in the Spring while the dew is on the roses, with whale -oil soap suds, using a syringe to shower them, it will prevent the -usual damage done by the slug. If you have a shady, moist place in your -garden there you can plant your Lily of the Valley, double blue English -Violet, Forget-me-not, and Pansy. - -Fuchsias also require some shade. Heliotropes and Geraniums will bear -enriching more than most plants; often watering with guano water is -excellent. A table-spoonful of guano to a common water-pail full of -water is sufficiently strong. It also improves Pansies, Fuchsias and -nearly all plants except Roses. Soap suds is better for Roses and -Verbenas, at least according to my experience. Nearly all plants -make a finer show in a garden arranged either in beds, each variety -by itself, or in clusters. Before planting your garden in Spring it -is well to carefully consider the nature of each flower, and arrange -your garden so that each flower can be displayed to advantage; never -plant promiscuously; it is astonishing what a difference landscape -gardening will make in the general aspect of even a small place. It is -quite as desirable as to arrange the colors in a picture to harmonize. -Even an old stump of a tree can be made beautiful by planting vines -around it, or by scooping out the top and filling in soil, and planting -Nierembergia, Lobelia, Double Nasturtium, Variegated Myrtle, &c., in -it. Those I have mentioned blossom all Summer, except the Myrtle, the -leaves of which are as beautiful as many flowers. - -If we ladies would spend less time on our dress and in arrangements -for the table, and take that time for working in our gardens with our -children, we should not only make our homes more attractive but we -should gain in health and strength. Early every Spring call a family -council to decide the arrangement of your flower garden. Let your -boys have a place to raise vegetables as a pastime. Encourage them -to diligence by promising to purchase all they will raise; in that -way they can earn money to give to the poor, or for their Christmas -presents; even children will take far more pleasure in giving what they -have really earned with their own hands. - - -FERNERIES. - -IS it not, my friends, very pleasant to have a bit of the Summer woods -in our parlors in midwinter? Such a pleasure is within the reach of us -all, with but little trouble and expense. Those who live in cities and -cannot go into the country, surely must have some friend who can supply -them, or the materials can be obtained at any public greenhouse. First -you require a glass dome, or what is still better, take five panes of -glass any size you please, four to form the sides, one for the top, -fasten the glass together with a light wooden frame, then take any tin -dish, like a baking pan, or if round a tin plate or jelly cake pan, or -a tin dish can be made to fit it for a trifling sum of money; paint the -tin green on the outside. Then collect some pieces of broken flower -pots, or still better, bits of marble, granite or any stone and scatter -them around the tin dish, placing in the center some moss-grown stump -or stick, and pile the stones around it; then collect from the woods, -ferns, mosses, partridge-vines with its bright red berries, (indeed, -any plant will grow in these ferneries which can be found in moist -places in the woods;) take up a little of the leaf mould in which -they grow, they need but little soil, arrange your plants spreading -the roots carefully over the stones, scattering a little leaf mould -on them, and placing your mosses around the whole. The tallest plants -should form the center, but in arranging even ferneries, it is more -agreeable to exercise your own taste. Before placing your globe or -glass frame over your fernery, sprinkle the plants thoroughly, then -cover with the glass, and let it remain a few days in the shade. You -can keep them where you please, but I think they grow better near a -window; be very careful not to water them too often, once a month is -generally sufficient; if too wet they will mould and die; when there -is but little moisture on the glass, it is well to raise the glass to -ascertain if it is dry. My fernery has been made four years, it has -required but little care; now and then I add a new fern, some moss, or -any suitable plant gathered from the woods, and remove any dried ferns -or leaves. It often renews itself. Trailing arbutus and partridge-vines -will blossom in ferneries. It is always pleasant to the eye and no care -after the first expense and trouble. Ivy and Lycopodium grow well in -ferneries, but the rare ferns, &c., from green-houses do not flourish -as well as those plants taken from our native woods. - - -IVIES. - -ENGLISH IVIES are a great ornament to our rooms, and are hardy and -require very little care. After the first two years they grow quite -rapidly, therefore it is well to procure two year old plants, train -them on your curtains, over your windows and pictures. Many make a -mistake by changing the pots very often, thinking they require a very -large pot, which is not so, for they do not require as much earth as -many plants, only keep them moist, and have rich loam for the soil; it -is well to water them every month with guano water, prepared according -to the same rule given for flowers. The poet’s ivy is very pretty, the -leaf being quite small. The most beautiful ivy I ever saw was one that -never was removed from its place Summer or Winter; it filled a large -bay window, encircled the whole room and wound around many pictures; -now and then a gardener came and changed the soil, and the leaves were -occasionally washed. Hanging baskets of moss with flowers growing in -it, are exceedingly pretty in Winter. - - -PRESSED FLOWERS. - -TO press flowers, to be arranged on paper like a painting, you must -take some plain white wrapping paper, (in Paris you can obtain paper -prepared by a chemical process to preserve the colors) and place your -flowers or leaves carefully between two sheets of the paper. Then -press them by placing a heavy weight over them, (letter presses are -excellent) and leave them a day or two, then change the paper; thus -the juices of the flowers are absorbed. It takes a week or two to -press perfectly, and in Summer often longer. When dry, place them in a -book or some air-tight box ready for use. A year is required to make a -varied and handsome collection, as each flower has its own season for -blossoming. Wild flowers retain their colors better than cultivated; -but experience alone will teach you what flowers will retain their -color best. Many pretend to be able to preserve all kinds of flowers, -but it is impossible. I will give a list of flowers which are known to -retain their color by this mode of pressing. - -All Geraniums (except the horse-shoe and sweet-scented), preserve their -color. They are very essential, as their colors are brilliant and keep -for years. All yellow flowers both wild and cultivated retain their -color. The Violet and Pansy, Dwarf Blue Convolvulus, Blue Larkspur, -Blue Myrtle, Blue Lobelia, Heaths, the small original Red Fuchsia, Wild -Housatonia, and many tiny blue, and even white flowers press perfectly. - -For green, Ivy, Maiden Hair, Ferns or Brake, Mosses, &c., retain their -color best. Rarely a cultivated green leaf presses well. Autumn leaves, -if small, and the youngest oak leaves mix in well. Certain kinds of -stems such as Pansy, and others of similar character, are best adapted -for pressing. - -After your collection is made, take some card-board, without a polish -if possible, and arrange your flowers as you design to have them. Gum -them to the paper with tragacanth, using a camel’s hair brush, then -press on the paper and flower with a cloth, carefully absorbing all -moisture, as well as firmly pressing the flower on the paper. Geraniums -and some large flowers look better if each leaf is glued on separately. - -In forming your bouquet, it is better to arrange the stems first and -work upwards. Baskets and vases of moss with flowers are pretty. To -form these, you must trace out with a pencil your vase or basket, and -glue on the moss. Then arrange your flowers. - -I have heard amusing criticisms on the coloring of such bouquets, from -persons who mistook them for paintings. Framed and covered with a -glass, they make ornamental pictures. - -It is a pleasant way of preserving mementos of friends, places or -events. Flower albums or journals are very beautiful. Wreaths arranged -of different varieties of Pelargoniums mixed in with any pretty green, -and other little flowers, such as Lobelias, are very handsome and -the colors are durable. Pansies of different shades look well, and -brilliant wreaths may be made of all the varieties of flowers that hold -their color. The oval shape looks the best for wreaths. - -There are innumerable varieties of Ferns, Lycopodiums and Maiden -Hair, both native and foreign, suitable for pressing. By pasting -each specimen on a separate sheet and interspersing specimens of our -beautiful Autumn leaves also on separate sheets, and fastening them -together, either bound as a book or in a portfolio, you will possess a -beautiful and attractive book with but little expense. - -Crosses can be arranged with ferns and shaded to appear as if painted -in perspective, and look like a cross standing on a mossy bank, with -flowers, &c., growing around and over it. First draw and shade your -cross as a guide, then take the small leaflets of the darkest colored -ferns you can procure, and glue them on carefully where the cross -should be in shadow darkest, then take the brighter green ferns (such -as are gathered in Spring,) and end with the white ferns (which can -only be obtained in the Fall), using them for the lightest shade; be -careful to cover every part and shade it with nature’s colors as you -would with paint; in a cross six inches high and suitably proportioned, -full two hundred of the tiny leaflets of the fern may be used to good -advantage before it is completed. Then take wild Lycopodium if you can -obtain it, if not, the finest of the cultivated, and arrange it on your -cross to look like a vine growing over and hanging from it; also paste -on to it tiny little pressed Lobelias, and arrange small ferns, mosses -and any little flowers (wild ones are preferable), around the base of -the cross to look like a mossy bank. Different designs can be arranged -in the same way. - -Be very careful in pasting on flowers and leaves that every part, -however small, is firmly fixed to the paper; press them on after -pasting with a dry cloth. - - -STRAWBERRIES. - -A FEW hints as regards the cultivation of Strawberries may be useful -to both boys and girls; for fine berries can be raised even on a small -plot of ground, if the soil be rich. Plants for a new bed should be -set out early in the Spring; the roots will then grow strong and the -plants will be better able to bear the cold of Winter. Some gardeners -prefer to plant their strawberry roots in August, or even late in the -Autumn, and if the Winter is mild, or deep snows cover the ground, the -vines will live and bear fruit the next Summer. Some prefer to raise -strawberries in hills, but the most prolific vines are those planted -in beds about three feet wide with a path between, filled with straw, -to keep the fruit from the ground; it is well to cut off most of the -runners. Of course the beds should be kept free from weeds. There are -many new varieties, but the old Hovey’s Seedling is as reliable as any -and very prolific. The Russell is easily propagated; vines planted -in April will often yield fine strawberries in June. The Wilson is a -profitable strawberry for the market because of its large yield, but -it is hardly equal in flavor to the Hovey. The Hovey will soon run out -if planted by itself; it requires some other kind to be planted with -it. The Pine is usually the variety selected for that purpose. It is -useless to enumerate the several varieties, for nearly every locality -has its favorite strawberry. Some kinds will scarcely bear a perfect -berry in some locations, while in a different locality the same berry -will be loaded with perfect fruit. Sometimes a healthy and vigorous -looking bed of strawberry-plants will produce but few berries—then you -must examine the blossoms, those which bear fruit will have the berry -formed in the flower—while others will blossom freely but do not bear -fruit; these are the male plants and it is better to leave but few of -them in your strawberry beds. When you plant the new roots dig a hole -with a trowel and fill it with water, then spread out the roots and -pack the earth close around them, but when they are fully rooted and -commence to grow, the earth should be kept loose around them. - -Strawberry plants should be replanted every third year; it is best to -change the location of the bed if possible, or at least to renew the -soil. Boys or girls who raise and gather from their own little garden a -dish of strawberries will find great pleasure in presenting it to their -friends as fruits of their own labor. - - -GRAPES. - -THE care of the grape-vine is a pleasant occupation. To gather the -rich, ripe bunches of its delicious fruit is a grand enjoyment. Almost -every one can command a spot of ground sufficient for the liberal -support of a grape-vine. It may be planted in any unappropriated -corner about the house—a sunny spot is to be preferred, but a vine -may do well with but little direct sunshine, if it is well sheltered -and properly cared for. It may be planted at the foot of a tree, the -branches of which are not near the ground, and it will find its way -high up the tree and will yield large crops of fine fruit hidden -among its own thick foliage and that of the tree, provided the ground -immediately about its roots can be reached and kept warm by the sun’s -rays. - -As it grows it will endeavor to adapt itself to the circumstances that -surround it, and will take the direction your taste or convenience -require it to follow. Its flexible branches are obedient to the gentle -hand of the careful cultivator. You may train it upon stakes six or -eight feet high, or upon a low trellis where the fruit will be within -easy reach of your hand. You may have the fruit within a few inches of -the ground, or by removing all the lower branches of the vine, you can -cause the ripe bunches to hang in graceful festoons around and over the -window of your chamber, high above the reach of accident and pilferers. -The grape-vine will do as it is bid, which is much more than can be -said of some young people, whose eyes sparkle at the sight of its fruit. - -In preparing the ground in which to plant the vine, reference must be -had to the character of the soil. If the soil is clayey and cold, or if -the neighboring surface is such as to turn an undue proportion of the -rains upon the place where you propose to plant your vine, care must -be taken to secure for the roots of the vine a sufficient drainage. If -the roots of the vine are surrounded by wet and cold earth, the fruit -will mature slowly and will be endangered by the early frosts. You will -secure a sufficient drainage by digging a hole three feet deep and five -or six feet in diameter and throwing into it small stones, fragments of -bricks or other like rubbish, to the depth of about eighteen inches, -and filling to the surface with the soil. If the soil in which you -propose to plant your vine is light, no artificial drainage will be -necessary. - -Dig over the ground and mix with it some well rotted manure or bone -dust to the depth of your spade. The plan of trenching and deep -manuring is of questionable advantage. The roots of the vine prefer to -run near the surface, but they will seek the rich soil wherever it may -be; and if they are drawn away from the surface of the ground and out -of their natural direction to the colder soil below, the effect upon -the fruit may be unfavorable, both as to quality and quantity. - -In the ground thus prepared set your young vine from the nursery. -First, drive down a stake to which you can tie the young vine, then -place the roots of the vine three inches below the surface of the -ground, carefully spreading the roots so that they will be as nearly as -possible in the position in which they grew in the nursery. - -The beautiful operations of nature will then commence. The roots of -the vine will at once begin to adapt themselves to their new home, -and their delicate fibres will firmly clasp the particles of the -well-prepared soil; the warm days of the early Spring will draw the -sap up through the whole length of the vine, the buds will open and -exhibit their delicate tints, new shoots and broad green leaves will -follow, and you can soon eat the fruit of your own labor, sitting -beneath the shadow of your own vine. - - -DESIGNS FOR FLOWERS. - -THERE are many beautiful ways of arranging flowers, besides in our -costly vases. For example, take a basket and knit like a garter pieces -of different shades of moss colored worsted; then dip in hot water and -press them; when dry ravel nearly out, only leaving an end which can be -fastened on to the basket with sewing silk or green glace thread and a -large needle. A basket tastefully covered in this way looks as if it -were made of moss, and it retains its beauty longer; a tin dish should -be made to fit it, and painted green; keep it filled with natural -flowers. I should prefer such an ornament to costly porcelain. Many -fill such baskets with exquisite French flowers, which imitate nature -perfectly. - -To form a pyramid of flowers, take three, four or five wooden bowls -according to the size you wish for your pyramid, let them be a regular -gradation in size, procure some round pieces of wood, like ribbon -blocks, graded in size, glue the tallest into the centre of the -largest bowl so that it will stand upright, and upon top of that glue -the bowl next in size, and so on to the smallest bowl. Varnish the -inside several coats; paint the outsides green and cover with moss; -some have a stand made and glued to the bottom of the largest bowl. -When filled with flowers, it is a lovely sight. Baskets made of tin -and painted green, then covered with moss, make the prettiest hanging -baskets possible. Tin rings large enough to surround vases placed -inside, and made to hold water, with little wires across the top and -painted green, when filled with flowers, form the prettiest mats in -the world; the wires keep the flowers in place. I saw one filled with -only small Rose-buds, blue Forget-me-nots and Geranium leaves. It is an -improvement to cover the outside with moss. Crosses made in the same -way are very beautiful and are appropriate to place on the grave of any -beloved friend. In that way flowers can be preserved a long time, if -there is a sufficient supply of water to preserve them. - -There are innumerable ways of arranging flowers. The poorest person -can afford to purchase a tin basin, and with a little common paste -and moss, which can be found in all country places, a pretty dish -for flowers is soon made. Shells make lovely vases. The large shells -sailors polish so exquisitely to resemble mother-of-pearl, make elegant -hanging vases; bore holes on each side and hang them with strong cords. - -Decorate your rooms with flowers if possible. If you have sick friends -at home or abroad, carry them flowers; it will cheer them more than you -can realize unless you too have been sick. - - -TO PRODUCE VARIOUS FLOWERS FROM ONE STEM. - -SCOOP the pith from a small twig of elder; split it length-ways, and -fill each of the parts with seeds that produce different colored -flowers. Surround the seed with earth; tie the two bits of wood -together, and plant the whole in a pot filled with earth. The stems of -the different plants will thus be so incorporated as to exhibit to the -eye only one stem, throwing out branches with the different flowers you -have planted. By choosing the seeds of plants which germinate at the -same time, and which are nearly similar in the texture of their stems, -an ingenious person may obtain artificial plants extremely curious. - - -TO PRESERVE ROSES TILL WINTER. - -IT is pleasant to see the Summer flowers in midwinter, and they who -cannot have Roses blooming at that period within doors can preserve -them in Summer to decorate their table in Winter. First select from -your Rose-trees the most beautiful specimens as they are just ready -to blossom; tie a piece of fine thread around the stalk of each; do -not handle the bud, or the stalk; cut it from the tree with the stalk -two or three inches in length; melt sealing-wax and quickly apply it -to the end of the stalk; the wax should only be just warm enough to -be ductile; form a piece of paper into a cone-like shape, and place -the Rose within it; twist it at the ends to exclude the air; put it in -a box, and put the box into a drawer; this is to be sure that it is -air-tight. In Winter take it out, cut off the end of the stalk, place -it in luke-warm water, and in two or three hours it will become fresh -and fragrant. If the room is very warm it will answer to put it in cold -water. - -[Illustration] - - - - -Illumination. - - -IN a practical treatise like the present, a dissertation on the -antiquities and history of Illumination will not be looked for; nor -is there space for the amount of detail that would be necessary to -make the subject thoroughly understood. The more knowledge, however, -the student has to work upon, the purer and more complete must be his -practice; knowledge gives decision, decision leads to facility, and -facility in any art whatever, is the main object of pursuit. - -For such knowledge, full, clear and accurate as it should be, we -must refer to long and learned treatises; and to the inspection of -many actual examples; since to understand clearly what is meant by -illumination, one should not only read much, but study the work itself -at every stage of its career. To look into this matter thoroughly, -reference should be made to books upon illumination. Among the best -of these books are “The Art of Illumination,” by Wyatt, and “Noel -Humphrey’s Work.” However, a few directions may be given here. To begin -with the materials. - - -MATERIALS. - -A CAREFUL inspection of the list of water colors manufactured at the -present day, leads to the conclusion that the following colors may be -used, though some of them are similar to others in tint, &c., or can -for other reasons be superseded. These latter are marked in italics: - - -YELLOWS. - - Cadmium Yellow. - Gamboge. - Lemon Yellow. - Mars Yellow. - Naples Yellow. - _Raw Sienna._ - _Yellow Ochre._ - -REDS. - - Brown Madder. - Carmine. - Crimson Lake. - Indian Red. - Orange Vermilion. - _Light Red._ - _Scarlet Vermilion._ - Rose Madder. - Rubens’ Madder. - Vermilion. - -BLUES. - - Cobalt. - French Blue. - _Intense Blue._ - _Indigo._ - Smalt. - _Ultramarine Ash._ - -ORANGES. - - _Burnt Roman Ochre._ - Burnt Sienna. - Mars Orange. - Neutral Orange. - -PURPLES. - - Burnt Carmine. - Indian Purple. - _Purple Lake._ - Purple Madder. - _Violet Carmine._ - -GREENS. - - Emerald Green. - Oxide of Chromium. - _Olive Green._ - -BROWNS. - - _Burnt Umber._ - _Sepia._ - _Vandyke Brown._ - -BLACKS. - - _Ivory Black._ - Lamp-black. - -WHITE. - - Chinese White. - -The selected colors should be apportioned into five lists, as follows, -viz: - -FIRST LIST.—Gamboge, cadmium yellow, crimson lake, vermilion, cobalt, -French blue, emerald green, lamp-black, Chinese white. - -SECOND LIST.—Lemon yellow, gamboge, cadmium yellow, rose madder, -crimson lake, vermilion, cobalt, French blue, burnt sienna, emerald -green, vandyke brown, lamp-black, Chinese white. - -THIRD LIST.—Lemon yellow, gamboge, cadmium yellow, rose madder, -crimson lake, carmine, orange vermilion, vermilion, cobalt, French -blue, burnt sienna, brown madder, emerald green, green oxide of -chromium, vandyke brown, lamp-black, Chinese white. - -FOURTH LIST.—Lemon yellow, gamboge, cadmium yellow, mars yellow, rose -madder, crimson lake, carmine, orange vermilion, vermilion, Indian red, -brown madder, cobalt, French blue, neutral orange, burnt sienna, burnt -carmine, Indian purple, emerald green, green oxide of chromium, vandyke -brown, lamp-black, Chinese white. - -FIFTH LIST.—Lemon yellow, gamboge, Naples yellow, cadmium yellow, mars -yellow, rose madder, Rubens’ madder, crimson lake, carmine, orange -vermilion, vermilion, Indian red, cobalt, French blue, smalt, mars -orange, burnt sienna, purple madder, burnt carmine, Indian purple, -emerald green, green oxide of chromium, vandyke brown, lamp-black, -Chinese white. - -These five lists will be found to be carefully selected, and to contain -the colors best adapted for illumination. - -There is not space in this book to enter into the peculiarities and -properties of these colors, which are fully discussed in several works -and treatises. The colors here recommended are permanent in character, -but chrome yellows, red lead and pure scarlet it is best to avoid, as -they are not lasting. Pure scarlet is fugitive and the others in time -turn black. “Winsor and Newton’s moist water colors” are the best for -all illuminating purposes. - -Good Bristol board with a fine firm grain, and having an ivory-like -surface, but without gloss, is the best material for illuminating upon. - - -BRUSHES. - -FEW brushes are required for illumination, but from the peculiar -character of the work, and the nature of the colors, &c., employed, -it is requisite that the right kinds should be carefully selected. -For general use, the red sable brushes in goose, duck and crow quills -should be employed; say one goose, (for large grounds,) two duck (for -ordinary work,) and three crow (for fine linings on initials, &c.) The -red sable is preferable to the brown sable, or other hair, as being -stronger and firmer at the point. An ordinary flat camel’s hair brush -will suffice for damping the back of gold paper, washing over weak -solutions of gum water or ox-gall, &c., &c. - -When gold leaf is used, a soft camel’s hair brush (of swan quill size,) -may be found useful for touching, smoothing, &c. For laying down the -gold leaf, a very thin, flat brush is required, called a gilder’s tip. - -Burnishers are made of agate, and the following metallic preparations -are found useful in illuminating, viz: gold paper, shell gold, saucer -gold, shell silver, saucer silver, shell aluminum, shell platina. -Silver inevitably blackens. Aluminum is preferable to silver. - -Besides colors, materials to work upon, pens, brushes, burnisher, -tracer, and metallic preparations, there will be required an eraser, -compass, rule, pencil, India rubber, sponge, cotton wood, some -tracing paper and other small sundries. A bottle of gum water will be -necessary, and also one of liquid ox-gall. A little of the former, -mingled with water, is used to impart brilliancy to colors. - - -COLORING. - -UNDER the head of materials, are given colors recommended for -illumination. Besides the colors in that list, several others are -requisite, that are only to be obtained by mixing on the palette. These -broken hues are employed in backgrounds, and as shading for the more -brilliant colors and tints on the ornamentation. - -There is only space in this book for a few practical directions for -laying on such colors as are named. - -First, then, everything connected with the painting should be -scrupulously clean and free from dust. Distilled water should be used, -or at least soft water that is perfectly clear. A very little gum -water, in some cases, should be added to the color as it is mixed. The -sable pencils should be in readiness, two or three, or more, according -to the work and habits of the operator. - -Perhaps this is the best place to mention the manner of using the -Chinese white. On being taken from the bottle, it is found to be -exceedingly viscid, and troublesome to work, clogging the point of -the pencil. Of course it should be diluted with pure water, but as -this renders it too thin for the firm and fine lines and dots so often -wanted, it must be left a few moments to evaporate and thicken; if -still viscid, it should be thinned again and left. White thus put out -of the tube and thinned, will be found to be even better for working a -day or two afterwards than at first. All that is required, as it will -be dry, is to dip the pencil in water before working it upon the white, -and make a good point before transferring it to the illumination. -Unless these precautions be observed, the use of white will be attended -with continual vexation. - -When a compound color is required, sufficient for the work in hand -should be mixed up at one time, lest, more being required, the second -tint differ from the first, when a disagreeable patchy appearance will -ensue. - -Compound tints should be kept extremely clean in tone, muddy or -dirty tints being fatal to that exquisite purity of colors for which -illumination is so famed. It is a great mistake to suppose that dark -tints are necessarily somewhat dirty; · on the contrary, they can be -kept as clean and clear in tone as the most vivid combinations. - -The following is a list of colors and mixed tints, stated without -technical phraseology, as far as possible: - - -Table of Colors and Mixed Tints. - -YELLOWS. - -_Vivid high-toned yellow or primrose._—Lemon yellow, yellow and white, -gamboge and white. - -_Bright transparent yellow._—Gamboge. - -_Rich glowing yellow._—Cadmium yellow. - -_Clear transparent yellow._—Mars yellow, lemon yellow and cadmium -yellow, lemon yellow and gamboge and mars yellow. - -_Rich brown yellow._—Cadmium yellow and little purple madder, cadmium -yellow and little Indian red. - -_Buff yellow._—Cadmium and touch of burnt carmine, orange and little -white. - -REDS. - -_Vivid high-toned red._—Orange vermilion. - -_Deep opaque red._—Vermilion. - -_Bright transparent pink._—Rose madder, rose madder and touch of -carmine. - -_Opaque pink._—White and little orange vermilion, white and little -vermilion, white and little Indian red, white and touch of carmine, -white and little rose madder. - -_Rich glowing crimson._—Crimson, lake, carmine. - -_Chocolate red._—Vandyke brown and carmine, vandyke brown and crimson -lake, burnt carmine and orange vermilion. - -_Russet red._—Carmine and Indian red. - -BLUES. - -_Bright azure blue._—Cobalt, cobalt and white. - -_Rich strong blue._—French blue. - -_Deep dense blue._—French blue and little black. - -_Brilliant purple blue._—Smalt. - -ORANGES. - -_Clear pure yellow orange._—Mars orange, neutral orange. - -_Deeper yellow orange._—Burnt sienna. - -_Intensely brilliant transparent red orange._—Carmine over a ground of -gamboge. - -_Rich glowing warm orange._—Cadmium yellow and carmine, cadmium yellow -and orange vermilion, orange vermilion and little lemon yellow. - -PURPLES. - -_Rich cold purple_, (_violet, lavender, &c._)—Indian purple, Indian -purple and French blue, cobalt and little rose madder, cobalt and -little crimson lake, cobalt and little purple madder, French blue, -white and little rose madder, French blue and little crimson lake, -French blue and little burnt carmine. - -_Rich warm purple_, (_pure maroon, &c._)—Purple madder, burnt carmine, -crimson lake and little French blue, French blue and carmine, rose -madder and little French blue, rose madder and little cobalt, crimson -lake and cobalt, burnt carmine and little French blue. White may be -added with any of these. - -_Greyish lilac._—Cobalt and brown madder. - -GREENS. - -_Vivid high-toned green._—Emerald green, emerald green and lemon -yellow. - -_Bright apple green._—Emerald green and little oxide of chromium, -emerald green little oxide of chromium and little lemon yellow, lemon -yellow and little cobalt. - -_High-toned transparent green._—Gamboge and little cobalt, cadmium -and little cobalt, gamboge and little French blue, cadmium and little -French blue. - -_Low-toned transparent green._—Cadmium yellow, French blue and very -little crimson lake, lemon yellow, cobalt and very little rose madder, -cobalt and little gamboge and little cadmium yellow, French blue and -little gamboge, French blue and little cadmium. - -_Light opaque green._—Oxide of chromium and white. - -_Deep opaque green._—Oxide of chromium. - -BROWNS. - -_Pure brown._—Vandyke brown. - -_Rich warm brown._—Vandyke brown and little burnt carmine or crimson -lake, purple madder and touch of cadmium yellow, vandyke brown and -brown madder. - -_Cold brown._—Vandyke brown and Indian purple. - -_Yellow brown._—Indian red and little cadmium. - -_Stone drab._—Vandyke brown and white, yellow ochre and white. - -BLACK. - -_Dense black._—Lamp-black. - -WHITE. - -_Pure white_.—Chinese white. - -GREYS AND NEUTRALS. - -_Grey._—Black and white. - -_Purple grey._—Black and white and little cobalt. - -_Slate grey._—Black and white and little crimson lake, black and white -and Indian red and cobalt. - -_Silvery grey._—Black and white and rose madder. - -_Clear warm neutrals for shading._—Orange vermilion and cobalt in -various proportions. Various proportions of colors may be tried, -particularly for the greys, neutrals, and quiet compounds, and the most -pleasing and suitable should be carefully noted for use. - -Scientific formulas are not to be condemned, but in the present state -of the science of color, it is rash to say what is, and what is not -right, by law. In delicate harmonies, considerable license must be -allowed to what is called taste. - -Whatever the numerical formulas may do in preventing us from utterly -disgusting ourselves, excellence in coloring can only be attained by -careful study of beautiful examples. - -Reynolds’ maxim, of constant copying was practiced ages before by the -Italian masters; and it is so still, as the hundreds and thousands of -studies left by deceased artists testify. - -Twenty good color studies, patiently copied, are worth all the -numerical formulas in the world. Nevertheless, to those who are timid -or inexperienced in judgment of color, a careful study of Chevreul or -Hay will not be without advantage, and though it will not create the -power to color harmoniously, it will aid in its development. - -If any one should attempt to copy a manuscript of the fourteenth -century or thereabouts, first cut the proper kind of Bristol board the -size the page is to be, and prepare it by rubbing with pomice. Then, -having sketched it out upon a board, rule very lightly the lines for -the margin, type and initial letter. If the border be open, that is, -upon a white ground, as most of this period were, the outer marginal -line will have to be erased, so that it had better only be ruled in -pencil. Next the type must be printed according to the date, sketching -the capitals, which you will finish afterwards. The next thing to be -done is to copy the large initial letter, which must be done with great -care, testing its accuracy by tracing. If there is to be any picture, -then that must be next sketched. Your outline cannot be too delicate. -Last of all you will copy the border, and that in the following way: -fix your eye upon some prominent portion of the border in the copy, -and having ascertained its exact position and dimensions, proceed to -mark it out upon the surface of your Bristol board. Measure again the -distance from this to the next most prominent feature, and so on in -like manner until you have all the most important parts fixed in their -proper places. - -Now advance to the subordinate ornamental detail and gradually fill -that in, dividing your work into small portions and taking the -greatest care to have all correct. Do not rest till you have a literal -fac-simile of the original. - -Now proceed to color; but first mix a little liquid ox-gall with your -colors, which will enable you to paint with ease and certainty. The -initial letter can be first finished, using the appropriate colors. -Next begin to color the border, applying one tint wherever it is wanted -all through it, then finishing the next, and so on until you have all -the colors laid on their proper places. These you will proceed to shade -and ornament in solid Chinese white or gold; any little figures also or -grotesques should now be completed, including of course the terminal -line, generally of gold and color, which encloses the type. When all -these are finished and really accurate, both in shape and color, -if there be a picture, that comes next in order; if not, you will -put in any dots of color or flat gold which may happen to adorn the -background. This will conclude the operation of copying, and any marks -or spots which have occurred in the course of your drawing can now be -erased with bread. - - -DESIGN. - -IF you have any enthusiasm for this art, and have studied manuscript of -the best period of illumination, as has been advised, you will not be -content simply to copy the designs of others, but will desire yourself -to try and compose them. Is it not our duty to try and develop to the -extent of our power, any art we cherish? Therefore let us consider the -subject of design and try to form some rules for our future guidance. - -The first thing necessary to do, is to fix upon some existing style -of illumination to serve as a basis for any intended developments. -Of course this style must naturally be the best and purest, and -that is, as I have often said before, and as I firmly believe, that -which prevailed from the middle of the thirteenth to the end of the -fourteenth century. But you will ask of what nature ornament is to -be, and this leads to a rule, that _ornamentation must consist of -conventionalized representation of natural objects_. All true beauty -consists in the representation of, or is derived from, natural objects. -To this rule there is no exception. But nature may be represented in -two ways, either by realizing her, as far as our means will possibly -allow, or by conventionalism. In realism, we endeavor to obtain a -literal copy of the object to be represented and set no bounds to our -pursuit of this. - -In conventionalism, we beforehand arrange certain limits at which to -stop, and then get as much of nature as we can within those limits. - -Now in conventionalism it is to a great extent optional how far you -will realize your flowers or leaves. You may do it more or less as you -feel the occasion requires. - -The principle appears to be to seize upon the leading characteristics -of the flower or form you wish to represent, and then to add as much -of the rest as you can consistently with your subject. Thus, you may -either represent a rose as an arrangement of five leaves of a certain -shape and color round a yellow or gold central spot—as was the general -mediæval type—or you may go somewhat nearer the reality and add a -few more petals, &c., so as to bring it to a closer resemblance. You -must arrange this with yourself, but as a rule observe that the more -you realize any flower the more you must proportionably increase the -quantity of conventional ornament around it, so as to make it evident -that you had voluntarily set yourself limits which you did not choose -to pass. While I am on this subject, I will take the opportunity to -advise you to make great use of leaves in your designs. Wonderful -and perfect as all nature’s work is, yet it seems as if the stamp of -perfection and divine beauty were more strongly impressed on leaves -than on any other of her productions. The thousand changing forms of -beauty with which she clothes the woods, the banks, and the very ground -we tread on, ought to be to all, but especially to lovers of beauty and -truth, objects of the purest joy and delight. Make very frequent use -of them in designing, for they ever have been and ever will be sources -of the best and most heavenly beauty. Remember always that in painting -them it is far more important to have the form and outline quite right -and true, than to imitate or approach their color, which may be left -arbitrary. Remember also that their power will be better felt by a -somewhat sparing use of them, I mean as regards not over-crowding your -page, so that though you may employ many leaves, you will have but few -of each. - -The last rule of design is, that there _should be a general purpose -and meaning running throughout the ornamental detail_. You should -endeavor to carry out some idea in each border, and to this end should -reflect well, first what idea you wish to give, next how, and by what -means you may best convey it. I will not say that your meaning will -at once be plain to every one, nor indeed is it likely to be so to -more than a few, but still the working with a deliberate idea in your -mind will give a unity and completeness to your design, which will be -entirely wanting to one worked out at random, or with a view only to -prettiness—the most noxious idea it is possible to conceive, and the -rock upon which nearly all modern illuminators make shipwreck. Accustom -yourself to ask not, “is this pretty?” but, “is it _right_?” and this -habit will, I think, be a safeguard to you. - -The principles of design as applied to this art, have now been -considered. There are, it is true, many other points on which I could -speak, but as my space will not allow it, I have chosen those which -are the most important, and against which there is to beginners the -greatest temptation to err. Careful study of the best manuscript you -have an opportunity of seeing, must be your guide on other points. -But as an encouragement let me tell you, that if you have any talent -for design, and will take the trouble diligently to _think_ over the -directions here given and try them by such fourteenth century examples -as may fall in your way, I do not think that you can go wrong in any -material point. Difference of opinion and taste there must always -be, but as long as we grasp the truth and resolutely cling to our -landmarks, our steps cannot go far astray. - -These foregoing directions were prepared for this work by a lady who -excels in the art of illumination. - -[Illustration: FINIS] - - - - -House and Home Arts. - - -DECALCOMANIE will be appreciated and enjoyed by any one who takes -pleasure in making tasteful articles for gifts, or for contributions -to fairs, or in adding new graces to the parlor. It consists in -ornamenting vases and boxes with oil paintings. The process saves -a great deal of labor, and when the work is well done, very close -examination is necessary to detect the difference between hand -paintings and the Decalcomanie, particularly if the pictures are -retouched, or tiny sprays of moss, small leaves, or flowers are added -in water colors. The designs can be transferred to wood, porcelain, -leather, silk, glass, metal, paper, etc. - -The designs are printed in oil colors, on the surface of paper, which -has been previously prepared with a composition easily soluble in -water,—or in fact the printing is entirely on this composition, -the paper merely serving as a back to give support to the thin film -on which the design is printed. By a process hereafter described, -these beautiful designs in oil colors may be perfectly transferred -to the surface of any article which it is desirable to ornament, -such as vases, card-cases, porte-monnaies, work-boxes, needle-books, -toilet-cushions, lamp-shades, and hundreds of other things too numerous -to mention; and when nicely executed, the work equals the finest -painting. Beautiful bouquets may in this way, be transferred to silk -for toilet-cushions and perfume sachets. - -When applied to china, porcelain or other similar substances, it may be -freely washed with warm water without injury, and is in every respect -as durable as oil painting. - -Materials. - -The necessary materials are as follows: _cementing varnish_, -_protecting varnish_, two or three _camel’s hair brushes_ of various -sizes, (these should be of fine quality, as the cheaper ones never -have good points), a glass of _clear water_, a small vial of benzine -or burning fluid for cleaning the varnish brushes; and be careful and -procure suitably prepared pictures. - -Directions. - -First, with a fine brush, apply the cementing varnish to every part -of the picture, following the outline neatly without running over on -the white paper. After applying the varnish let it dry a minute, then, -holding the picture to the light, take a larger brush and dampen the -back with water, being careful to wet the size of the design only. -Before the picture has time to expand much, apply the picture to the -article to be ornamented, firmly pressing every part; dampen again with -water, after which remove the paper. To remove the paper, commence at -one corner and carefully raise it, keeping close watch that none of -the design adheres to the paper. If a piece, however small, is seen -attached to the paper, immediately replace the paper and again press -that part to the article and perhaps dampen a little more. Having -entirely removed the paper, draw a damp cloth smoothly over the finger -and firmly press every part, using great care that no air bubbles -remain under the large surfaces. The day after the transfer, carefully -wash the design with cold water, and when perfectly dry, lightly apply -the protecting varnish to the design. The above directions are strictly -applicable to ornamenting only such articles as can be washed. - -In ornamenting any delicate substance, such as silk, great care must -be observed in dampening the back, in order to dampen only the exact -size of the design; as, if the preparation on the paper is dampened -around the picture, it will soil the silk. Of course the washing above -mentioned must be omitted; and oftentimes the varnishing may also be -omitted to advantage, as its object is simply to render the painting -more durable, where it is to be subjected to use or exposed to the -weather. - -In order to avoid soiling delicate substances, some persons have -adopted the following expedients:—After applying the cementing varnish -to the picture, and before dampening the back, take the water brush, -and thoroughly wet the face of the paper all around the design. This -will soften the preparation, which may be removed by carefully touching -the surface with a wet cloth. The cloth, being wet, will not stick to -the varnish if it comes in contact with it. After this operation, the -process is the same as before described, except that some of the fine -parts near the edge may require retouching with the cementing varnish. - -For ornamenting any dark substances, such as black silk or a rosewood -box, the picture is differently prepared. After the picture has been -printed in all its colors, the whole design is entirely covered with -gold leaf or a preparation of white lead, which is merely to give the -picture its proper effect, by preventing the dark surface from showing -through, which it would do at every light part were it not for this -backing. But if it is desirable to use some pictures not backed on a -dark ground, it may be done by covering the design with a preparation -of fine white lead, called white grounding. The grounding must be -allowed to dry, and then the process is the same as before. In applying -your pictures to any article, face the light, and, holding the picture -before you, the design can be seen from the back, and thus correctly -placed in position. - - -ENGRAVED BOXES. - -THE box should be white or light straw-color in order to show the faint -impression to advantage. It should be varnished five or six times in -succession, and suffered to dry thoroughly each time. While the last -coat of varnish is yet so fresh that your finger will adhere to it, -the engraving must be put on, the picture side next to the varnish. -The engraving must be prepared in the following manner:—All the white -paper must be cut off close to the edges of the engraving, which must -be laid on a clean table, with the picture downward, and moistened all -over with a clean sponge. It must then be placed between two leaves of -blotting paper, to dry it a little. Before putting it on the box, take -great care to have it even, and determine exactly where you wish it -to be. Lay one edge of the print, picture downward, upon the varnish, -and gradually drop it to its place, passing the hand successively over -the back of the print in such a manner as to drive out all the air, -and prevent the formation of blisters. Then carefully touch it all -over with a linen cloth, so as to be sure every part adheres to the -varnish. Leave it until it is thoroughly dry. Then moisten the back -of the engraving with a clean sponge, and rub it lightly backward and -forward with the fingers, so as to remove the moistened paper in small -rolls. When the picture begins to appear, take great care lest you rub -through, and take off some of the impression. As soon as you perceive -there is danger of this, leave it to dry. In drying, the engraving will -disappear, because it is still covered by a slight film of paper. You -might think it mere white paper; but give it a coat of varnish, and it -will become quite transparent. Should you by accident have removed any -part of the engraving, touch it with India ink, and gum water, in order -that no white spots may appear; but when you put on your second coat of -varnish you must take care to pass very lightly over the spots you have -retouched. The box should be varnished as many as three times after the -engraving has been placed on it, and suffered to dry thoroughly each -time. The white alcoholic varnish is the best. It should be put on in -the sunshine, or near a warm stove. After the last coat is well dried, -sift a little pulverized rotten stone through coarse muslin, and rub it -on with linseed oil and a soft rag; after being well rubbed, cleanse -the box thoroughly with an old silk handkerchief or soft linen rag. -Some persons say that a very thin sizing of nice glue should be put on -the box before it is varnished at all; others say it is not necessary. -This work requires great patience and care; but the effect is very -beautiful, and pays for the trouble. - - -CORAL FLOWERS AND BASKETS. - -FORM baskets, flowers, and sprays of all shapes and kinds, of -bonnet-wire already wound with thread. Then take one ounce of resin and -dissolve it in a brass pan with two drachms of the finest vermilion, -and thoroughly mix them; then take your basket, twigs, &c., and dip -them into the solution till they are well dyed. Some persons dissolve -red sealing-wax in alcohol, and form coral, powder the wax, and fill in -as much as the alcohol will dissolve. - - -IMITATION OF INLAID IVORY. - -HAVE your fancy table, work-box, &c., made of smooth polished white -wood, such as satin wood or maple; sketch upon it such figures as -castles, men, women, wreaths of flowers, &c., as you fancy; then color -all, except the figures you have drawn, with dead black. It then, if -neatly and tastefully finished, looks like ebony inlaid with ivory. - - -ALUM BASKETS. - -SUCCESS in these baskets depends somewhat upon chance; for the crystals -will sometimes form irregularly, even when the utmost care is taken. -Dissolve alum in a little more than twice as much water as will be -necessary to cover the basket, handle and all. Put in as much alum as -the water will dissolve. The water should be hot. When the water is -entirely saturated, pour it into a sauce-pan or earthen jar, (by no -means put it into an iron vessel), and slowly boil it, until it is -nearly evaporated. The basket should then be suspended from a little -stick, laid across the top of the jar, in such a manner that both -basket and handle will be covered by the solution. It must be set -away in a cool place, where not the slightest motion will disturb the -formation of the crystals. - -The frame may be made in any shape you fancy. It is usually made of -small wire, woven in and out like basket-work; but a common willow -basket may be used for a frame. Whether it be wire or willow, a rough -surface must be produced by winding every part with thread or worsted. -Bonnet-wire already covered can be used, and the trouble of winding -the basket avoided. Bright yellow crystals may be produced by boiling -gamboge, saffron or tumeric in the alum solution. Litmus boiled in will -give bright red crystals; logwood will form purple. The colors will -be more or less deep according to the quantity used. Splendid blue -crystals may be obtained by preparing the sulphate of copper, commonly -called blue vitriol, in the same manner as alum is prepared. Care must -be taken not to drop it on your clothes. - - -PAINTING ON GLASS. - -SOME of the works which profess to teach the art of painting on glass -contain directions for staining large windows in churches and halls; -others merely give the process of producing the more common paintings, -such as are carried about the streets for sale. These seem to have -been much in vogue about a century since, as all the “Young Artist’s -Assistants” of that day contain the mode of painting them. They direct -us to fix a mezzotinto print upon the back of a sheet of glass, and to -remove the paper by wetting and rubbing, leaving the impression of the -print, which is afterwards to be painted in broad washes; the ink of -the print giving the shadows. The picture being then turned over, the -glazed side becomes the front, and the colors first laid on are, of -course, nearest the eye. This mode of painting resembles the style of -Grecian painting, that being painted from the back, and the shading is -the ink of the engraving. - -The methods by which glass is stained are scientific; they require -some knowledge of chemistry, and such apparatus as must preclude the -practice of this branch of art as an amusement. It may be interesting, -however, to know something of the process. The glass being, at first, -colorless, a drawing is made upon it, and the painting is laid on -with mineral substances, the vehicle being a volatile oil, which soon -evaporates. The sheets of glass are then exposed to a powerful heat, -until they are so far melted that they receive the colors into their -own substances. Enamel painting is done on the same principle. This -is a time of great anxiety to the artist, as with all possible care, -valuable paintings, both in glass and enamel, are frequently spoiled in -the proving, or vitrification. The art seems to have been lost during -several centuries, but it has of late been successfully revived; and -large windows have been executed for churches and gothic halls, which -almost vie with the fine old specimens in the cathedrals, in point of -color, while they far excel them in other respects. - -The branch of the art which may be treated as an accomplishment is -the decoration of glass, flower-stands, lamp-shades, and similar -articles, with light and elegant designs. Flowers, birds, butterflies -and pleasing landscapes, afford an extensive range of subjects, which -are suitable to this style of ornamental painting. The glasses may be -procured ready ground. The outline may be sketched in with a black lead -pencil; the lead can be washed off with a sponge when the colors are -dry. The whole of the colors employed must be transparent, and ground -in oil; opaque, or body colors, will not answer the purpose. - -They may be purchased in small bladders, only requiring to be tempered -with fine copal or mastic varnish, and a very little nut oil, to be -ready for use. Blue is produced by Prussian blue; red, by scarlet or -crimson lake; yellow, by yellow lake or gamboge; green, by verdigris, -or mineral green, or a mixture of Prussian blue and gamboge; purple, by -a mixture of lake and Prussian blue; reddish brown, by burnt sienna; -and all the other tints may be obtained by combinations; for white, -or such parts as are required to be transparent, without color, the -varnish only should be employed. A very chaste and pleasing effect may -be produced by painting the whole design in varnish, without color. - -It is an advantage to this style of painting, that but few colors are -required; as from the nature of the subjects, and their purpose as -ornaments, brilliancy is more desirable than a nice gradation of tints. -The work must, of course, be carefully dried, but may afterwards be -cleaned with a sponge and cold water. - - -PAINTING ON VELVET. - -PAINTING on velvet as well as on glass is an old art revived. No art -that is really beautiful in itself will pass away entirely. As these -paintings are very pleasing to the eye, and easy of execution, it is -well to know how to paint them. The following directions are taken from -a reliable English work. - -The colors for this style of painting are sold at the drawing material -warehouses, in a liquid state and prepared for use. In addition to -these, a brilliant rose color is obtained from the pink saucers, by -dropping a little weak gum water upon the color, and rubbing it with -a brush. A deep yellow may also be produced by pouring a few drops of -boiling water upon a small quantity of hay saffron. - -It is necessary to mix gum water with all the colors made, to prevent -their spreading into each other; gum dragon is the best for this -purpose. The brushes used are called scrubs; they consist of a small -stick, with a camel’s hair brush cut off quite short at one end, and at -the other, a brush of bristles of a much harder description. A small -box of black lead is necessary, and a piece of list rolled tightly -round, to the diameter of about two inches, to be used as a sort of -brush with the black lead, for making outlines in the manner we shall -presently direct. A piece of linen rag, to wipe the brushes on, should -also be provided. - -The most brilliant flowers, fruits, shells, birds, &c., are well -adapted to this style of painting. The outline of the subject may be -sketched in pencil on the velvet, which is of such a very delicate -nature, that the greatest nicety is necessary to keep it in a state -of neatness. Care should also be taken that the sketch is correctly -made, as an error cannot be effaced by rubbing out, as on paper. It is -a safer method, however, to make the sketch on drawing-paper, and to -prick the outline very closely with a fine needle; then, the velvet -being previously nailed on a flat piece of wood of a proper size, the -pricked pattern may be laid over it, the roll of list dipped into the -black lead powder, and rubbed regularly over the pattern from side to -side; be careful to touch every part, and on removing the pattern, a -perfect outline in black dots will appear on the velvet. - -Where a set of articles of the same pattern is undertaken, this is a -very good plan, as it ensures accuracy, and saves the trouble of making -separate sketches. - -Even those who have no knowledge of drawing on paper may produce a -design on velvet, with ease and correctness, by tracing off against a -window, or by means of tracing paper, any drawing or print which they -wish to copy, and pricking the tracing on the velvet in the manner just -described. In order to keep the margin of the velvet from being soiled -in the progress of painting, a piece of thick paper should be laid -over the whole, and an aperture cut in the middle, sufficiently large -to expose the part to be worked on. Each brush should be kept for that -color alone to which it has once been appropriated. - -A small quantity of the color about to be used should be poured into a -little cup, and a drop of gum water added, and stirred with the stick -of a pencil prior to its being taken on the brush. The mode of its -application is so simple, that a short description of the execution of -a single flower will suffice to give an idea of the process of painting -almost any other subject on velvet. A very small portion of color is to -be taken upon the brush, and the darkest part of the leaf touched with -it; the brush is then to be dipped in water, and the color gradually -softened to the edge; each leaf ought to be colored separately, and the -darkest parts in the centre of the flowers may be finished with a small -brush without softening. India ink is used to make the dark shadows of -crimson flowers. The veins, and all the petals of flowers, and all the -fine lines, should be done with a pen. Each leaf, as it is shadowed, -should be brushed with the hard end of a brush, that way of the velvet -in which the pile runs most easily, and then in the contrary direction, -so as to set it up again to become dry. A deeper shade should never -be added to a leaf or flower until the color previously laid on is -perfectly set, or the two colors will spread and run into each other, -this will be prevented by the gum, if sufficient time can be allowed -for each shade to dry before a subsequent one is applied. - -When the piece is finished, and quite dry, it should be brushed over -with a small, round brush, about two inches in diameter, with hard -bristles of an equal length, to raise up such parts of the pile as may -have been flattened in the process of painting. - -Toilet-sets, sofa-cushions, fancy tables, pin-cushions, and a variety -of articles may be ornamented in this way. - - -CASTING IN PLASTER, SULPHUR, ETC. - -TAKING the impression of coins, medals, &c., is, independently of its -utility, a most interesting amusement. This art is of considerable -importance to collectors of antique coins, &c. It is often difficult, -and always expensive, to purchase superior specimens, of which, -however, exact models may be obtained by casting, without the -slightest injury to the originals. The mould is made in the following -manner:—Take a strip of paper, a quarter or third of an inch wide; -roll it twice tight around the rim of the coin, or gem, of which a cast -is intended to be taken, and fasten the end with very stiff gum-water, -which will hold it instantly. Rub a very little oil, with a camels-hair -pencil, over the coin, in order to prevent the plaster from sticking; -then mix some fine plaster of Paris, with as much water as will make -it almost as thick as treacle; apply it quickly to the coin, on which -it will be held by the paper rim. It sets almost instantly, and may be -taken off in a few hours; but the longer it remains undisturbed the -better. The mould which is thus obtained is the reverse of the coin; -that is, the impression is concave, like a seal. When the moulds are -so dry that they will not wrinkle a piece of paper laid flat upon the -surface, let them be well saturated with the best boiled linseed oil, -placing the moulds with their surface upward, that the whole of the oil -may be absorbed. They must be covered from dust, and nothing should -touch their surface, lest they suffer injury. Moulds, well prepared in -this manner, and dried about two days after being oiled, will stand a -long time, for the casting of either plaster or sulphur. When used, -either Florence oil or a little hog’s lard (the latter to be preferred) -should be applied very tenderly over the mould with a little of the -finest cotton wool, and the cotton wool, without lard, afterwards -passed lightly over the surface, to leave as little as possible of the -unctuous matter upon the mould, that the casts may be the finer. Put -paper around them, as was before done to the coin; pour on plaster in -the same manner, and a fac-simile of the original will be produced. - -Good casts may be made of sulphur, melted in an iron ladle, either -pure, or colored with a little red lead or vermilion powdered and -stirred up with it. The moulds and casts are made in the same manner -as with plaster of Paris, only that the sulphur must be poured on the -mould when hot, and water, instead of oil, must be used, to prevent -adhesion. Sulphur makes the best moulds for plaster casts, and _vice -versa_—as similar substances can seldom be prevented, by either water -or oil, from adhering, in some degree, to each other. Plaster cannot be -used twice; that is, old or spoiled casts cannot be powdered and again -employed; for the moment the material is moistened, being a species of -lime, it is no longer plaster, without being reburnt. - -Another way of making casts of almost any color, is with a strong -solution of isinglass; it must be used when quite hot; and it is so -thin that a box, exactly fitting the rim of the coin, is required, -otherwise it will escape. It may be colored with saffron, wood, &c. - -Very beautiful impressions may be taken by pouring melted wax upon the -metal, which comes off easily when the wax and metal are perfectly -cold; but any one attempting this had better try it first upon a penny, -or other coin of little value. - -Impressions may also be taken in wax, which, for this purpose, should -be rendered pliable by kneading it with the hand before the fire, a -little oil having been previously mixed with it. When softened to about -the consistency of putty, lay it and press it close down on the coin, -the form of which will then be perfectly obtained. - -The following is another mode of taking impressions:—Procure tin or -lead foil, as thin as possible, place it on the coin, and with a pin’s -head, or any small, smooth instrument, work it into every part; then -take it off, revert it into a shallow box, and pour plaster into its -concave side; a durable plaster cast is thus obtained, covered with tin -foil, which will resemble silver. - - -LEATHER WORK. - -“THE Complete Guide to Ornamental Leather Work” gives very elaborate -directions, the more practical of which are given in this chapter in -connection with suggestions derived from other sources. Being quite -absorbed at one time in imitating various kinds of flowers and leaves -in leather, and in ornamenting and staining wood to represent beautiful -carved work,—the writer of this examined the books on the subject, and -tried many elaborate methods, and finally went to a cabinet-maker and -learned the simplest mode of staining and varnishing. Her leather work -proved to be quite as durable, and was pronounced as handsome, as if it -had been covered with various coats of stiffening. - -The kind of leather used for general purposes is basil; it should be -selected of an even texture and of a light color, as the light colored -will stain better than the dark. It should be soft and free from -blemishes. - -The skiver leather is used for making grapes, or very small leaves and -flowers, and can be obtained at the same place as the basil leather; -this kind is also useful for thin stems and any minute portion of the -work. - -The whole skins are very expensive, and any one who wishes to -experiment can obtain for quite a small sum pieces of leather from -trunk-makers and saddlers, (who call it sheepskin instead of basil;) -you can engage them to save you all their pieces; in this way you -can obtain all you will wish to use. You can also purchase strips -of thicker leather at the same places, to ornament the edge of your -brackets, &c.; you can cut the edge of the leather in scollops, points, -&c., with chisels and gouges, and nail it round the shelf or glue it -on, the scollops, &c., hanging down; it will look exactly like wood -when properly stained. Then nail your flowers to that. Pieces of skiver -can also be obtained from the book-binders. To form your leaves and -flowers, you must sketch your pattern from nature, on pasteboard. -Then dip your leather in cold water for half a minute (not longer, -unless the leather is unusually thick;) it should then be taken from -the water and pressed in a linen cloth until the surface is nearly -dry. Being thus prepared, lay it quite flat on a board, and place upon -it your pasteboard pattern, and trace it. While the leather is wet, -cut out your leaf with sharp scissors or a shoe-maker’s knife. The -pattern may be drawn before the leather is wet, and if sharp tools -are used the leaf can be cut before wetting it; and by drawing one -pattern and nailing several pieces of leather firmly on a board, with -chisels, gouges and hammer, you can cut a number of leaves at once, -and then neatly trim them with the scissors. All common leaves, such -as grape, ivy, or convolvulus, are more easily cut in this way; rose -leaves and grape leaves are cut better with the scissors. You should -have a variety of sizes of leaves. To vein the leaves you should copy -nature, and mark them with a brad awl or knitting needle, or the point -of the scissors; press heavily for thick veins and lightly for the -finer veins; by using the two points of your scissors slightly spread -apart, you can form the raised veins; a hard steel pen can be used -for the smaller veins. Being veined, the leaves should be bent and -moulded into the required shape. Then they should be dried quickly, -as it hardens them better. Some persons stiffen them when dry by -brushing over a stiffening made of two ounces of Australian red gum, -six ounces of orange shellac, half a pint of spirits of wine, mixed -cold, and when dissolved, strained for use. It is not necessary to use -any such preparation when your leather work is sufficiently hardened -by drying; take some asphaltum varnish and stain it carefully all over -with a brush. This varnish you can buy ready mixed, or you can get -the asphaltum, powder it, and dissolve it in spirits of turpentine; -when well dried it will probably need a second coat, possibly a third, -depending on the color you wish, whether dark or light; when well -dried, varnish the work with copal varnish, and dry it thoroughly. Then -stain your wood (or you can have it stained at the cabinet-makers, -as you prefer.) You can stain even common pine wood by the following -process: first, stain with asphaltum the color you desire; then varnish -with three coats of copal varnish, having each well dried; when it is -dry and hard, rub it down with powdered pumice stone, and wash off -with clear cold water. Then arrange and nail, or glue, on your leather -flowers or fruit. When all is complete, finish up with a coat of copal -varnish carefully brushed on. - -To make stems and tendrils: cut strips as long as the leather will -allow; soak them well in water for a few minutes until they feel very -soft; take them out, wipe the water from the surface, roll them and dry -them; if required to be very stiff, add inside a piece of wire; when -very thick ones are required the leather may be cut wider. Tendrils are -made in the same manner as stems, using skiver instead of the ordinary -leather; dry them quickly, then take a strip, damp it and wind it round -a brad awl or knitting needle, taking care to fasten both ends, so that -it cannot fly off; dry it by the fire, then remove it from the awl or -needle, and a delicately formed tendril will be the result. - -Every kind of flower can be imitated. Oak leaves and acorns are easily -made, and many prefer them to flowers. Take several sizes of natural -oak leaves, and draw the pattern on pasteboard, and pencil them as the -natural leaf is veined. These you can keep always ready to copy your -leather from. The natural acorn can be used, by leaving a little of the -stem on the cup, on which to glue a longer stem of leather; then glue -the acorn into the cup, and varnish and stain. If you can obtain sprays -of acorns, and glue each acorn to its cup and glue on a bit of leather -to the end of the stem, to nail to your frame, they are the most -desirable. The acorns gathered from the shrub oak are the prettiest. - -Convolvulus is a vine most commonly imitated. The leaves and tendrils -are very simple, and the flower is easily shaped over the top of a -bottle. First, cut a round piece the size of a half dollar, and punch -a hole in the centre after it is wet, then shape from the natural -flower; the cup can be formed in the neck of the bottle, and the rest -by rolling the edges over the rim of the top of the bottle. - -Ivy is easily made. The berries can be formed from slack baked bread; -take it and roll into little berries, then stick in each a piece of -wire (that pulled from wire taste is the best, as it is wound with -thread,) and in forming the branch wind the wires together with a strip -of leather. When the berries have hardened, stain them. - -Grapes are made of skiver, and either small clay marbles or dry peas. -First, wet your skiver, then form your bunch of grapes, by pushing one -after another firm into the pliant leather, and fasten around each a -linen thread, and draw them with it close together, shaping your bunch -according to the size you wish. They so perfectly imitate carved wood -that persons familiar with carving may be deceived by them. By the -exercise of ingenuity and your imitative qualities you can accomplish -very satisfactory results. Parts of the work may be gilded, if you -prefer. For instance, you may gild your acorns, grapes or ivyberries. -Bronzing is pretty for some kinds of work. It is done by sprinkling or -rubbing bronzing powder on the work before the last coat of varnish is -dry. - -[Illustration: SKELETON BRACKET.] - -Autumn leaves can be imitated by using finely powdered colors, -and mixing them to the consistence of cream, with the following -medium:—Mix the white of an egg with 2 oz. of pure distilled vinegar; -put them into a bottle and shake them well together whenever you wish -to mix your colors; or mix them with parchment size warmed, or a weak -solution of gum-Arabic; in either case, varnish with a quick drying -pale varnish. Oil colors will not answer. - -Pieces of furniture easily ornamented by leather are book cases, -etageres, brackets, picture frames, work boxes, screens, music and -watch stands and fancy tables, &c., &c. - -[Illustration: DESIGN FOR A BRACKET.] - -The edges of frames of all kinds may be neatly ornamented by taking -two strips about seven-eighths of an inch wide, cut them as long as -possible, and stain them; when ready for use, nail them together to the -edge of the frame, then twist them round so as to form a point, and -nail again, and so on all around, crossing them each time. Brackets -need to be formed not only artistically, but strong. I will give here a -design for the framework, before the leather ornaments are nailed on. -The strips of wood must be entirely covered with the leather foliage; -it adds to the appearance of the whole. - -To gild the upper edge, I will also give a pretty design for an oak and -ivy bracket. This is intended to imitate old oak, and should be stained -very dark. The oak stem should be made of very thick wire, cut in the -desired lengths, and covered with leather, and bent to resemble gnarled -oak, as naturally as possible; fasten oak leaves and acorns at the back -of the wires and on the wood-work, as shown in the skeleton bracket, -then attach the ivy tendrils, leaves and berries around the oak stems, -and the bracket is complete. Other and very beautiful designs will -readily occur to persons who engage in this delightful recreation. - - - - -CIGAR-BOXES MADE USEFUL. - -BEAUTIFUL fancy boxes can be made from cigar-boxes, if the cover is -preserved whole. Small sizes are the most desirable. Toilet, glove, -handkerchief, gentlemen’s collar, note paper and work-boxes, besides -many other varieties, are easily manufactured. The materials required, -most of which can be purchased at the paper box manufactories, -are:—All kinds of fancy enamel paper, in sheets; gold or silver paper, -and the gold or fancy beadings, which can be bought in strips; small -enamel German pictures; plain or water-colored paper, or colored silk -and satins, for the lining; gilded corner-pieces, and claw-feet are an -addition; perfume powder, narrow taste, &c. - -First, you must fasten the lid firmly by pasting a strip of linen along -the edges of the lid and box, inside, as well as outside; it holds the -lid firm, and acts as a hinge; paste on each side bits of ribbon to -support the lid, then glue in the lining. For very nice boxes, silk -or satin, fluted, is a great addition. Plait it above and below on a -narrow piece of paper, and paste the edges down; then take an oblong -piece of silk and another of paper, place a piece of cotton wool on -the paper sprinkled with perfume powder, then cover with the silk, and -baste the paper over the edge, pasting the whole on the lid in the -center. After you have covered it, paste neatly round it a gold beading -(or bind the edges of the box first with gold paper); close the box -when the inside is finished, and commence on the outside. Some persons -take out the bottom of the box in lining it, as it is easier to paste -it smoothly, and then nail it in its place. Cover the whole outside of -the box with polished enamel paper (Japanese paper is very beautiful, -but expensive,) and cover the bottom of the box; then bind the edges of -the box with gold paper, and place beading on the edge where it meets -the colored paper. The styles may be varied by pasting gold beading -in stripes all over the box; ornament the sides, if you prefer, with -pictures. On the lid, gold corner-pieces, besides the beading, are an -improvement. In the center place some pretty picture, varnish it with -map varnish, and then frame the picture with a gold beading. A loop -of ribbon should be pasted on the lid to raise it by, and your box is -finished. If your box is for gloves or handkerchiefs, you may cut out -in old Roman or English letters, in gold paper, “Gantes” or “Mouchoir,” -and paste them on the front side of the box. Pin-cushions could be -fastened on the top of toilet boxes. - -The pictures and gilding that come on linen or cambric goods may be -used for this purpose. Common flour paste is the best; a little common -glue mixed in while boiling improves the paste. Mucilage can be used -to glue on the beading. The paper should be thoroughly wet with paste. -Begin to paste smoothly from the center, in order to keep out all air. - - -POTICHIMANIE. - -POTICHIMANIE is the art of imitating painting on glass or China. The -most beautiful of the Chinese porcelain, Sevres, Japanese or Etruscan -vases, can be so closely imitated, that none but connoisseurs can -discover at first sight, the difference. The work is attractive, and -very simple; the materials employed are few, and inexpensive. - -First, select some plain glass vases, resembling in shape and size the -particular style of China you wish to represent. You can have vases of -any shape blown and fashioned for you at the glass houses. - -Select your colored figures, representing the style of China you wish -to imitate; let them be rich, and clear in their colors. You will need -two or three small brushes, such as painters use, some strong gum -water, and a bottle of varnish. Use paint for the groundwork of the -color you wish to represent. The ground color of the Chinese porcelain -is in general a greenish white; the Sevres a bluish white; while the -Etruscan is a pale yellow. These three colors are generally all that -are wanted. A delicate pink is sometimes used. For any one kind of -vase, only one ground color is necessary. A pair of very fine pointed -scissors will also be required. - -Then proceed to cut out your figures with great care; if you can cut -a trifle within your figures, all the better, for no white edges must -be visible. When they are all cut, arrange them on a sheet of paper -in the order in which they are to be placed in the vase, and gum them -very evenly and carefully on the colored side; let them lay until the -gum rather thickens and the paper on which they are colored softens; -then take them up carefully and place them in their proper places on -the inside of your vase; press them carefully with a bit of old linen -tight to the glass, excluding all air between them and the glass, -otherwise bubbles will be formed, and the work will be spoiled. When -all the pictures are arranged, wipe the glass clean, except where it is -covered by the pictures. After the work is dry and clean, varnish the -back of the prints, and paint the inside of the vase with the ground -color. Some persons pour it in the vase, and let it run around, and -then carefully brush it on; some put it on near the pictures by gently -tapping the glass with the brush. Great care must be taken not to let -the paint run under the paintings. The antennae of butterflies and -other minute objects may be imitated in gold, or by drawing them on the -glass with gum water and sprinkling them with gold bronze powder. This -must be done before the ground paint is laid. Gold stars scattered over -some kinds of vases may improve them. You can buy sheets of appropriate -designs already colored. If you prefer to color them yourself, you must -be sure and have your colors clear and bright; the brighter they are -the better they will appear. Where gold is introduced, it is better -to use the shell or prepared gold. It is applied in the same manner -as water colors, and may be used with good effect, in borders, single -ornaments, flowers, insects, and to fill up when no other color is -introduced. This work may be used in various ways to decorate your -homes. The inside of your vase should be varnished, to give it the -smoothness of China, and you can have the rim gilded. If several coats -of sizing are applied, the vase may be filled with water without injury -to the paint; but you can fit cups to the vases, in which to put water -for flowers. Hall lamps, windows, &c., are decorated in the same -manner, except that no ground color is used. Cabinet boxes, tables, and -a great variety of other articles, both useful and ornamental, may, -with a little ingenuity and taste, be rendered extremely elegant. - - -ORNAMENTS IN RICE SHELL-WORK. - -THE rice shells are brought from the West Indies, and are sold by -measure, or by the box, at the conchological repositories. They can be -bought already prepared for use, but are more expensive in that form. -To prepare the rough shell for use, you must first take a long pin and -free the interior of each shell from all grit or dirt; next with your -scissors clip the extreme tip of the shell so as to leave a tiny hole -like the eye of a needle. This must be carefully done or the shell -will be spoiled, or your eyes may be seriously injured by the flying -fragments. Practice soon enables one to clip them rapidly and evenly. - -It is advisable to have at hand a number of small card boxes, to hold -your articles. In clipping, it is well to sort the shells by the sizes, -and lay them in separate boxes. Small, flat, white shells, nearly -transparent, add to the beauty of the shell-work. These must be bored -by a sharp needle near the stem. When all are clipped, pour over them -cold water, with a little soda and castile soap. The latter should be -shredded, and mixed in the proportion of half an ounce to each pint -of water. Then cover your pan and place it near a good fire, or in an -oven; let it remain till scalding hot, stirring now and then; then -take it away, and rub the shells gently with your hands; then pour off -the water and rinse the shells; add a fresh supply of water and soap -only, and repeat the same process; after being again rinsed in clear -water take a few shells, fold them in a soft towel to dry them, and -afterwards rub them with a silk handkerchief; then place them in a dish -near the fire and shake them occasionally till they are dry. Then place -them in a box ready for use. They should appear polished and pearly -white. Too much soap, soda, or heat will turn them yellow. Too great -heat in drying will cause them to be brittle and crack, but they must -be dry before using. - -Next you must procure silver wire. This can be bought at gold and -silver bullion makers, or at musical instrument makers. You need -several sizes, the very finest thread wire to wind around the stems, a -size to twist in the shell and another for stems. - -The largest shells are better for baskets and heavier work, the middle -size and smallest for flowers and leaves. Each kind should have its own -box. Into one box cut some two or three hundred pieces of middle sized -wire, about two and a half inches in length. You should collect for -use various materials, such as floss silk, fine wire chenille, roman -pearl beads, (the solid or grain-like bead is preferable,) coral beads, -or turquoise, pink, green or yellow, red flower seeds, velvet, satin, -or silver leaves and silver bullion. Having collected materials for a -wreath and sprays of various flowers, commence your work by stringing -your shells on your bits of wire. Turn the wire over the shell; hold -the folded wire between thumb and finger of the right hand, and turn -the shell round and round until the wires are firmly twisted together. -Very soon you will be astonished at the rapidity with which you string -and twist your shells. They look like this cut, when prepared. Much -time will be saved by keeping your different sized shells separate. -Having wired several hundred, you can proceed to prepare a leaf. - -[Illustration: WIRED SHELLS.] - -The cut at the head of page 122 shows the leaf when made. It takes -from five to fifteen or twenty shells to form a leaf; the number -depends on the size of the leaf. The smallest shell forms the apex, the -others graduated in size by pairs. Then take your shells and bind them -together, one by one, with the finest wire or floss silk, leaving out a -small portion of the twisted wire, gradually increasing the piece left -out, as the plate indicates, leaving all the openings of the shell all -one way; bind the stem firmly, leaving no ends of wire, as they catch -in everything, besides looking untidy. - -[Illustration: SHELL-LEAF.] - -To form a flower or bud, take one of the lengths of the wire, thread -on a shell, and then a pearl bead, then a second shell, and twist the -wire firm. The place of the bead is between the points of the two -shells, and both openings meet and are not seen. The figure below shows -a simple flower composed of five wired shells, firmly twisted together -down to the extremity. A double flower is composed of eighteen shells, -twelve small ones, and six of a middle size. These latter are arranged -as in the single flower. The twelve are made into four leaflets. A few -pearl beads in the center of the flower improves it. It is easy to -shape them as you wish by bending the wires. A simple flower may be -arranged like the spokes of a wheel. - -[Illustration: SHELL-FLOWER.] - -Wheat ears (see cut on next page) may be made of any number of shells, -from eight to thirty, one taken as an apex, then a pair set on either -side of it and one in the center, and other pairs successively to -the end, binding all firmly to the points of the shells, and putting -in here and there three quarter inch length of middle sized wire to -resemble the beards. Ornamental groups can be made by threading good -sized shells on middle sized wires, twisting them together and winding -them on a fine knitting needle. When drawn out they have a spiral form. -Bind several thus formed together at the ends. Their dancing, wavy -motion adds to the gracefulness of your spray or wreath. The white, -round shells used as leaves are very pretty; even whole flowers are -often made of them. Wire chenille and colored beads increase the effect. - -[Illustration: WHEAT EARS.] - -Neatness and grace must be studied, care must be used to avoid cutting -off the thread wire, or floss, any oftener than possible. In making -wreaths and sprays every one must exercise his or her own taste. -Infinite varieties of forms can be designed; you can trim a head-dress -exquisitely with them. - -I advise young ladies to try their skill. It is fascinating work and -the effect is beautiful. Bridal wreaths formed of the rice shells, -Roman pearls, white chenille, and silver wire are often made. Bugle -flowers can be made in the same way, taking wire the color of the bead. - -Shell baskets are very ornamental. Exquisite watch stands and cigar -or match stands can be formed of shells. Your frames should be made -of wood or tin. Cover them thick with white paint. The painters will -prepare it for you as thick as putty, with boiled oil. Paint must be -selected that will not turn yellow and will dry quickly. After covering -your frame thickly with this preparation, lay on the shells in whatever -form your own taste may direct. Place them so thick that none of the -paint will be visible, and set the frame aside until it is dry. The -drying may require several days. When it is dry varnish it with white -map varnish. - -[Illustration: WATCH-STAND.] - -Watch stands, in the form of a church or other building, may be made -with a tin frame. Rolls of tin may be used for columns and towers, and -soldered to the frame. A circular opening must be made in the frame -through which the watch can be seen, and a small case of tin must be -soldered to the back of the frame in which the watch can be held -firmly. Take two blocks of wood similar in form, but one of them larger -than the other, and glue the smaller one on top of the other; then make -a slit along the middle line of the upper block, in which the tin frame -is to be inserted and fastened with glue. The blocks will represent the -steps to the building, and may be covered with shells. If the building -represents a church, a cross for the top may be made of tiny rice -shells. The towers should be covered with larger sized rice shells, and -on the summit of each a small cone shell should be placed. The opening -for the watch should be surrounded by flat, round, white shells. The -inside of the case for the watch should be lined with crimson velvet, -glued in. The outside should be covered with shells. - -Harps, guitars, etc., etc., can be ornamented in the same way. If they -are riveted into marble slabs, the trouble of covering the stands with -shells will be avoided. Cigar stands can be made of thick card-board, -but tin is better; it must be cut about seven and a half inches long -and four inches wide, and soldered together, (to make a round cup) -and fastened upon a stand. Boxes, tables, vases, and all kinds of -ornamental articles can be covered with shells. - - -ALLSPICE BASKETS. - -THE allspice berries should be soaked in spirit to soften them, and -then holes should be made through them. They are strung on slender -wires, which are twisted or woven into diamonds or squares, or rows as -you fancy, and then formed into baskets. A gold band between every two -berries gives a lively look to the basket. Around the top are sometimes -twisted semi-circles of berries, from which are suspended festoons of -berries strung on silk, drooping over the outside. - -The baskets may be lined with bright colored silk and ornamented with -ribbons. Baskets can be made of cloves in the same way, by taking off -the berry and soaking the long part in spirit. Bead baskets are also -made in the same way; the wire should be the color of the bead. Cut -glass beads are the most desirable, as they glitter prettily amidst the -green boughs of the Christmas tree. - - -RICE OR SHELL BASKETS. - -THE frame is made of pasteboard neatly lined; the groundwork can be -white or colored, as you fancy; fasten on with gum either grains of -rice, bugles of different colors, or small rice shells, arranged in any -form you please. - - -WAFER BASKETS. - -MAKE a neat card-board frame and bind the edges with gilt paper. Take -the smallest wafers you can get; keep a whole one for the ground work; -cut another in halves; wet the edges of one of the halves and stick it -upright through the middle of the whole one; cut the other half into -two quarters, wet the two straight sides, and place them on each side -of the half wafer; this forms a kind of rosette. When you have enough -prepared, wet the bottoms of the whole wafers, and fasten them on the -basket in such forms as you please. It is very pretty to have the -whole wafer one color and the rosette another. Stars can be made by -placing six quarter wafers around the half in place of two. The handle -can be decorated in the same manner, or with ribbons. Care must be -taken to have the wafers cut even and uniform. - - -IMPRESSIONS OF BUTTERFLIES. - -IF you find a dead butterfly, cut off the wings and place them upon -clean paper, in the position they occupy when the insect is flying. -Spread some clean, thick gum water on another piece of paper and press -it on the wings; the little colored, feathery substance will adhere to -it; then lay a piece of white paper upon the top of the gummed paper, -and rub it gently with your finger, or the smooth handle of a knife. A -perfect impression of the wings will thus be taken. The body must be -drawn and painted in the space between the wings. - - -TO TAKE IMPRESSIONS OF LEAVES. - -DIP a piece of white paper in sweet oil, and hold it over the lamp -until it is thoroughly blackened with smoke; place a green leaf upon -the black surface, and let it remain pressed upon it for a few moments; -then put it between two pieces of white paper and press it in a book, -with something heavy upon the top of it. When taken out, one of the -papers will have received a perfect impression of the leaf with all its -little veins. Some think the impression is more distinct if a little -lamp-black and oil be passed lightly over the leaf with a hair pencil, -instead of smoking it over a lamp. - - -PAPER LANDSCAPES. - -OBSERVE well the shadows of the pictures you wish to copy; draw their -shapes as exactly as you can, and cut them out. Paste these pieces on -a sheet of paper, in the same relative positions they occupy in the -landscape; if the shade be rather light, put on only one thickness of -paper; if darker, two thicknesses and three thicknesses may be used; -if the shadow is very deep and heavy, five or six pieces may be pasted -on, one above another. When held up to the light, shades are produced -differing in degree according to the thickness of the paper. These -make very pretty transparencies for lamps in Summer. Lamp shades can -be made in this way with colored paper placed between two thin white -papers and so arranged that the shadows will represent grapes, or any -fruit or flower. China lamp shades are prepared in the same way, that -is, portions of the china are made thicker than others; in the daylight -they appear perfectly white, but when the light shines through them -the shades look like a soft landscape in India ink. It is on the same -principle that the beautiful Parian transparencies are made for windows. - -[Illustration] - - - - -Natural Magic. - - -THE ÆOLIAN HARP consists of an oblong box of thin deal board about -five or six inches deep, with a circle drawn in the middle of the -upper side, an inch and a half in diameter, around which are to be -drilled small holes. Along the upper side of the box seven, ten or -more small strings of very fine gut are stretched over bridges near -each end, like the bridges of a violin, and tightened or relaxed with -screw pins. The strings must be tuned to one and the same note, and -the instrument placed in some current of air where the wind can pass -over its strings with freedom. A window, the width of which is exactly -equal to the length of the harp, with the sash just raised to give -the air admission, is a good situation. When the wind blows upon the -strings, with various degrees of force, different musical tones will be -sounded; sometimes the blast brings out all the tones in full concert, -and sometimes it sinks them to the softest murmur. In many old castles -these harps were fastened in the windows, and their wild music caused -the ignorant to think they were haunted. - -A colossal imitation of the instrument just described was invented -at Milan, in 1786, by Abbate Gattoni. He stretched seven strong iron -wires, tuned to the notes of the gamut, from the top of a tower sixty -feet high, to the house of a Signor Muscate, who was interested in the -success of the experiment; and this apparatus, called the giant’s harp, -in blowing weather yielded lengthened peals of harmonious music. In a -storm this music was sometimes heard at the distance of several miles. - -Simply tying waxed saddler’s silk to little sticks, and pushing them -into the crevices of windows, so as to receive a draft of wind (the -silk being strained tight), will produce very sweet sounds. - - -THE MAGIC OF ACOUSTICS. - -THE science of Acoustics furnished the ancient sorcerers with some -of their most complete deceptions. The imitation of thunder in -their subterranean temples did not fail to indicate the presence of -a supernatural agent. The golden virgins, whose ravishing voices -resounded through the temple of Delphos; the stone from the river -Pactoles, where trumpet notes scared the robber from the treasure which -it guarded; the speaking head, which uttered its oracular responses at -Lesbos; and the vocal statue of Memnon, which began at the break of day -to accost the rising sun, were all deceptions derived from science, and -from a diligent observation of the phenomena of nature. - - -TO SHOW HOW SOUND TRAVELS THROUGH A SOLID. - -TAKE a long piece of wood, such as the handle of a broom, place a -watch at one end, apply your ear to the other, and the ticking will be -distinctly heard. - - -A SINGULAR EXAMPLE OF SUPERSTITION. - -THE following _true story_ was related to me by one who was personally -acquainted with the facts. There was a certain bend in one of our -western rivers which was avoided by every one, as it was supposed to -be haunted by the devil. At a certain hour in the evening, for many -years, terrible curses were distinctly heard. Suddenly they ceased. A -gentleman skilled in the science of acoustics, hearing an account of -the strange phenomena, determined to ascertain the cause, and carefully -examined the river on each side for about a mile above and below the -bend. He ascertained that at about the time the sounds ceased, an old -fisherman, who had lived on the opposite side of the river, full a mile -from the spot where the curses were heard, had died. He was told that -the fisherman was in the habit of crossing the river to a village, -where he found a market for his fish, and where he spent his money for -liquor, and that after drinking freely on his way home, while rowing -across the river at night, he would swear terribly. This gentleman -then persuaded a friend to go down the river to the place where the -curses were formerly heard, while he remained in a boat on the river -at the point at which the old man usually crossed. He then played on a -bugle and sung several songs. His friend soon returned, and with eager -delight exclaimed: “Oh, ——, such glorious music fills the air just -where the curses used to be heard.” The neighbors came rushing down to -hear it, and some fell on their knees praying; they said “the angels -have driven the devil away.” Mr. —— then asked what were the songs -they heard. His friend described them correctly, and said he understood -even the words, one of them being the famous Marseillaise, another a -German song; the foreign words made the ignorant more sure that the -sounds were supernatural. Mr. —— then played on the bugle and sang -again the same songs, while his friend stood by; but his friend said -the music was not equal to that he had heard below, where the sounds -had really seemed heavenly. - -The peculiar configuration of the river banks had concentrated the -sounds, and the distance and the water had softened them. - -The person who related this anecdote to me said that he and his friend -had often tried the experiment. Nothing would convince the more -ignorant neighbors that the sounds were occasioned by merely natural -causes. A love of the supernatural is strong within us, and sometimes -leads us into grave mistakes. - - -THEORY OF THE VOICE. - -PROVIDE a species of whistle common as a child’s toy, or a sportsman’s -call, in the form of a hollow cylinder, about three-fourths of an inch -in diameter, closed at both ends, by flat circular plates with holes -in their centres. Hold this toy between the teeth and the lips; blow -through it, and you can produce sounds, varying in pitch with the force -with which you blow. If the air be cautiously graduated, all the sounds -within the compass of a double octave may be produced from it; and, if -great precaution be taken in the management of the breath, even deeper -tones may be brought out. This simple instrument, or toy, has indeed -the greatest resemblance to the larynx, which is the organ of the -voice. - - -THE VISIBLY GROWING ACORN. - -CUT a circular piece of card to fit the top of a hyacinth glass, so as -to rest upon the ledge, and exclude the air. Pierce a hole through the -centre of the card, and pass through it a strong thread, having a small -piece of wood tied to one end, which, resting transversely on the card, -is prevented from being drawn through. To the other end of the thread -attach an acorn; and having half filled the glass with water, suspend -the acorn at a short distance from the surface. The glass must be kept -in a warm room; and in a few days the steam which has generated in the -glass will hang from the acorn in a large drop. Shortly afterwards the -acorn will burst, the root will protrude and thrust itself into the -water; and in a few days more a stem will shoot out at the other end, -and rising upwards, will press against the card, in which an orifice -must be made to allow it to pass through. From this stem small leaves -will soon begin to sprout; and in the course of a few weeks you will -have a handsome oak plant, several inches in height. - -[Illustration] - - - - -Dancing. - - -DANCING is the most agreeable of all indoor pastimes that combine -pleasure with healthful exercise. It also gives grace and elasticity to -the movements. The modern gymnasium has many of the attractions of our -dancing schools, but its exercises are often too violent for delicate -children. The dancing school has proved physically beneficial to many -who have been sent to it as an experiment, at an early age. Such -exercise invigorates the frame and does more for permanent health than -can be accomplished by medicine. Exercise, to be beneficial, must have -some pleasant excitement connected with it. - -It is a pleasant sight to see a home circle, old and young, joining -in a lively quadrille, or an old fashioned contra dance, in the early -evening hour, either the mother or a daughter presiding at the piano. -How joyously even children of three and four years old make their tiny -feet move in time to merry music. “Pop goes the Weasel” is a dance only -suited to little children, and they are apt scholars and can all join -in singing the popular tune. It may be well to give the directions for -this and a few other dances. - - -POP GOES THE WEASEL. - -THIS is an old English dance revived. The positions first taken are the -same as in the contra dance, the ladies and gentlemen being placed in -lines opposite to each other. The couple at the top begin the figures. -They first dance down outside the lines and back, then join hands and -down the middle, then join hands with the lady of the couple next -to them and the three dance around in a circle till the music comes -to “Pop goes the Weasel.” As they sing that, the second lady passes -quickly under the joined hands of the couple dancing, and goes to her -place; the same couple then join hands with the gentleman opposite, and -at the proper time he pops under their joined hands in like manner; -then down outside, back again and join hands and down the middle; then -take the next lady and dance around as before. So on through the whole -line. As soon as the top couple have danced down twice, the next couple -begins. If there are long lines, there is often a number of couples -dancing together, and when all sing in time the dance is very pretty. - - -LANCERS. - -THIS, also, is a very old English dance. There are innumerable changes, -but those given here are the most popular. - -First Change. - -[Illustration] - -First lady and opposite gentleman forward and back; same couple forward -a second time, turn with right hand, and return to places. First -and second couple cross over, first couple joining hands and passing -between the second couple, and return to places, the second couple -joining hands and passing between the first. Balance at the corners, -the four ladies to the gentlemen on the right, gentlemen facing the -left, to return the balance. Turn partners with both hands to places. -Same for the other three couples. - -Second Change. - -First couple forward and back. Forward a second time and leave lady in -front of opposite couple facing her partner, gentleman returning to -place. The same couple chassez to right and left, and turn to places -with both hands. All eight forward and back in two lines; forward and -turn partners to places. In forming two lines first and second times, -the side couples separate from their partners, and join each side of -the head couples, forming two lines, four on a side; third and fourth -times the head couples join the sides. - -Third Change. - -First gentleman and opposite lady forward and back. Forward a second -time and salute with a low bow and low graceful courtesy and return -to places. The four ladies then form a windmill by giving their right -hands, while the four gentlemen take their left hands, with their left -hands, all facing the same direction, and promenade entirely around, -and turn partners to places. - -Ladies grand chain is danced in Paris in place of the windmill. The -three other couples dance the same. - -Fourth Change. - -First couple visit the couple on the right hand, salute with bow and -courtesy. Visit the couple on the left and salute, then change across -and salute same couple again. First couple return to place. Right and -left with opposite couples. The other three couples dance the same. In -Paris they dance it double, first and second couples at the same time, -and so on. - -Fifth Change. - -Grand right and left. First couple turn and face outward. Then couple -on the right take their place behind the first, then the couple on -the left, the second couple behind all. All chassez across and back, -gentlemen passing behind ladies. Promenade outside, ladies to the left. -Gentlemen to right, meeting at the bottom, and coming up together. All -eight forward and back, ladies on one side, gentlemen on the other. All -forward and turn partners to places. This is danced through till each -couple has taken turn in being the leaders. - - -GRAND SQUARE. - -[Illustration] - -At the same time, the first lady and second gentleman, and the second -lady and first gentleman join hands and turn to the sides, while the -third lady and fourth gentleman and fourth lady and third gentleman -passing on the outside of the first and second couples, join hands and -take the latters’ place. Then they pass on the inside and the others on -the outside, each taking his own partner to place. Then repeat, only -reversing it, by the first and second couples going on the outside -first, and the third and fourth inside. - - -LE PRINCE IMPERIAL QUADRILLE. - -(A new change introduced by the Empress Eugenie.) - -First Change. - -LE CHAINE CONTINUE DES DAMES. - -HEAD couples to sides. First and second couples lead to right hand -couples, and all salute, (viz: first couple to third, second to -fourth.) First and second gentlemen retaining partner’s hand, take with -their left hands, the left hands of the side ladies. The two threes -thus promenade to places of head couples, second to first couples’ -place, first to second couples’ place, all facing the centre. Ladies -grand chain; the four ladies, without the gentlemen, make a movement -like the grand chain of the “Lancers,” by crossing over from head to -head of sets, giving right hands; passing from side to side, giving -left hands; again back from head to head of set, giving right hands, -and across again to side, giving left hands, ending with each lady in -front of her partner, lady facing outward. All chassez to right and -left and turn partners. By repeating this figure the first and second -couples return to places, after which the side couples dance the figure -twice through. - -Second Change. - -LA NOUVELLE TRENIS. - -First gentleman and second lady forward, and turn with both hands, -both stopping in front and facing the lady who was left in her place. -Cross over; the single lady passes between this couple and crosses -to opposite gentleman, giving him her left hand, (that gentleman -giving his left hand also,) and turn to lady’s place on right of that -gentleman; at the same time the other two cross over to first couple’s -place, and turn with left hands and face opposite couple. Forward four -and back; half ladies’ chain, (the ladies thus return to partners.) All -eight chassez across and turn at corners. All chassez back and turn -partners. - -Third Change. - -LA CORBEILLE. - -First gentleman leaves lady in the center, (the lady facing outward,) -separating with salute. Second gentleman the same; third gentleman the -same; fourth the same. Ladies hands around; the four ladies thus back -to back take hands and round to right, stopping in front of partners. -Gentlemen forward. The four gentlemen advance and give right hands to -partners and left hands to next lady, and make a large circle. All -balance in circle and turn partners to place. - -Fourth Change. - -LA DOUBLE PASTOURELLE. - -Forward four. First and second couples forward and back; leave partners -on sides; first gentleman leaves his lady on left of third gentleman, -and returns to place; at the same time the second lady leaves her -gentleman on right of fourth lady, and retires to place; forward -six; the six on sides forward and back twice; two forward; the first -gentleman and second lady forward and back. Forward again, salute, and -pass to side where partners are. Four hands half around, with sides. -Right and left to places. - -Fifth Change. - -LA TOURBILLON - -Ladies to right. The four ladies pass to the gentleman next on their -right, and turn with him, both giving right hands. They pass again to -the right, and turn with next gentleman, (with same hands.) They pass -again and turn, finally pass again to the right, which brings all to -partners. First couple forward and back. Turn with right hands ending -in centre, face to face. All four to right and left. Turn to places. - -After the ladies repeat the first sixteen bars of this figure a fifth -time, all the gentlemen place their partners in the centre, facing -outward, each lady thus facing her own partner. Then the quadrille thus -terminates by all saluting. - - -COMMON COTILLION. - -First Change. - -FIRST and second couples right and left. The same couples balance. -Ladies chain. Same half promenade, half right and left back. - -Second Change. - -Forward two, first lady and second gentleman then cross over, chassez -and return to places. Balance. Each couple the same. - -Third Change. - -Right hand across, first and second couples cross over giving right -hands to opposites as they pass. Left hands back, which are retained, -giving right hands to partners, thus forming a circle in the middle of -the set. Balance in a circle, then cross to opposite sides; chassez. -Two ladies forward and back; two gentlemen the same; four forward and -back; right and left to places. Head couples repeat, then the sides the -same. - -Fourth Change. - -Forward four and back; forward a second time, first gentleman leaving -first lady on the left of opposite gentleman; three forward twice, -second time first gentleman handing both ladies to opposite gentleman; -three forward twice on opposite side, the second time stop in the -centre; four hands half around to the right and cross over. Right and -left to places. Head couples repeat, then the sides go through the same -figure. - -Fifth Change. - -JIG DANCE. - -Hands all around. All the ladies balance to and turn gentlemen on the -right, pass to the next, balance, &c.; so on all around. Hands all -around, or promenade all. Gentlemen then pass to the right, the same as -the ladies. All promenade or hands all around. - - -BASKET DANCE. - -FORWARD two; balance; ladies’ hands around in centre; left to right; -gentlemen join hands outside the ladies and pass around, stopping on -the left of partners; gentlemen pass their joined hands over the heads -of ladies, (ladies standing still,) and form the basket; all balance -and turn partners. - - -WHITE COCKADE. - -FIRST couple balance to right; four hands around; first couple balance -to left; four hands around; hands all around. This is repeated by the -other couples. - - -THE WALTZ AND POLKA QUADRILLE. - -THE changes in these quadrilles are the same as in the common -cotillion, except that a waltz or polka is played, and all the changes -are danced either with the waltz or polka step, and at the end of each -change, all waltz or polka around. - - -SIR ROGER DE COVERLEY, OR VIRGINIA REEL. - -DANCED with eight couples or more in two lines, the ladies on one side, -gentlemen on the other, facing each other. The top lady and bottom -gentleman execute each figure, and are immediately followed by the -bottom lady and top gentleman, in the following order: forward and -back; forward and turn with the right hand and back to places; turn -with the left and back; then with both hands and back, forward and dos -a dos and back; forward and back; (this is often danced by the two -top ladies, and two bottom gentlemen, at once; it is prettier than -in couples.) The lady then turns with the left hand, every gentleman -down the line, while her partner turns every lady, turning his partner -alternately with the right hand. When arrived at the bottom, chassez -back to the head, separate from partner, lady passing down the line -outside of the ladies, and the gentleman outside the gentlemen, all in -each line following, meeting partners at the bottom and then chassez up -the centre, when first couple chassez down the middle and take their -positions below the last couple. The figure is continued by the new -couple at the head, and so on, till all have danced the whole figure. - - -THE NINE-PIN DANCE. - -EIGHT must form a cotillion; the ninth must stand at the side and call -any changes he pleases, and lastly call grand right and left. When he -claps his hands, they must all promenade. The one calling must then, if -possible, secure a partner. If the attempt is successful, the one left -out must call the changes of the dance; and so on. - - -CALEDONIAN QUADRILLES. - -First Change. - -FIRST and second couples cross right hands, left hands back; balance, -and turn partners; ladies’ chain; half promenade and half right and -left to places. Repeat twice. - -Second Change. - -Gentlemen forward and back twice; all balance to corners and turn each -lady, passing into the next lady’s place; all promenade. This figure to -be repeated four times. - -Third Change. - -First lady and opposite gentleman forward and back twice; first couples -pass between opposite couples in crossing over, and return outside; -balance to corners, and turn to places; all join hands in a circle and -forward and back twice. Repeat four times. - -Fourth Change. - -First lady and opposite gentleman forward and stop; partners the same; -turn partners to their places; four ladies change places to the right; -gentlemen change places to the left; ladies change places again to the -right; gentlemen change again to the left; all around to their places, -and turn partners. Repeat four times. - -Fifth Change. - -First couple promenade around inside; ladies all forward to centre; -give right hands and back to places; gentleman the same; balance to -partners and turn; grand right and left half round; promenade to places -and turn partners; all chassez across, giving right hands at corners -and back to places. Repeat four times; then all promenade. - -[Illustration] - - - - -Dramatic Amusements. - - -PRIVATE theatricals and dramatic or Shakspeare reading clubs are among -the fashionable amusements of the present day. Many, I know, disapprove -of them; but I think they do far more good than harm. They certainly -strengthen the lungs, memory, and improve the intellectual tastes. -But I will not discuss the subject, as far abler pens than mine have -already argued on both sides of the question. Private theatricals -amuse a large circle of friends, and any club willing to undertake the -presentation of plays deserves the thanks of the audience. - -Even a simple farce requires much labor and frequent rehearsals, to be -well acted, and one soon wearies of the constant repetition of even -witty sayings. The most trivial character must be carefully studied, -for one bad actor often destroys the effect of the whole play. Then -the foot-lights, stage, &c., must be prepared. A few directions, with -a list of easy farces may be of service. All who live in cities can -easily hire scenery, dresses, &c., but for the benefit of towns and -villages, I will give a short account of how such things can be managed. - -Some lady can almost always be found who will give the use of her -house. A house should be selected which has two parlors, connected by -large folding doors, or an arch; one parlor being for the audience, and -the other for the stage. All the furniture and carpets should be taken -from the latter room. A rough staging should be built (boards can be -easily hired), and by boring a hole in the floor a gas-pipe can be run -up along the front of the staging, with a sufficient number of burners. -Tin shades painted green (as they render the light softer, and more -agreeable to the eye) are an addition, for they keep the light from -the audience, and throw it directly on the actors. A large floor cloth -can be nailed on the stage for a carpet. A drop curtain, so arranged -as to be rolled up quickly and easily, by means of a cord pulley at -one side of the stage, where the prompter sits, just out of sight of -the audience, is necessary. Scenery for the sides and back parts of -the stage can be roughly painted on cloth; it answers every purpose of -canvass by being strained when wet over light wooden frames (made so as -to be easily moved); when dry, it presents a smooth, hard surface. - -Each member should provide his or her own dress. To give the required -expressions to the faces, a box of good water colors, some fine chalk -powder, camel’s hair pencils, and rouge saucers, are wanted. To make -frowns, scowls, or comical expressions, such as a broad grin, smirk, or -simper, stand before a mirror and assume the desired expression; then -trace the wrinkles produced, with a fine brush of the brown tint; this -will fix the required expression on your face. Rouge is best applied -with the finger. Burnt cork is excellent for darkening eyebrows, and -making moustaches, also for representing leanness, which will be done -by applying a faint tint just under the eyes, on the sides of the -cheeks, and under the lower lip. A strong mark running from the corner -of the nose down towards the corner of the mouth on each side, marks -age or emaciation. - -A few directions may be of use in regard to the preparation of -theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or -gray colored horse hair; beards and moustache of the same, or a piece -of buffalo skin. Ermine can be made of cotton flannel with tags of -lion skin cloth sewed on, or black tags painted. Pelisse wadding is -sometimes used. - -Crowns and sceptres are easily made of pasteboard and gold paper. -Velvet talma cloaks, capes, or even the loose velvet sack, can be -converted into cavalier cloaks (the arm-holes in the sack must be -fastened up on the inside), by fastening them gracefully over one -shoulder. Then put on a large old-fashioned lace collar, ruffles -around the hand, a Kossuth hat, looped up on one side with a paste pin -or buckle, fastening a white or black plume, (taken from some lady’s -bonnet), stockings drawn over the pantaloons and fastened at the knees -with bows and buckles; and lo! with but little trouble, you have a fine -cavalier of the olden times. With old finery and a little ingenuity, a -theatrical wardrobe can be quickly made, if all are willing to do their -part, but the larger share of the work is generally done by a few. -Rocks can be made by throwing plain gray blanket shawls over ottomans, -tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder -by rattling sheet-iron, lightning by means of a tin tube, larger at one -end than the other, and filled with powdered resin. The smaller end of -the tube should be open, the other end so managed that the resin may -sift through. Shake the tube over a lamp, or blow the resin through a -plain tube into the flame of a lamp, and you will have a good imitation -of lightning. - -Dissolve crystals of nitrate of copper in spirits of wine, light the -solution and it will burn with a beautiful emerald green flame. Pieces -of sponge, soaked in this spirit, lighted and suspended by fine wires -over the stage of theatres, produce the lambent green flames, now so -common in incantation scenes. Strips of flannel saturated with it, and -wrapped around pieces of copper, will form the swords and fire-forks -brandished by the demons in such scenes. Devices like the above are -very simple, and add much to the general effect. - -The following is a list of plays which are easily and often acted in -private theatricals: - -Comedies. - - The Rivals. │ London Assurance. - Fashion. │ Lady of Lyons. - - -Farces. - - The Loan of a Lover. │ Bombastes Furioso. - The Widow’s Victim. │ Lend Me Five Shillings. - Perfection. │ Phantom Breakfast. - Sketches in India. │ Rough Diamond. - Morning Calls. │ A Pretty Piece of Business. - Swiss Cottage. │ Old Guard. - My New Wife and My Old Umbrella. │ A Game of Romps. - Kill or Cure. │ Betsy Baker. - Poor Pillecody. │ - - -DRAMATIC READING CLUBS. - -THESE clubs are far more agreeable to their members and less likely -to cause unpleasant rivalries, which, it is to be regretted, are apt -to arise among even private actors. Human nature, alas, is weak! Some -clubs read Shakspeare alone. It is most certainly a noble study, and -one we can never weary of. Few can hope ever to excel in delineating -Shakspeare. Therefore it is well, if we meet together for social -enjoyment as well as improvement, to have a variety of plays. I have -known of very successful clubs, and I will give the general manner of -proceeding adopted by one of them, as it may assist in the formation of -others. The club was started by some young ladies with a view of making -home and winter evenings agreeable to their brothers; a committee was -chosen to form a code of laws. Each one was to subscribe a small sum -to purchase the “librettos” of their plays. The following rules were -signed by all the members: - -1. Each member of the club must take his or her turn in choosing a -play, and in giving out the rôle of characters. - -2. Every member must take the characters given him, and do his best, -unless he can exchange parts with some other member, with the consent -of the one who selected the play. - -3. The one who selects the play has a right to the best character. - -4. The club shall meet once a week at the houses of members, in -alphabetical rotation. - -5. Whenever any member is unable to take his part and cannot attend the -meeting, he must provide some one to take his character. - -6. No new member can be admitted without the vote of the majority. - -7. Each member must study his or her part well, before meeting with the -club. If any two, or several, should have difficult parts together, -they must meet privately and practise them. - -At first, they merely read the plays; but soon, they partially acted -them, and found them increased in interest thereby. They always had -their little librettos by them. Those who had ready memories rarely -referred to them; or a mere glance would be sufficient. Finally they -dressed in character, and admitted an audience composed of their -relatives. - -There is not necessarily anything awkward in having the books in hand. -Such little pamphlets can be easily rolled up, and will scarcely be -noticed. Under these rules they became familiar with the best plays, -without wearying of them; and each member had an opportunity of -consulting his own taste. - -I sincerely recommend this as an amusement. Persons who read French and -German will find this an admirable way of learning to converse with -ease in either of those languages. - -Sheridan Knowles’ plays and Shakspeare are among the best to select -from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are -excellent plays to be read in this way. - - -CHARADES. - -THERE is no game that can afford so much amusement to a circle of -friends as that of acting charades. It affords a scope for the exercise -of both wit and ingenuity. - -A word must be chosen, in which the syllables may be rendered into some -kind of a lively performance, and the whole word must be capable of -similar representation. Then the plan of action must be agreed upon. -Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, -gowns, &c., must be looked up for the occasion, and speedily converted -into various and grotesque costumes, suited to the representation to -be made. By exercising a little ingenuity, very fine charades can be -acted “impromptu.” Speed, in all preparations, is quite necessary to -success, as an audience is always impatient. If it is determined to -have charades at a party, the lady of the house should arrange dresses, -plan of action and subjects, beforehand. She can generally tell who -can assist her best. If all the arrangements can be made without the -knowledge of her guests, the effect will be greatly increased. This is -also an improving game for a family of children. Write the plot and -a simple dialogue, and let them learn it; it will be a good exercise -for the memory, and teach them ease of manner; but let them only act -before a home circle. - -A few directions for acting certain words, and a short list of words -easy to be acted may be of service to my readers. If a word or syllable -can be represented by action, it should be seldom spoken, but syllables -must be spoken in some cases to give an idea of the word: - -PENITENT.—“Penny” sufficiently expresses the first division of the -word. It can be represented by dressing in old clothes, torn hats, -bonnets, &c., to appear as street hawkers, common in cities. One can -sell “Lucifer matches—penny a bunch!” another, “Apples, fine red -apples—penny apiece!” another, “Oranges, fine fresh oranges—penny -apiece!” and so on. In this way a motley group can be contrived. A -policeman, rushing in and dispersing the group, may close the scene. -“Tent” can be represented by throwing a sheet or table-cloth over two -chairs (high-backed chairs would be preferable), in the style of a -gypsy tent. In front should be grouped some gypsies, in gay shawls, -handkerchiefs, looped dresses, &c. A lady and gentleman can approach -and ask to have their fortunes told, &c. Some one of the gypsies -singing, “In the days when we went gypsying,” would close this act -well. “Penitent” can be easily represented in a variety of ways. If it -is not guessed, the charade could be repeated and acted differently. - -BRIDEWELL.—“Bride” is usually represented by a wedding, which can be -arranged to suit the tastes of the parties acting, and can be either -simple or elaborate, as they may please. The common way is to have a -dress ceremony; bride in full costume, with bridesmaids, but for a -change, one might arrange a justice’s office, and have a couple come -in to be married, the bride conspicuous in white bows and ends, and -cheap finery. Let her be the chief speaker, the man appearing awkward -and shy. After the ceremony, let her drive a sharp bargain in paying -the fee. “Well:” Take a large tub and cover it with a gray shawl, so -arranged as to look like stone, and if you have any green fleecy mats, -arrange them to represent grass. A dark-complexioned gentleman, (any -one can stain his face for the occasion,) with a turban, and dressed -in shawls skillfully arranged, may represent an Eastern Emir. He -should be seen seated Turkish-fashion by the well. A lady, dressed as -Rebecca, with a crimson scarf about her waist, having her arms bare, -and a handkerchief bound around her head, should come in, holding with -one arm a pitcher on her head. Let her seem to fill her pitcher at -the well. Then Eliezer must ask her to give him drink. After she has -handed him her pitcher (which she must have placed on her head after -having appeared to fill it), he must take from his bosom a casket of -jewels, and exhibit bracelets and ear-rings. She can feign astonishment -and admiration. He must kneel at her feet and present them. She -should express surprise and delight. Then Eliezer must fasten on the -bracelets, and the scene of Eliezer and Rebecca at the _well_ will be -represented. - -To act “Bridewell:” Arrange a prison cell; take screens or -clothes-frames, and hang them with gray or black shawls, and cover -the carpet. Put in a common wood table and a kitchen chair, and let a -dim-lighted lantern be the only light. Some gentleman, meanly clad, -with hair all on end; and clenched hands resting on his knees, must be -seated in the chair, with eyes bent sullenly on the ground, and with -a scowling brow. Let chains hang from his wrists and ankles, and as -he moves clank together. Acted in this way, the word would be easily -guessed. - -FAREWELL.—“Fare:” A gentleman dressed as a hackman can come in, whip -in hand. Then a gentleman and lady and a child should appear, dressed -for a journey. The hackman must address them in the usual manner, -offering to take them to any place, &c. The gentleman must then ask, -“What is the _fare_?” and bargains for it, refusing to pay _fare_ for -the child, &c. “Well:” Two ladies enter with shawls and bonnets on, -and appear to meet accidentally; each asks anxiously if the other is -_well_, and if all the family are _well_, &c. - -“Farewell” can be acted in various ways. A party with bandboxes and -baskets, on their way west, may be bidding _farewell_ to friends; or a -lover, going to California, may be taking leave of his lady-love, &c. - -RAILWAY.—“Rail:” Take two chairs, and place a strong cane, stick or -broom, with one end resting on each chair. Then some boy or girl may -come in and jump on the stick, swing over it, and talk about “riding on -a _rail_.” An elderly lady or gentleman should come in and talk to him -about breaking his neck on the rail, &c., &c. “Way:” a gentleman with -a carpet bag in his hand may inquire the _way_ to the depot, or an old -lady may ask which is the _way_ to the menagerie, &c. “Railway:” Let -a party of people come rushing in, some limping and groaning, others -wondering where their bandboxes have gone to! all talking of the “smash -up” on the _railway_, bringing in the word in all possible ways. - -CARPET.—“Car:” several persons may pass in and out dressed in -character, as a Yankee peddler, a country girl never before from home, -a man of business, a fine lady with servants, &c., all appearing to be -waiting for the _cars_, and talking about them. Suddenly let a bell -ring, and the conductor call out, “Cars start for,” etc. All then rush -forward in character. “Pet:” Let a lady come in with a cat, dog or any -_pet_ animal, fondling it as absurdly as possible, pretending it is -sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange -a table as a counter. Some one must act as shopman. Let a lady enter -with a simpering air, her intended husband following, and ask to look -at _carpets_. Have in readiness under the counter several pieces of -_carpets_ or rugs, which the shopman should display, while the lady -consults the taste of her future lord, &c. - -LUNATIC.—“Luna:” A gentleman, dressed as a young collegian, -enters with a young lady on his arm; they pretend to be walking by -_moon_-light. He speaks of the moon by its latin name, _Luna_, and -talks in a high-flown style. The lady may ask in a flat and awkward -style, “Who is Luna?” saying she never heard of her, &c., &c. The -young man explains, in a bombastic style, who _Luna_ is. “Tic:” A lady -represents an old woman, and goes about offering to make over old -_tics_, as good as new, and also says she has some geese feathers to -sell, carrying on of course other conversation, so that the word to -be guessed may not be too apparent. “Lunatic:” The best actor of the -company feigns the part of a _lunatic_, in any way he sees fit. - -LAMENTABLE.—(French charade.) “L’amont” can be acted well in -pantomime, by representing an old deaf man, and his young wife; the -old man with spectacles on nose, sitting in a large chair, reading -the newspaper, his young wife standing behind the chair. A low tap is -heard at the door. She starts and listens; the door opens slily and -discovers a young man. She starts with delight, but points to the old -man, motioning the young man to go. He makes gestures of despair; then -appears to have a sudden thought, bows and retires. Soon a loud knock -is heard, she goes to the door, and returns with a letter, giving it -to the old man; he reads, shakes his head, and hands it to her; she -looks at it, runs for his hat and coat and motions him to go. He leaves -at one door, while _L’Aman_ enters at another. Then they act a lover -like scene and the curtain drops. “Table:” She again appears with -sleeves rolled up, apron on, rolling-pin in hand, making cakes; the -young lover standing by, and now and then eating one of the cakes. They -hear a heavy step and the lover runs for a hiding-place. At last he -springs under the table, and she pulls a table-cloth down around it, -and goes on rolling cakes. In comes the old man, hobbling along. He -looks around and suspects something, and begins a strict search. Thus -ends that scene. “Lamentable:” The same actors appear, but the table is -turned over, and behold! the old man has seized the young lover, and is -brandishing aloft a heavy cane, while the young wife appears, weeping -bitterly. - -WARLOCK.—(A male wizard.) “War:” A wounded soldier is seen prostrate -and dying. “Lock:” An old woman with a long tow wig, sits mumbling to -herself, and knitting. A young man appears and pretends entire devotion -to her, and begs for a _lock_ of her hair. She refuses at first, but -he coaxes it from her. She then takes out a large pair of shears and -cuts off a long _lock_, rolls it up and gives it to him. He pretends -ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as -an old wizard, appears and offers to tell fortunes, &c.; this can be -performed as the actor thinks best. - -The following words are easy to be acted:— - - Back-bite. Bond-age. Brace-let. - Com-fort. Ann-ounce. In-firm. - In-fan-tile. Sin-cere. Spec-tacles. - - - - -TABLEAUX VIVANTS. - -TABLEAU vivants, as commonly represented, are so well understood -that no directions are necessary, but some of my readers may not -have heard of the illustration of poems, &c., by a series of living -pictures. This is far more interesting than simply to personify some -one picture. Still another way is to represent the different scenes -in a song, while at the same time some one who is a good musician -sings the verses of the song as they are represented. For instance, -“The Mistletoe Bough,” first represent a room decorated with green, a -company assembled gaily dressed and dancing, while a lady or gentleman -behind the scene sings the verse represented in distinct tones, and so -on through the whole song; the last scene representing children in a -lumber-room opening an old chest and exposing a skeleton, old flowers, -&c. “Auld Robin Grey,” and “The Three Fishers” are easily represented. -Still another variety of tableaux is a song represented in pantomime, -for instance, the song of “Blue Beard,” or “O, they Marched through the -Town,” &c. - -[Illustration] - - - - -The Sibyl. - - -FORTUNE telling, as a practice, is morally wrong, and they who -intentionally deceive credulous people commit a sin; the effects of -such deception on sensitive minds are often lasting, and in some -instances have been attended with very sad results. Almost all persons -have a little superstition in their natures, and naturally relish -mystery. - -But as a game and pastime, fortune telling is harmless and amusing. -The old fashioned fate lady has afforded much amusement and profit at -fairs. The following is a more modern and graceful method: Cut green -enameled paper in the shape of oak leaves, and on the white side -write some simple oracle. The person who represents the sibyl seats -herself, dressed in character, under a tasteful canopy, with a table -in front, and her sibylline leaves scattered over it, with the green -side upwards. Then as individuals enquire their fate of the oracle, let -her move about the leaves, muttering some incantation, and let each -one select his or her own leaf. Another way is to hold the leaves in a -cornucopia and scatter them around from it. Care must be taken not to -expose the white side of the leaves. - - -THE FIAT OF FATE. - -[Illustration] - -MAKE twelve flat pin-cushions, heart-shape, and all of different -colors, such as blue, variegated, white, scarlet, green, lilac, -checkered, brown, slate, purple, yellow and pink. Have a loop of narrow -ribbon fastened to each, and stick small pins all around them as in the -design. Take some narrow ribbon and string them all upon it; they are -then ready to be used, with the following oracles: - -The Fiat of Fate. - - To all who wish their fate to know, - These hearts will future fortunes show; - With shaded eyes then touch and name— - The _color_ will thy lot proclaim. - -BLUE. - - If fortune favors thee, wish blue, - Thou couldst not wish a brighter hue; - On life’s dark disc this shade portrays - Truth, happiness, and length of days. - -VARIEGATED. - - These variegated colors show - A pleasing mixture here below, - To those whose lot it is to name, - This emblem, of both joy and pain. - -WHITE. - - This lovely white then touch with joy, - And gain a fate without alloy; - Fair, pure and spotless is the life - Thus singled out from future strife. - -SCARLET. - - With caution this gay color name, - For wide and evil is its fame; - Inflammatory, it taints the air, - Portending strife and civil war. - -GREEN. - - This cool, inviting, lovely green, - Has to the single ever been - An emblem of their future state, - Their peaceful, though forsaken, fate. - -LILAC. - - The lilac tint betokens life - Of every hope, and plans are rife; - Of love and friendship, holy, true, - The pink is tempered by the blue. - -CHECKERED. - - The many colors here portrayed, - Of every hue, and every shade, - Portends a checkered changing lot, - From palace to the humble cot. - -BROWN. - - This sombre brown denotes a calm - And pleasing life, devoid of harm; - An innocent and simple mind, - A temper meek and well inclined. - -SLATE. - - This pale and melancholy shade - Betokens ills that never fade; - But prey upon the tainted power, - Embittering each succeeding hour. - -PURPLE. - - This royal color, rich in pride, - A splendid fate may well betide; - Exalted rank and riches great, - Vanity, power, pomp and state. - -YELLOW. - - Beware of yellow, ’tis a color - Speaks of misery, grief and dolor; - Of jealousy, and broken vows, - And many nameless, endless woes. - -PINK. - - A life of innocence and mirth - Will be thy portion here on earth; - With reason, then, you may rejoice, - The modest pink has been your choice. - - -FLOWER FATE. - -PROCURE a quantity of cards, each with a separate flower painted -upon it. In a book write the meaning of each flower, and then let a -person choose any number of cards. You must look out the meaning of -each, and ingeniously combine the whole into one sentence. A more -beautiful design for a fair or a social party is the arrangement of -natural flowers in small fate bouquets, some one person arranging their -accompanying oracles beforehand. Then let the person seeking to know -his fate select a bouquet. - - -FATE BOX. - -WRITE a number of fates and fill a box, made with an opening just large -enough to admit the hand. Then, as the person seeks his fortune, shake -up the box, and let him draw out his fate. - -[Illustration] - - - - -The Puzzler. - - -THE following conundrums, riddles, etc., are given merely as -suggestions. The conundrums most productive of amusement are those made -in the course of general conversation. A happy party, in the course of -a long and stormy evening, may make more and better ones than are to be -found in any one book. If those given here attract the attention and -excite the ingenuity of the boys and girls who read them, a great deal -of home pleasure will be the result. - - -CONUNDRUMS. - -1. IF a man’s son had told a lie, and he wished to order him, in the -shortest way possible, to leave him, what Scripture name would he use? - -2. What relation would a man be to a person he visited in jail, if, on -being asked, he said, “Brothers and sisters have I none, yet this man’s -father is my father’s son?” - -3. Why had the children of Israel plenty of food in the desert? - -4. Why were there plenty of sandwiches in the desert? - -5. Why is a short negro like a white man? - -6. Why do we all go to bed? - -7. Why is a room full of married people like an empty room? - -8. Why is an angry person like a hard baked loaf of bread? - -9. When is a door not a door? - -10. Why is a man in love like a lobster? - -11. Why is an avaricious man like one with a short memory? - -12. Why is a pair of pantaloons too big every way like two populous -towns in France? - -13. You are requested to ask the following question in three letters: -“Are you the person?” - -14. What sea would make the best bedroom? - -15. Which are ladies most in favor of, tall or short men? - -16. Why is a speech, delivered on the deck of a man-of-war, like a -lady’s necklace? - -17. Why is the letter D like a sailor? - -18. Why is grass like a mouse? - -19. Why is a bald head like heaven? - -20. What two letters make a County in Massachusetts? - -21. Why is an angry man like a lady in full dress? - -22. Why is a good wife like the evil one? - -23. Why is a good story like a parish bell? - -24. Why were the brokers of 1857 like Pharaoh’s daughter? - -25. Why is there but little difference between a light in a cavern and -a dance in the hall of a tavern? - -26. By what three Bible names would a mother call her three sons, in -telling them to go home with some young ladies in a carriage? The first -she spoke to in an enquiring tone; the second, entreating; the third, -commanding? - -27. Who was the fastest woman in the Bible? - -28. How did Adam and Eve leave Paradise? - -29. Why was not Noah a good mouser? - -30. Why are camel’s hair shawls in this country like a stone deaf -person? - -31. In what way would you ask a Doctor of Divinity to play on a violin, -in the shortest possible way? - -32. Why is an odd walker easiest recognized at his own door? - -33. Why is the gray hair of a person who has had many trials like a -plated spoon? - -34. Why is a sword like lager beer? - - -ENIGMAS, CHARADES AND RIDDLES. - - 1. My first is a common London cry, - My next an insect; now try - To guess my whole; a clue I’ll give, though slight, - It oft emits my first, a glorious sight. - - 2. We are twin brothers, and in vain, - We never meet but to complain. - - 3. My first implies to be able, - My second is a Christian name which may be read both ways, - My whole is in North America. - - 4. My first may be seen, and my second be heard; - My whole is the name of a sweet-singing bird. - - 5. By me men often upward go, - Behead—a reptile it will show. - - 6. A word of four letters I pray you to take; - If that word you follow, ’twill sure make you ache; - Just alter that word, and squeeze out one letter; - Then follow that word, and ’twill soon make you better. - - 7. My first in every shop is seen, - My next affords us light; - My total you will see, I ween, - When you’ve bade friends good-night. - - 8. My first sounds much like something true, - My second sounds much like a lie; - But what is spoken like my whole, - Let no one venture to deny. - - 9. To a word of consent add one half of a fright, - Next subjoin what you never behold in the night; - These rightly connected, you’ll quickly obtain - What millions have seen, but will ne’er see again. - - 10. Found long ago, yet made to-day, - Employed while others sleep; - What few would wish to give away, - And none would wish to keep. - - 11. Two hundred men and women sitting, - Talking, reading, sleeping, knitting; - Boston, Lynn, Salem, Andover, - In, out, under, over; - Tugging, hugging, dreaming, screaming, - Rain, or snow, or sunshine beaming; - Buzz and stir, smoke and hissing, - Often ends with hearty kissing. - - 12. My first is to hard-working horses oft spoken; - My second, of sudden surprise is a token; - My third is a place we shall do well to shun; - My fourth is a river, which in Scotland doth run; - My half is an order to quit, you will find; - My whole is an idol set up by mankind. - - 13. In every hedge my second is, - As well as every tree; - And when poor school-boys act amiss, - It often is their fee. - My first, likewise, is always wicked, - Yet ne’er committed sin; - My total for my first is fitted, - Composed of brass or tin. - - 14. My first is a part of the day, - My second at feasts overflows; - In the cottage my whole is oft seen, - To measure old Time as he goes. - - 15. If you a musical instrument behead, - A sweeter-toned one will remain behind. - - 16. A shining wit pronounced of late - That every acting magistrate - Is water, in a freezing state. - - 17. In spring, I am gay in my attire; - In summer, I wear more clothing than in spring; - In winter, I am naked. - - 18. A word of three syllables, seek till you find, - That has in it the twenty-six letters combined. - -19. A lady in prison received an animal, as a present from her niece, -which signified to her, “Make your escape.” In reply, she sent back -a fruit, which imported, “It is impossible to escape.” What was the -animal? and what was the fruit? - -20. In Sir Walter Scott’s celebrated poem, “Marmion,” are the following -lines:— - - “Charge, Chester! charge! On, Stanley, on! - Were the last words of Marmion.” - -These lines suggested the following enigma:— - - Were I in noble Stanley’s place, - When Marmion urged him to the charge; - The word you then might all descry - Would bring a tear to every eye. - - 21. Round the house—in the corners, - Down the stairs—behind the door! - - 22. I’m reckoned only fifty, but for centuries have been, - In every age, in every clime, among the living seen; - Mute, though incessantly in talk, I give to silence sound; - And single ’tis my fate to be, whilst fast in wedlock bound. - The learned place me at their head, tho’ oft unknown to fame, - And eloquence itself delights to sound abroad my name; - Though plunged in guilt, the tenant of a prison’s gloomy cell, - Yet, twice invoked, my potent aid concludes the wizard’s spell. - I ride upon the whirlwind—point the lightning thro’ the storm; - And mine the power, with but a word, another world to form; - I, too, alone, can kindle fame, and, what is very odd, - The veriest miser can prevent from making gold his god. - I usher in the morning, yet shun the face of day; - A stranger to the voice of mirth, yet join in every play. - The fabled liquid I, with which poor Tantalus was cursed; - For, in the proffered goblet seen, I mock the wretch’s thirst. - The rich secure me for their wealth, the cunning for their wiles; - And, ’reft of me, ah! changed how soon were beauty’s sweetest smiles! - I lurk within the brilliant glance that flashes from her eye, - Rest on her ruby lip, and in her laughing dimples lie; - I breathe the first soft sound of love, in the maiden’s willing ear, - And mingle in the rising blush that tells that love is dear; - I lead the laugh, I swell the glee amid the festal hall, - But a truant from the banquet, and a laggard in the ball. - First in the martial lists I ride, with mail, and lance and shield; - And, foremost of the line, I charge upon the battle-field. - And yet, though ranked among the bold, I scarcely join the fight; - When, foul disgrace to manhood’s race, I turn at once to flight. - From greatness thus removed, I make acquaintanceship with evil; - And, (in your ear a word) maintain alliance with the devil! - - 23. We are little airy creatures, - All of different voice and natures; - One of us in glass is set, - One of us you’ll find in jet; - The other you may see in tin, - And the fourth a box within; - If the fifth you should pursue, - It can never fly from you. - - 24. My parent bred me to the sea, - I’ve been where never man could be; - Long time I’ve ranged the ocean wide, - And all the rage of storms defied; - The lowering clouds obscured the sky, - And foaming billows mounted high; - Tho’ winds with almost fury blew, - And thunders roll’d, and lightnings flew; - Waves, winds and thunders all in vain - Opposed my passage thro’ the main. - At length, my parent died, and I - On shore would fain my fortune try; - I left the sea, grew fond of show, - Dress’d neat, and soon became a beau. - My body’s taper, tall and straight, - I chiefly dwell among the great; - Am like a bridegroom, clad in white, - And much the ladies I delight; - Attend when Chloe goes to rest, - She’s always by my presence blest; - No ghost or goblin can she fear, - Nor midnight hag, if I am near. - No more a seaman, bold and rough, - I shine at balls, am fond of snuff - To gay assemblies I repair, - And make a brilliant figure there. - At last, a burning fever came, - That quite dissolved my tender frame; - I wasted fast, light-headed grew; - Of all my friends, not one I knew; - Great drops of sweat ran down my side, - And I, alas! by inches died. - - 25. A word there is of plural number, - Foe to peace and tranquil slumber; - Add but to this the letter S, - And though strange the metamorphosis, - There soon will meet your wond’ring view - One syllable transposed to two; - Plural is plural now no more, - And sweet what bitter was before. - - 26. My first two letters make a man, - My three first a woman; - My four first letters make a great man - My whole a great woman. - - 27. My first is myself, a very short word; - My second’s a puppet, and you are my third. - - 28. Cut off my head, singular I am; - Cut off my tail, and plural I appear; - Cut off my head and tail, and you will find - That though my body’s left, yet nought is there. - What is my head cut off? a sounding sea; - What is my tail? a mighty river, - Within whose peaceful depths my whole doth play, - And parent of sweet sounds is mute forever. - - 29. We left our little ones at home, - And whither went we did not know; - We for the church’s sake did roam, - And lost our lives in doing so. - We went right onward on the road, - With all the wicked full in view; - We lived to man, we died to God, - Yet nothing of religion knew. - - 30. My first is a famous watering place in England, - My second is a city where a mighty queen did dwell; - My whole is the name of a queen famous in ancient history. - - 31. My first gives light to man; - My second you’ll find in woman; - My third belongs to woman; - My whole is a Christian name. - - 32. To run and draw, - In peace or war, - My first have long been used; - And pleased or vex’d, - Have, by my next, - Been petted and abused: - Upon the seas, - In many a breeze, - My third may oft be seen; - My whole is an art - Known in each part - Where my two first have been. - - 33. My whole is that which lightning does, - Beheaded, that which horses fear; - Behead again, and lo! a tree, - A forest tree, will then appear. - - -An Enigmatical Dinner. - -[Illustration: - -1 The Grand Seignor’s Dominions. - -2 Two Tailors. - -3 An Ornamental part of the Head. - -4 An Exquisite and the King of Beasts. - -5 A Famous English Wit. - -6 A Place where Money is made and Impudence. - -7 Woman’s Weapon. - -8 A Biped, and to depart. - -9 A cooking Utensil, a Vowel and part of a foot. - -10 A Biped from Noah’s Ark. - -11 A Tailor’s Perquisites.] - -[Illustration: Dessert. - -1 A Cold Substance and the Best of Everything. - -2 An Island in the Atlantic Ocean. - -3 A Cure for Lazy Horses. - -4 Pretended Suffering. - -5 An Amusing and Talented Periodical. - -6 Part of a River in Pennsylvania. - -7 To Fret, and the Fruit of Temptation. - -8 The Joint of an Animal. - -9 Married People. - -10 One-Third of Two, and a Firelock. - -11 Running Streams.] - - -PARADOXES AND PUZZLES. - -1. A CAPTAIN of a ship who was driven out to sea by a heavy storm, -found he had provisions sufficient for only half his crew, and decided -to throw overboard half of them, to be selected by lot. There were -twenty men, half of them white, and half black; he placed them all -in a circle, saying that every fifth man in three times round should -be thrown overboard. He appeared to arrange them carelessly, yet he -managed so that the lot fell to the ten black men. How could it be? - -2. _The Wolf, the Goat and the Cabbages._—Suppose a man has a wolf, a -goat, and a basket of cabbages, on the bank of a river; he wishes to -cross with them, but his boat can only hold one of the three beside -himself. He must therefore take them over one by one, in such a manner -that the wolf shall have no opportunity to devour the goat, nor the -goat the cabbages. How is he to accomplish it? - -3. _The impossibility made possible._—Place three pieces of money on -the table and desire some person to take away the piece from the centre -without touching it. - -4. Two men eat oysters together for a wager, to see who could eat the -greatest number. One eat ninety-nine only, the other eat a hundred and -_won_. How many did the winner eat? - -5. What is the difference between six dozen dozen and a half a dozen -dozen? - - 6. Four people sat down one evening to play; - They played all that eve, and parted next day. - Could you think, when you’re told, as thus they all sat, - No other played with them, nor was there one bet; - Yet, when they rose up, each gained a guinea, - Tho’ none of them lost to the amount of a penny! - -7. P R S V R Y P R F C T M N V R K P T H S P R C P T S T N. This -inscription was affixed to the communion-table of a small church in -Wales; no one could decipher it for centuries, but at length the clue -has been discovered. What is it? - -8. Procure six cards, and having ruled them as in the following -diagrams, write in the figures neatly and legibly. It is required to -tell the number thought of by any person, the numbers being contained -in the cards, and not to exceed 60. How is this done? - - ┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐ - │ 3 │ 5 │ 7 │ 9 │ 11 │ 1 │ │ 5 │ 6 │ 7 │ 13 │ 12 │ 4 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 13 │ 15 │ 17 │ 19 │ 21 │ 23 │ │ 14 │ 15 │ 20 │ 21 │ 22 │ 23 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 25 │ 27 │ 29 │ 31 │ 33 │ 35 │ │ 28 │ 29 │ 30 │ 31 │ 36 │ 37 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 37 │ 39 │ 41 │ 45 │ 43 │ 47 │ │ 52 │ 38 │ 39 │ 44 │ 45 │ 46 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 49 │ 51 │ 53 │ 55 │ 57 │ 59 │ │ 47 │ 53 │ 54 │ 55 │ 60 │ 13 │ - └————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘ - - ┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐ - │ 9 │ 10 │ 11 │ 12 │ 13 │ 8 │ │ 3 │ 6 │ 7 │ 10 │ 11 │ 2 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 14 │ 15 │ 24 │ 25 │ 26 │ 27 │ │ 14 │ 15 │ 18 │ 19 │ 22 │ 23 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 28 │ 29 │ 30 │ 31 │ 40 │ 41 │ │ 26 │ 27 │ 30 │ 31 │ 34 │ 35 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 42 │ 43 │ 44 │ 45 │ 46 │ 47 │ │ 38 │ 39 │ 42 │ 43 │ 46 │ 47 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 56 │ 57 │ 58 │ 59 │ 60 │ 13 │ │ 50 │ 51 │ 54 │ 55 │ 58 │ 59 │ - └————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘ - - ┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐ - │ 17 │ 18 │ 19 │ 20 │ 21 │ 16 │ │ 33 │ 34 │ 35 │ 36 │ 37 │ 32 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 22 │ 23 │ 24 │ 25 │ 26 │ 27 │ │ 38 │ 39 │ 40 │ 41 │ 42 │ 43 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 28 │ 29 │ 30 │ 31 │ 48 │ 49 │ │ 44 │ 45 │ 46 │ 47 │ 48 │ 49 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 50 │ 51 │ 52 │ 53 │ 54 │ 55 │ │ 50 │ 51 │ 52 │ 53 │ 54 │ 55 │ - ├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤ - │ 56 │ 57 │ 58 │ 59 │ 30 │ 60 │ │ 56 │ 57 │ 58 │ 59 │ 60 │ 41 │ - └————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘ - - -9. Place eight counters or coins, as in the diagram below: - - ┌———┬———┬———┬———┬———┬———┬———┬———┐ - │ 1 │ 2 │ 3 │ 4 │ 5 │ 6 │ 7 │ 8 │ - └———┴———┴———┴———┴———┴———┴———┴———┘ - -It is then required to lay them in four couples, removing only one at a -time, and in each removal passing the one in the hand over two on the -table. - -10. _The wine Merchant and his Clerk._—A wine merchant caused -thirty-two casks of choice wines to be deposited in his cellar, giving -orders to his clerk to arrange them as in the annexed figure, so that -each external row should contain nine. The clerk, however, took away -twelve of them, at three different times—that is, four at each time, -yet when the merchant went into the cellar, after each theft had been -committed, the clerk always made him count nine in each row. How was -this possible? - - ┌———┬———┬————┐ - │ 1 │ 7 │ 1 │ - ├———┼———┼————┤ - │ 7 │ │ 7 │ - ├———┼———┼————┤ - │ 1 │ 7 │ 1 │ - └———┴———┴————┘ - - -11. [Illustration] man’s family. - -12. First draw a square and divide it into four parts. Then make six -marks in the first square and say they represent six pigs, for you -pretend to describe a farmyard you once saw. In the next square make -six more marks to represent cows, in the next square six more marks for -horses, and the last square represent donkeys. - - ┌————————┬————————┐ - │ │ │ - │ ││││││ │ ││││││ │ - │ │ │ - ├————————┼————————┤ - │ │ │ - │ ││││││ │ ││││││ │ - │ │ │ - └————————┴————————┘ - - -ARITHMETICAL PROBLEMS. - -1. An old man married a young woman; their united ages amounted to one -hundred. The man’s age, multiplied by four and divided by nine, gives -the woman’s age. What were their respective ages? - -2. How many yards of paper, three-quarters of a yard wide, will cover a -chamber that is sixty feet round, and ten feet one and one-half inches -high? - -3. In a family of eight young people, it was agreed that three at a -time should visit the Crystal Palace, and that the visit should be -repeated each day as long as a different trio could be selected. In -how many days were the possible combinations of three out of eight -completed? - -4. How many changes can be given to seven notes of a piano? That is to -say, in how many ways can seven keys be struck in succession, so that -there shall be some difference in the order of the notes each time? - -5. At a time when eggs were scarce, an old woman who possessed some -good hens, wishing to oblige her friends, sent her daughter with a -basket of eggs to three of them; at the first house, which was the -squire’s, she left half the number of eggs she had, and half a one -over; at the second she left half of what remained and half an egg -over; and at the third she again left half of the remainder, and half -a one over; she carried home one egg in her basket, not having broken -any. How many had she when she started? - -6. Two drovers, A and B, meeting on the road, began discoursing about -the number of sheep they each had. Says B to A, “Pray give me one of -your sheep and I will have as many as you.” “Nay,” replied A, “but give -me one of your sheep and I will have as many again as you.” Required to -know the number of sheep they each had? - -7. To tell at what hour a person intends to rise. Let the person set -the hand of the dial of a watch at any hour he pleases, and tell you -what that hour is; and to the number of that hour you add in your mind -twelve; then tell him to count privately the number of that amount upon -the dial, beginning with the next hour to that on which he proposes to -rise, and counting backwards, first reckoning the number of the hour at -which he has placed the hand. How is it done? - -“The Two Travelers.” - - 8. Two travelers trudged along the road together, - Talking, as Yankees do, about the weather; - When, lo! beside their path the foremost spies - Three casks, and loud exclaims, “A prize, a prize!” - One large, two small, but all of various size. - This way and that they gazed, and all around, - Each wondering if an owner might be found. - But not a soul was there—the coast was clear— - So to the barrels they at once drew near; - And both agree, whatever may be there, - In friendly partnership they’ll fairly share. - Two they found empty, but the other full, - And straightway from his pocket one doth pull - A large clasp-knife; a heavy stone lay handy, - And thus in time they found their prize was brandy. - ’Tis tasted and approved; their lips they smack, - And each pronounces ’tis the famous Cognac. - “Wont we have many a jolly night, my boy? - May no ill luck our present hopes destroy!” - ’Twas fortunate one knew the mathematics, - And had a smattering of hydrostatics; - Then measured he the casks, and said, “I see - This is eight gallons—those are five, and three.” - The question then was how they might divide - The brandy, so that each should be supplied - With just four gallons, neither less nor more, - With eight, and five and three, they puzzle sore; - Filled up the five, filled up the three, in vain. - At length a happy thought came o’er the brain - Of one; ’twas done, and each went home content, - And their good dames declared ’twas excellent. - With those three casks they made division true; - I found the puzzle out; say, friend, can you? - - 9. “To five and five and fifty-five - The first of letters add; - It is a thing that pleased a king, - And made a wise man mad.” - - 10. “The sum of four figures in value will be - Above seven thousand nine hundred and three; - But when they are halved you’ll find, very fair, - The sum will be nothing, in truth, I declare.” - - -ANSWERS TO CONUNDRUMS. - -1. GOLIAH. - -2. He was his own son. - -3. Because of the sand which is (sandwiches) there. - -4. Because the children of Ham were bred (bread) and mustered (mustard) -there. - -5. He is not at all black (a tall black). - -6. The bed will not come to us. - -7. There is not a single person in it. - -8. He is crusty. - -9. When it is ajar. - -10. He had a lady in his head. - -11. He is always forgetting (for-getting). - -12. Because they are too long and too loose (Toulon and Toolouse). - -13. R U E (are you he). - -14. Adriatic (a dry attic). - -15. Hymen. - -16. It is a deck oration (decoration). - -17. It follows the sea (C). - -18. The cat’ll eat it (the cattle eat it). - -19. There is no parting there. - -20. S X (Essex). - -21. He is ruffled. - -22. She sows tares while the husbandman sleeps. - -23. It is often told (tolled). - -24. Because they found little profit (prophet) in the rushes on the -banks. - -25. Because one is a taper in a cavern, the other a caper in a tavern. - -26. Jeroboam, Samuel, Benjamin (Jerry beau ’em; Sam you will; Ben jam -in). - -27. Herodias’ daughter, because she got ahead of John the Baptist on a -charger. - -28. They were snaked out. - -29. It took him forty days and nights to find Ara-rat. - -30. Because we can not make them here (hear). - -31. Fiddle-de-dee (Fiddle D D). - -32. Because he is best known by his gait (gate). - -33. “Its silvered o’er with care.” - -34. Because it cannot be used till it is drawn. - - -ANSWERS TO ENIGMAS AND CHARADES. - -1. Fire-fly. - -2. Mur-mur. - -3. Canada. - -4. Sky-lark. - -5. Ladder—adder. - -6. Fast—Feast. - -7. Counter-pane. - -8. Truly. - -9. Yesterday. - -10. A bed. - -11. Railway train. - -12. Gold. - -13. Candle-stick. - -14. Hour-glass. - -15. Flute. - -16. Justice, (just-ice.) - -17. A tree. - -18. Alphabet. - -19. The animal sent was an antelope, (aunt elope!) the fruit returned -was a cantelope (can’t elope.) - -20. On I on, (onion.) - -21. Broom. - -22. The letter L. - -23. The vowels. - -24. A spermaceti candle. - -25. Cares—s. - -26. Heroine. - -27. Idol. - -28. Cod. - -29. The kine that bore the ark. 1 Samuel, vi., 10, 12, 14. - -30. Bathsheba. - -31. Solomon. - -32. Horse-man-ship. - -33. Flash. - -Answer to Enigmatical Dinner. - -1. Turkey. - -2. Parsnips. - -3. Hare, (hair.) - -4. Dandelion, (dandy-lion.) - -5. Lamb. - -6. Mint-sauce. - -7. Tongue. - -8. Mangoes. - -9. Potatoes. - -10. Ham. - -11. Cabbage. - -Dessert. - -1. Ice cream. - -2. Maderia, (wine.) - -3. Whips. - -4. Champagne, (sham-pain.) - -5. Punch. - -6. Brandy. - -7. Pine-apples. - -8. Hock. - -9. Pears. - -10. Trifle. - -11. Currants. - - -ANSWERS TO PARADOXES AND PUZZLES. - -1. The secret of the puzzle is to arrange the men by a simple formula; -take the sentence, “A gray owl did eat a snake,” and arrange them with -checkers, the vowels all black, the consonants white. You will then see -by taking away every fifth one, three times round, those left will be -all white. - -2. First take over the goat, the next time the wolf; leaving the wolf -he must bring back the goat and leave it, then take the cabbages, and -going back once more he takes the goat. Thus the wolf will never be -left with the goat, nor the goat with the cabbages. - -3. If the secret be not discovered, remove one of the end pieces to -the other side, thus you take away the piece from the centre without -touching it. - -4. One hundred. - -5. 792; six dozen dozen being 864, and a half a dozen dozen 72. - - 6. Four merry fiddlers played all night - To many a dancing ninny; - And the next morning went away, - And each received a guinea. - - 7. Persevere ye perfect men, - Ever keep these precepts ten. - -It was discovered that by using the vowel E this couplet was formed. - -8. Request the person to give you all the cards containing the number -he has fixed upon, and then add all the right hand upper corner figures -together, which will give the correct answer. For example: suppose 10 -is the number thought of, the cards with 2 and 8 in the corners will be -given, which makes the answer 10. - -9. Place 4 on 7, 6 on 2, 1 on 3, and 8 on 5, or 5 on 2, 3 on 7, 8 on 6, -4 on 1, &c. - -10. The clerk arranged them thus: - - ┌———┬———┬———┐ ┌———┬———┬———┐ ┌———┬———┬———┐ - │ 2 │ 5 │ 2 │ │ 3 │ 3 │ 3 │ │ 4 │ 1 │ 4 │ - ├———┼———┼———┤ ├———┼———┼———┤ ├———┼———┼———┤ - │ 5 │ │ 5 │ │ 3 │ │ 3 │ │ 1 │ │ 1 │ - ├———┼———┼———┤ ├———┼———┼———┤ ├———┼———┼———┤ - │ 2 │ 5 │ 2 │ │ 3 │ 3 │ 3 │ │ 4 │ 1 │ 4 │ - └———┴———┴———┘ └———┴———┴———┘ └———┴———┴———┘ - -11. Be above meddling in a man’s family. - -12. In the last square you must only make five marks, and then ask the -one you are talking to, to count and see if all are right; if you do -it carelessly and he is off his guard he will probably say “one of the -donkeys are wanting.” You then must slily say, “If you’ll jump in, all -will be right.” Such simple “sells” often cause a good laugh. - - -ANSWERS TO ARITHMETICAL PROBLEMS. - -1. The man’s age was 69 years and 12 weeks. The woman’s, 30 years and -40 weeks. - -2. 90 yards. - -3. Multiply 8 × 7 × 6, and also 3 × 2 × 1, and divide the product of -the former, 336, by the product of the latter, 6, the result is 56, the -number of visits, a different two going each time. - -4. 7 × 6 × 5 × 4 × 3 × 2 × 1, result is 5,040, the number of changes. - -5. 15 eggs. - -6. A had seven and B had five sheep. - -7. Suppose the hour he intends to rise be 8, and that he has placed the -hand at 5; you will add 12 to 5 and tell him to count 17 on the dial -first reckoning 5, the hour at which the index stands, and counting -backwards from the hour at which he intends to rise; and the number, -17, will necessarily end at 8, which shows that to be the hour he chose -to rise. - -8. The five-gallon barrel was filled first, and from that the -three-gallon barrel, thus leaving two gallons in the five-gallon -barrel; the three-gallon barrel was then emptied into the eight-gallon -barrel, and the two gallons poured from the five-gallon barrel into -the empty three-gallon barrel; the five-gallon barrel was then filled, -and one gallon poured into the three-gallon barrel, therefore leaving -four gallons in the five-gallon barrel, one gallon in the eight-gallon -barrel, and three gallons in the three-gallon barrel, which was then -emptied into the eight-gallon barrel. Thus each person had four gallons -of brandy in the eight and five-gallon barrels respectively. - -9. This puzzle has as yet no answer. I trust some of the readers of -this book will be able to send us a correct answer. It most surely can -be ascertained, as there is a way to solve it. - -10. The four figures are 8 8 8 8, which being divided by a line drawn -through the middle, become ̶8̶8̶8̶8̶. The sum of which is eight 0s, or -nothing. - -[Illustration] - - - - -Games for Old and Young. - - -BLIND MAN’S BUFF is a popular, old-fashioned and delightful pastime, -too well known to render any description of it necessary. A more quiet -variety of blind man’s buff is played in the following manner: All the -company arrange themselves around the room, one being blinded in the -centre. Some one then either numbers them, or calls them by the names -of different towns or cities. Each one must remember the name given -him. Then the one who named them calls out to any two in the party, -such as: “Two and Ten change places,” or, “Boston go to New York,” &c. -Those called must quickly exchange places (on pain of a forfeit it they -do not), the one blinded trying to catch them on their way. The caller -must make them change places often, and from distant sides of the room, -so as to give the blinder a good chance. If he catches any one in the -act of changing his place, and calls his name correctly, the person -so caught must take the part of blind-man until, in turn, he catches -somebody else. - - -SHADOW BUFF. - -SHADOW Buff is a variation of blind man’s buff. Though not as generally -known, it is equally amusing. A large piece of white cloth, or a linen -or cotton sheet, is suspended smoothly at one end of the room, at a -little distance from “Buffy,” who sits with his face towards the cloth, -and his back to the company. Behind him a light must be so placed as to -throw the shadows of persons passing between it and “Buffy” directly -on the curtain. All other lights must be extinguished. The players -then walk, one by one, slowly between the light and “Buffy” (who must -not turn his head), limping, jumping, grimacing, or disguised as they -please, so as to distort their shadows on the curtain. If “Buffy” can -tell correctly to whom any shadow belongs (guessing once only at each -person), the player whom he so discovers takes his place as “Buffy.” - - -BLIND MAN’S WAND. - -THIS is another variety of the same game. The blind man carries a cane, -which he reaches in every direction. Whoever it touches is bound, by -the rules of the game, to take hold of it, and repeat whatever the -blind man orders. The one who is caught can disguise his voice as he -pleases. The blind man is allowed three guesses, and if he cannot -discover the person touched by his voice, he must try another. This is -an amusing change. - -There is still another, called “Fettered Buff.” The person who is to -catch his companions is not blinded, but his wrists are tied behind -him, and he catches by running backwards. This form of the game is -not recommended. The person so bound cannot balance himself easily, or -guard himself, and is liable to injury from falling. - - -CHINESE SHADOWS. - -THIS can be played only in the evening, by candle light. A white -curtain should be fastened smoothly at one end of the room, as in -“shadow buff.” Half the company must be spectators and half actors. -The spectators must be seated facing the curtain. Two persons in front -should hold a ribbon or stick across the curtain as high as they can -easily reach, to mark the line on which the shadows are to move, or a -line may be drawn across the curtain. The actors must stand behind the -spectators, at a little distance, with a large supply of figures cut -in paper, such as houses, trees, men, women, animals, birds, &c. These -figures must be slowly passed along, one after the other, in the manner -you wish the shadows to fall on the curtain. It is easy to make them -advance, retreat, &c., while you hold conversation for them. Those who -are skillful in the use of these shadows, can make them represent a -battle, game, contra dance, &c. The figures of inanimate things must -not be moved; birds can be suspended on the ends of strings, and swung -about irregularly, from time to time. The effect is not unlike a magic -lantern. When the actors have played long enough, they must change -places with the spectators. - - -“THE COMICAL CONCERT.” - -THIS game, when well played, is extremely diverting. The players are -arranged as an orchestra, and each one undertakes to imitate some -musical instrument. One pretends to play the violin, by stretching -out her left arm, and moving her right hand across it, as if she were -drawing a bow; another doubles up her hands and puts them to her mouth, -to imitate a horn; another moves her fingers on a table, to imitate a -piano; another takes the back of a chair and touches the rounds, as if -they were the strings of a harp; another motions as if beating a drum; -another holds a stick, after the manner of a guitar, and pretends to -play upon it; another appears to be turning a hand-organ; another plays -a flute, trombone, or any instrument he fancies—even a jewsharp. This -is but half the game. Each musician should, while playing, make a sound -with his mouth, in imitation of his instrument, thus: - - Rub-a-dub, goes the drum; - Twang, twang, goes the harp - Toot, too, hoo, goes the horn; - Tweedle-dee, tweedle-dee, goes the violin, &c. - -If all play with spirit it makes a laughable jumble. The leader must -stand facing the orchestra, with a long stick, beating time, in an -absurd imitation of some famous leader. In the midst of the noise and -fun, he suddenly stops, and pointing his wand of office to one of the -players, asks, abruptly, “Why don’t you play better?” The one spoken to -must answer instantly, and with suitable reference to the nature of his -instrument. For instance, the drummer could say one of his drumsticks -is broken; the harper, that a string is loose; the pianist, that a key -is broken or out of tune; the violinist, that a string is broken, &c. -If they hesitate a moment, or give an unsuitable answer, or if they -repeat an excuse already made, they must pay a forfeit or take a new -instrument. While one is answering, all must stop playing. When the -leader waves aloft his wand, all must commence again, and play till he -speaks to some one else; so on till they are weary. Sometimes it is a -rule that all who laugh must pay a forfeit. There are many forfeits in -that case. - - -THE MENAGERIE. - -THIS is a noisy game. All the actors in the play must take seats around -the room, while some one or two of the number must be chosen to give -out the parts. The persons so chosen whisper in the ear of each one the -name of some animal he is to imitate. When all are ready and the signal -is given by one chosen for the purpose, each one commences to utter -sounds in imitation of the animal named to him. Those who fail must pay -some penalty. It cannot be called a “concord of sweet sounds,” but such -a game will give life to a too quiet company on a stormy Winter evening. - - -QUAKER MEETING. - -THOSE who join the game take seats around the room, and one or more -whispers in the ear of each one some witty or absurd thing for him to -do. All must be quiet who are not playing. When all are ready, one -person claps his hands, and the first one must proceed to do what he -was told; the others must not speak or laugh, on penalty of a forfeit. -Each one in turn must act his or her part. It must all be in pantomime. -When all are through, each person must turn and shake hands with his or -her neighbor, saying: “Friend, how dost thee do?” It is important in -this game that the one who gives the parts should be full of humor and -of quick perceptions, so as to adapt the game to the persons playing. -The parts assigned may be of endless variety. One person may be -ordered to play a mock bravura on a table for a piano; another to gaze -in admiration of himself in a mirror and arrange his dress and hair; -another to act the scornful belle, while a gentleman acts the urgent -but despairing lover; one to dance a hornpipe, another to make a speech -by gestures, another to make grimaces in the face of every one in the -company, another to pretend terror and fright from some imaginary -animal, etc. - - -RESEMBLANCES. - -ONE of the company taking part in this amusement rises, and addressing -his or her neighbor, proposes the following question: “What does -my thought resemble?” The person interrogated replies as he or she -pleases; then the questioner adds: “In what way does the object you -designate resemble that which I am thinking of?” If, as frequently -occurs, there exists no affinity, no resemblance between the two, a -pawn must be given by the person interrogated. Here is an example: - -_Mary._—Tell me, Alice, what does my thought resemble? - -_Alice._—A windmill. - -_Mary._—I thought of Rogers’ poetry; what resemblance is there between -his poems and a windmill? - -_Alice._—I can give an answer very readily; perhaps the very prettiest -little poem written by your poet begins, “Mine be a cot beside the -mill.” - -_Mary._—That is right; it is now your turn, Annie. What does my -thought resemble? - -_Annie._—A chandelier. - -_Mary._—I thought of a partridge; how does a partridge resemble a -chandelier? - -_Annie._—Dear me, I’m sure I cannot tell! I will give you my pawn. - -This play, by the strange inconsistencies which it authorizes, -exercises the imagination, and brings into play a good deal of wit. - - -PUT IN A WORD. - -SOME one in the company leaves the room, while those remaining select -a word, and then send for the person to return. She must ask some -question of the person nearest to her, to which the one spoken to -must make a prompt answer, and in answering he must make use of the -word selected. Sometimes an acute person will guess the word from the -answer given to her first question. Some awkward use or slight emphasis -may betray it, but generally she will go to a number and sometimes to -all present without guessing the word. In that case (unless some one -volunteers to take her place), she must go out again. If she discovers -the word, the one by whose answer she guessed it, leaves the room, and -those remaining choose a word and the game proceeds as before. - - -PROVERBS. - -THE company select some one to leave the room; those remaining agree -upon a proverb, such as “All is not gold that glitters,” and then send -for the person to return to the room. She must ask questions of the -company in turn. The first person asked must include in his answer the -first word of the proverb, “all,” the next person, “is,” and so on -till they complete the proverb; if she has not guessed it, and there -are more in the company, the next person begins the proverb anew. The -one by whose answer the proverb is guessed must then leave the room. -This game requires considerable ingenuity and readiness. The proverbs -selected should be familiar ones, such as “Make hay while the sun -shines,” “When poverty comes in at the door love flies out at the -window,” “A fool is wise in his own conceit,” “A stitch in time saves -nine,” “Never look a gift horse in the mouth,” “All’s well that ends -well,” “A bird in the hand is worth two in the bush.” - - -GAME OF CHARACTERS. - -A PERSON chosen leaves the room. Those remaining select some familiar -character either in history or of the present day, for the absent one -to personate. When he returns, the person nearest him addresses him -by a question, as if he were the character selected. In like manner, -each person in the company in turn asks a question. The one at whose -questions he guesses the character must take his place and leave the -room in turn. For instance, “Napoleon the present emperor of France” -is selected. When the person returns, the first questioner exclaims, -“Are you not in constant fear of being killed?” The next, “Are you -really happy?” The third, “Why are you so despotic?” The fourth, “Do -you believe in fatalism?” Fifth, “Do you worship the memory of your -uncle?” “Why do you not like us Americans?” etc., etc. This play is -often very amusing and tact is required to ask questions that apply to -the character and are not too plain. - - -LAWYER. - -ALL who take part in the play assemble and choose a lawyer. The chairs -in the room are arranged in two rows, as in a contra dance. If there -are an equal number of gentlemen and ladies, the former choose their -partners. The gentlemen take seats opposite the ladies. The lawyer -proceeds to ask such questions as he chooses. The person addressed -must never answer, but his partner must answer for him. If either make -a mistake, he or she must change places with the lawyer, and ask the -questions. If the lawyer is ready in asking questions, turning quickly -from one person to another, he can very soon catch some one. - - -CONSEQUENCES. - -THIS is a quiet game. All assemble around a table. Each person must -have a half sheet of note paper and a pencil. All are requested to -write an adjective expressing either a good or bad quality in a man’s -character. Each one then turns over and creases down the place written -upon, and all change papers. Each one then writes a gentleman’s name, -and turns it down, and all change papers again. Then another word of -quality applying to a lady, is written, and all the papers are turned -down and changed as before. Then a lady’s name is written. Then a place -where they met; then what he said to her; then what she said to him; -what he gave to her; and what she gave to him; then the “consequences.” -The paper must be turned down every time and changed, and no one must -read what the others have written. When all are finished, some person -collects and reads the papers. Some are absurd, and others happen very -correctly. For instance, they might read thus: “The clumsy Mr. Snooks -met the beautiful Miss Primrose at a ball. He asked her if she liked -turnips; she sighed and hung her head, and said, ‘If mamma is willing.’ -He gave her a bouquet; she gave him a box on the ear. The consequences -were too sad to relate.” A party of merry girls and boys will like this -game for a variety. - - -FOX AND GEESE. - -THIS game is a very old one, but it is too good not to be always -remembered. Arrange the company in this form, all facing inward:— - -[Illustration] - -The stars represent persons; the one outside the circle, but next to -it, is the goose; the one most distant from the circle, the fox. When -the game commences, the goose starts and places himself or herself in -front of one of the two stars. Then the outside one becomes the goose, -and the object of the fox is to touch the outside one of three; if -he succeeds, they change places, and the one caught becomes the fox. -Every one must be on the alert, and change as quickly as possible. I -have seen this game, on a stormy day at the seashore, played with great -zeal by old gentlemen, judges, lawyers, ministers, mothers, fathers and -children. One gray-haired gentleman was the fleetest fox of all; no one -could escape him, and his laugh made all hearts glad. Green old age -is beautiful to see, and the youthful are always made happier by its -genial sympathy. - - -STAGE-COACH. - -ALL who join this game should be seated, with the exception of the -story-teller. If there are vacant chairs, they should either be turned -over or taken out of the room. A person with a quick memory and a flow -of words, should be selected for the office of story-teller. When all -are seated, he or she passes around the circle, giving a name to each -individual. When the story is told, the one whose name is mentioned -must rise and whirl around. When “stage-coach” is mentioned, all must -rise and turn around; when it is said the “stage-coach tips over,” -all must change places, and the story-teller then takes his chance to -secure a seat, and the one who is left without any seat must go on -with the story—the former story-teller taking the name of the person -who takes his place. If any one fails to turn around or change places -according to the rules of the game, a forfeit must be paid. The common -way of telling the story is to describe the “Fidget family, on a -journey in a stage-coach.” The following names are generally given to -the company: Mr. and Mrs. Fidget, the baby and nurse, Miss Fidget and -Master Fidget, and maiden aunt; gingerbread, band-box, trunks, bundles, -off horse, nigh horse, driver, whip, reins, driver’s seat, cushions, -door, curtains, wheels, footman, &c. You must adapt your names to the -number playing. In telling the story, it makes more fun to keep one or -two (who will bear the joke) constantly whirling. The story and names -are at the will of the story-teller. - - -HUNT THE FOX. - -TAKE partners, and stand as in a contra dance. The lady at the head -is the fox; her partner the hunter. At a signal, she starts and runs -down the line, her partner following; she can pass through the lines -as she pleases, the players standing far enough apart to allow her to -pass easily. The hunter must follow the exact course of the fox; if he -varies, he must pay a forfeit. When the fox is caught, the first couple -goes to the foot, and the next couple goes through with the same. This -and “Follow the Leader” are favorite games for Thanksgiving evenings. -Old and young join. - - -SNEEZING. - -ALL who join this game assemble in a circle. The leader gives one -of these syllables, “Ash-ish-osh,” to each one. Thus, to the first -person, “Ash;” the second, “ish;” third, “osh;” fourth, “ash,” and -so on through all the company. The leader must then stand in the -centre and count four, slowly. When he pronounces four, all must sound -their syllables at once. The effect is very amusing; it sounds like a -prolonged sneeze. - - -THE READY WRITER. - -THIS game can be played by any number of persons, each one having a -pencil and paper. The leader of the game gives to each one (or each -player chooses) a letter in the alphabet. Each player then writes a -sentence of five, six or seven words, each word commencing with the -letter given him. When all have finished, each one in turn reads his -sentence. If any one fails, he or she must recite some poetry and pay a -forfeit. This game often produces most amusing and instructive effects. -Sometimes the leader requires each player to go through the alphabet, -as follows: - - Avoid avarice, as an asp. - Britons! be bold! be brave! - Constant crime causes careless consciences. - Do defer doing dirty deeds. - Even every engineer engaged escaped. - Fawning favorites fear fortune’s freaks. - God’s goodness gives great gifts. - Happy homes have happy hearts. - It is instruction I intend. - Keep kind, kinsfolk! keep kind! - Jockeys joyfully joking jaded jackasses. - Little lambs love long lanes. - Many men make much money. - Name nine noisy noblemen now. - Ostentation often operates on opulence. - Perfect piety produces pretty practices. - Quit, quibbling quacks, quarreling, quickly. - Round rough rocks ragged rascals run. - Such stings sting so sharply. - Try to turn topsy-turvy. - Up! up! ungrateful, unjust usurper! - Verily, verily, vice vilifies virtue. - Willing wives will wash well. - Yes, yet you yawned yesterday. - Zeal! zeal! zealous zary, zeal! - - -RHYMING WORDS IN PANTOMIME. - -ALL who desire to join in this charming pastime must be seated in a -circle, in order that each player can have a clear view of all the -other players. One of the company must be selected to commence the -game. He must think of some word which can be easily rhymed by other -words, and give out only the termination of the word to the other -players, saying “I have thought of a word that rhymes with ——, can -any of you guess it?” The players must next speak in answer to the -leader’s question, but whoever thinks of a word to rhyme with the given -termination must strive to act out the word he thinks of in pantomime, -as plainly as possible, and the leader must closely watch the player -who is acting the word, and as soon as he guesses what the person -acting is trying to represent, if it is not the word selected, he must -say, “It is not ——,” (calling out the word represented) “that I -thought of,” and so on as each player acts out a word, the leader must -call out the word represented until the right word is acted. The leader -must then resign his place, and the person who acted out the right word -must be the leader and think of a word, giving out the termination to -be rhymed with. An example will here be given to assist those ignorant -of this game. - -Suppose the person who first selects a word chooses “sting” and gives -out “ing” to be rhymed with. One of the players makes a motion with -his hands of ringing a bell. The leader says, “It is not ring, to ring -a bell.” Another player will by signs indicate a ring on the finger. -The leader exclaims, “It is not a finger-ring.” One of the players -will imitate wringing of clothes. The leader says, “It is not wring.” -Another represents singing, and is told “it is not sing.” A player will -perhaps imitate a bee stinging. Then the leader exclaims, “Sting is -the word, I resign my place to you.” Perhaps a few examples of rhyming -words easily acted may be useful, which will be given here. - - Sun. Hair. Map. Hill. Sheep. - Dun. Hare. Cap. Kill. Deep. - Pun. Pair. Lap. Mill. Weep. - Run. Pear. Rap. Fill. Keep. - Gun. Bear. Snap. Still. Creep. - Fun. Fair. Trap. Rill. Reap. - Spun. Prayer. Flap. Sill. Cheap. - Bun. Flare. Clap. Bill. Leap. - - -AN EXHIBITION OF THE MODERN GIANT. - -THIS is rare sport, when well managed, and for a time the exhibition -appears very mysterious to the uninitiated. A large sheet should be -strained across some open door; folding doors are better adapted to -this game, as they give a larger space for action. - -The room in which the spectators are seated should be darkened; but -in the room back of the curtain, where the Giant exhibits, should be -placed on the floor, a bright lamp or candle, with a reflector, either -of polished tin or a looking glass. Any one standing between the light -and curtain, appears immense in all his proportions, as his reflection -is cast upon the sheet. Let the person acting as the Giant first open -his hands and spread his fingers wide, and let them appear at the -bottom of the curtain, and gradually rise till the shadow of his whole -body is exhibited between the light and the curtain. He will appear to -rise from the cellar; then let him jump over the light, to the rear of -the reflector, and it will seem as if he jumped upwards through the -ceiling. - -Many amusing scenes can be thus contrived, articles of furniture, etc., -etc., can be called down from above by simply passing them over the -light. Dolls can be used with great effect. The Giant can appear to -swallow them—or destroy the pigmy race. Care should be taken to keep -the profile on the screen or curtain as distinct as possible. Some call -this game “The man in the moon came down too soon.” - - -THE SHADOW AT COMMAND. - -THIS feat is performed by means of confederacy. Having privately -apprised your confederate that when you strike one blow, it signifies -the letter A; when you strike two, it means B; and so on for the rest -of the alphabet; you state to the company that if any one will walk -into the adjoining room, and have the door locked upon him, perhaps -the animal may appear which another person may name. In order to -deter every one except your confederate from accepting the offer, you -announce at the same time that the person who volunteers to be shut -up in the room must be possessed of considerable courage, or he had -better not undertake it. Having thus gained your end, you give your -confederate a lamp, which burns with a very dismal light, telling him, -in the hearing of the company, to place it on the middle of the floor, -and not to feel alarmed at what he may happen to see. You then usher -him into the room, and lock the door. You next take a piece of blank -paper and a pencil, and, giving them to one of the party, you tell -him to write the name of any animal he wishes to appear to the person -shut up in the room. This being done, you receive back the paper, and -after showing it around to the company, you fold it up, burn it in the -candle or lamp, and throw the ashes into a mortar (an iron one is the -best), casting in at the same time a powder, which you state to be -possessed of valuable properties. Having taken care to read what was -written, you proceed to pound the ashes in the mortar, thus: Suppose -the word written be “cat,” you begin by stirring the pestle around the -mortar several times, and then strike three distinct blows, loud enough -for your confederate to hear, and by which he knows that the first -letter of the word is C. You next make some irregular evolutions of -the pestle around the mortar, that it may not appear to the company -that you give nothing but blows, and then strike one blow for A. Work -the pestle about again, and then strike twenty blows, which he will -know means T—finishing your manœuvre by working the pestle about the -mortar, the object being to make the blows as little remarkable as -possible. You then call aloud to your confederate, and ask him what he -sees. At first he is to make no reply; after being interrogated several -times, he asks if it is not a cat. - -That no mistake be made, each party should repeat to himself the -letters of the alphabet in the order of the blows. If he misses, -you might go over, pretending you had forgotten some word in your -incantations, as you can mumble to yourself when pounding. If your -confederate is a good mimic, it would add to the amusement of all to -mimic the sounds of the animal to appear to him. - -I have seen this game differently performed. Your confederate, after -any word has been chosen, returns to the room, and you give assurance -that by your magical art you can inform him of the word. You then -take a cane and draw a large circle, and at the same time repeat any -absurd jingle or formula of words; then pretend to call up some ancient -spirit, and by your raps on the floor tell your confederate your first -letter. Then pretend to draw magical figures, and repeat anything you -think of; pretend to listen for an answer; then call up some different -spirit, and by your distinct raps express the second letter; and so on -until the word is finished. This game can be made very amusing. - - -THE WIZARD OF THE EAST. - -THE principal performer attires himself in a robe, a paper cap, -spectacles, and other appointments necessary to the outfit of the -“Wizard of the East.” He is armed with a magic wand, by means of which -he is supposed to exercise his mysterious calling, and with which he -makes a circle on the ground, muttering at the same time the unearthly -words of some potent spell. After communing profoundly for some moments -with some imaginary familiar, he appears to have decided, and touches -one of his confederates with his wand, ordering him to go to the other -end of the room, and there blindfold his eyes. This order executed, -and the audience satisfied that the confederate is really blindfolded, -the wizard orders him to guess the person on whom his wand shall rest. -The wizard then proceeds to touch several persons lightly with the -wand, saying at each, “The wand moves,” and at length allows it to rest -on the shoulder of _the one who spoke last_ (the key to the trick), -exclaiming, “The wand rests.” The confederate will at once name the -person touched (who, also being a confederate, has purposely spoken -last). The latter takes the place of the person blindfolded, and the -wizard goes through with the same form; his confederate exciting them -to talk, he again touches the one who spoke last; the confederate names -him correctly, and the person touched is blindfolded in turn. Unless he -understands the game, he will have only chance to guide him, and will -rarely guess correctly. Those who fail, pay a forfeit. Sometimes one of -the confederates takes the place of the wizard, and further mystifies -the company. This game, though simple, often puzzles a room full. - - -TO BRING A PERSON DOWN UPON A FEATHER - -THIS is a practical pun:—You desire any one to stand on a chair or -table, and you tell him that notwithstanding his weight you will -bring him down upon a feather. You then leave the room, and procuring -a feather you give it to him, and tell him you have performed your -promise, that you engaged to bring him down upon a feather, which you -have done, for there is the feather, and if he looks he’ll find down -upon it. - - -THE APPARENT IMPOSSIBILITY. - -YOU profess yourself able to show any one what he never saw before, -what you never saw, and what no one ever saw, and which after you two -have seen, no one else ever shall see. After requesting the company to -guess this riddle, and they have professed themselves unable to do so, -produce a nut, and having cracked it, take out the kernel, and ask them -if they have ever seen it before; of course they answer no; you reply, -“Neither have I, and I think you will confess that nobody else has ever -seen it, and now no one shall see it again;” saying which, you put the -kernel into your mouth and eat it. - - -THE TURNED HEAD. - -LET a lady be invested with as many wrappings as possible, but cloak, -shawl, scarf, &c., must be put on wrong side before, so as to present -the appearance of a “Turned Head.” She should be furnished with a muff, -which she must hold behind her as nearly as possible in the usual -manner, but her bonnet must be put on the proper way. Thus equipped she -must enter the room backwards and pass around it in that manner. This -can be used as a forfeit. - - -STATUARY. - -STATUARY, when personated by intelligent ladies and gentlemen, can -be made very amusing. Some witty gentleman, well versed in statuary, -takes the part of showman. He first selects from the company those he -wishes to assist him, being careful to select only such as can best -control their countenances. After obtaining a number of sheets, he -takes possession of a parlor, shutting the rest of the company out. He -then arranges his assistants as statuary around the room as quickly -as possible, covering each one, or each group, with a sheet; then -throws open the door, and invites the company to a rare exhibition of -statuary. After making a grandiloquent speech he uncovers a group, and -gives as absurd a description as possible; so on through the whole. - -As fun is the chief object, take for example some tall plain gentleman -and place him with bow in hand for Cupid. For Diogenes, take a large -wash tub and a boy in it, &c. Another diversion is to cover some ladies -and gentlemen all but one eye with a sheet; then let the company guess -who they are. - - -HE CAN DO LITTLE WHO CAN’T DO THIS. - -ARRANGE yourselves in a circle. The one who knows the game takes a cane -in his left hand and pounds upon the floor with it, saying, “He can do -little who can’t do this,” and passes the cane with his right hand to -his right hand neighbor, who tries to do the same thing, but generally -fails. The catch consists in quickly changing the cane from the left -to the right hand before you pass it. Every one is then intent on your -manner of pounding the cane on the floor. Change hands as carelessly as -possible. - - -BROTHER! I AM BOBBED! - -A PERSON who understands the game proposes to another, who is ignorant -of it, to be blinded with him and be “bobbed.” After being blindfolded -they sit down in two chairs placed back to back. The one who knows the -game then removes the bandage from his eyes and ties a knot in his -handkerchief. The others join hands and go round them in a circle. The -one not blindfolded carelessly hits the other with his handkerchief. -The one struck of course, thinks himself hit by some one in the circle, -and exclaims, “brother, I am bobbed.” The other says, “who bobbed you?” -In answer he mentions the name of some one in the ring. They all call -out, “you are wrong,” so he is bobbed till the fun is exhausted, he -trying to guess the person who hit him and expecting to change places -when he guesses correctly. The other pretends he is hit occasionally -and calls out he is bobbed. It requires a good-natured person to take -the joke pleasantly. - - -HOW DO YOU LIKE IT? WHEN DO YOU LIKE IT? AND WHERE WILL YOU PUT IT? - -THE difficulty of this game consists in guessing the meaning of two or -more nouns, which sound alike but have different meanings, without any -other help than the answers given to the above questions. It is played -in the following manner. One of the company is sent out of the room and -not recalled until her companions have agreed upon two words of similar -sound, with which to puzzle her. When she comes in she asks, “How do -you like it?” One answers, “very much indeed,” or “I don’t like it -early in the morning;” another says, “It is too noisy;” another, “It -is too fond of fine clothes,” &c. She then asks, “When do you like -it?” One answers, “At all times;” another, “When I feel hungry for my -dinner;” another, “I want it when walking alone;” another, “When I want -some wood brought for my fire,” &c. Lastly she asks, “Where would you -put it?” One says, “I would hang it;” another, “I would shut it up in a -church-tower;” another, “I would take it to a ball-room,” &c. - -From such answers a witty little girl may guess that belle was the -chosen word, (belle, a fashionable lady, and bell, an instrument of -sound.) Such as do not guess must pay a forfeit. Many words might be -chosen for this game, such as hair, hare; reign, rain; date, a fruit -and date a period of time; whip to strike with, and whip to eat; pear, -pair; heir, air; ale, ail; mason a brick-layer, mason a member of a -secret society; beer, bier; see and sea. - - -THE BIRD-CATCHER. - -ALL who join this game must be seated in a circle, first choosing a -bird-catcher, who takes his or her place in the centre. He can give the -name of a bird to each person, or each can select one, but each one -must represent some bird, and one of the number must personate an owl. -The bird-catcher then tells a story, introducing the names of different -birds. Every bird when mentioned must immediately make a chirrup, -crow, screech or splutter, peculiar to its species. The slightest -delay or mistake is punished by a forfeit. Each player, until the owl -is mentioned, must rest his hands on his knees; but when the owl is -called, each player must instantly clasp his hands behind him. The -bird-catcher tries to seize the hand of one of the players before he -raises it from his knee; if he succeeds, the person so caught must pay -a forfeit or take the bird-catcher’s place, his name and place in the -aviary being taken by the late officer. If he fails to entrap any one, -he must pay a forfeit, and continue the story until he does, or has -paid a certain number of forfeits; another then takes his place, either -by lot or choice. The company must keep their hands behind them until -some other bird is mentioned, when they must return them promptly. It -is well to mention the owl twice in succession, but no one must change -the second time; the owl must make his peculiar cry whenever he is -mentioned. The following is a list of available birds, with sounds -peculiar to them, taken from undoubted authorities:— - -The Cock—“Cook a doodle doo.” - -The Hen—“Cut, cut, cut, ca da cut.” - -The Chicken—“Peep, peep, peep.” - -The Turkey—“Gobble, obble obble.” - -The Duck—“Quack, quack, quack.” - -The Canary—“Pretty Dick.” - -The Magpie—“Jack wants his dinner.” - -The Sparrow—“Chip, chip.” - -The Whippowill—“Whip po will.” - -The Parrot—“Pretty Poll; Poll wants cracker.” - -The Curlew—“Pe-wit, pe-wit.” - -The Crow—“Caw, caw, caw.” - -The Goose—“Hiss—s—s.” - -The Raven—“Cro-a-ak.” - -The Snowbird—“Chick-adee-dee.” - -The Owl—“To-wit, to-wit, to-whoo.” - -These sounds of course can be varied to suit the idea of the performer. -Parrot and magpie can be made to speak as they wish. The raven may be -made to say, “Never more,” according to Poe’s poem. But the sounds -agreed upon at the beginning must not be changed during the game. -Some amusement can be gained by giving appropriate names to different -persons. The owl could be given to the most learned in the company. -The best singer, the nightingale, could be represented by a few bars -of Jenny Lind’s melodies. The magpie could be given to a great talker. -When all are ready the bird-catcher might commence in the following -manner:— - -I went out the other morning with my gun and nets to catch a few birds. -I did not intend robbing a farm yard, but on the top of a railing I -saw a fine cock; (“Cock a doodle do,”) there was nobody looking and I -couldn’t resist it—when up came an enormous turkey. (“Gobble, obble, -obble.”) Oh! Oh! said I, a turkey, (“Gobble, obble, obble”)—well a -turkey (“Gobble, obble, obble”) is worth more than a little sparrow, -(“Chip, chip,”) and there is more to eat on it than on a curlew, -(“Pewit, pewit,”) and as I had made up my mind to steal a cock, (“Cock -a doodle do,”) why not a goose, (“His, s, s,”) or a turkey. (“Gobble, -obble, obble.”) I crept up to him, when all of a sudden a rascally -magpie (“Jack wants his dinner”) flew out of a bush, making such an -abominable noise that all the birds in the air (general cry without -moving the hands) took flight at once. Off went the turkey (“Gobble, -obble, obble”) on one side and the cock (“Cock a doodle do”) on the -other, scattering a flock of ducks. (“Quack, quack.”) There was not -a single bird in sight but the owl. (“To whit! to whit! to whoo.”) -All hands up. [A forfeit given either by the unlucky bird-catcher -who has not succeeded in catching a hand, or by a bird whose hand he -has caught; in either case, he who remains, or becomes bird-catcher, -continues.] As I was saying, the owl [dead silence except the sound of -the owl, all hands still behind] began making an extraordinary noise, -no doubt thinking himself the nightingale, [the nightingale sings a -bar from the “Daughter of the Regiment;” all hands down on the knees -immediately. Forfeits from those too late, or in too great a hurry -to replace them,] and all the birds in the air [general cry] flocked -round again to see what the matter could be. Up came the crow, (“Caw, -caw,”) the raven, (“Croak,” or “never more,” as agreed on) the wild -duck, (“Quack! quack!”) even the farmer’s parrot, (“Pretty Poll,”) in -fact, all the birds in the field, [dead silence.] “Oh! ho!” I said, -“now I shall put some salt on you,” when to my horror, the beast of an -owl—(“To whit, to whit, to whoo!”)—[all hands disappear as before, -and the bird-catcher darts forward to catch some one. Whenever the -bird-catcher says, “All the birds in the air”—every bird must answer -at once.] - - -QUESTIONS AND ANSWERS. - -ALL take partners and sit opposite each other. Then one person whispers -a different question in the ear of each on one side of the room, and -another gives an answer to each on the opposite side. The first couple -commence. One asks the question whispered to him, his partner gives the -answer whispered to her. Each couple take turn in giving the questions -and answers. A lady should direct the gentlemen, and a gentleman the -ladies. Each side asks the questions alternately, the side that first -asked the questions next making the answers. - - -THE MAGIC WAND. - -THE magician, or the person who wields the wonderful wand, has a -confederate who retires from the room. In his absence, the company -(the magician being present) agree upon some piece of furniture or -other article, by which the powers of the wand are to be tested. He is -then called in and the magician points to various articles about the -room. Whenever he points to any article except the one agreed upon, -the confederate is sure to say “that is not it,” and he never fails -to designate the right article when the wand is pointed towards it. -This proceeding, which at first sight appears mysterious, is easily -explained. When the magician points to the article agreed upon by the -company he slightly changes the position of the forefinger of the hand -in which he holds the wand, or makes some slight gesture previously -agreed upon by him and his confederate. The confederate looks intently -at every article pointed out and pretends to be thinking deeply, while -the company are generally so intent on following his movements that -they do not notice the almost imperceptible motions of the magician. -If one of the company thinks he has detected the trick, he takes the -confederate’s place, and sometimes finds himself mistaken. If the -magician is a very mysterious personage he will be apt to magnetize the -confederate at the beginning of the game. - -The “Black Art” is another form of the same game. The magician next -before pointing at the article agreed upon, points towards some -object of a black color, and in that way gives the information to his -confederate. - - -THE RHYMING GAME. - -WHERE several are passing an evening quietly together, this game may -afford much amusement. It is played as follows: Each one of the company -writes a single word on a slip of paper; the more unusual and difficult -the word is to rhyme with, the more amusement it makes. These slips of -paper are placed in a hat, and each one of the company, in turn, draws -one, and then writes a couplet, in which the word drawn shall stand -at the end of a line, and the word at the end of the other line shall -rhyme with it. Of course, each may write as much more as he pleases. -Where the company are witty and ready, and have a faculty of making -verses easily, the game is a pleasant one. Epigrams on the company -present, puns and good-natured hits, add much to the fun in this game. - - -THE GAME OF TWENTY QUESTIONS. - -THIS is one of the best of the games, though but little known. Such men -as Canning, Wyndham and Pitt have played it; the latter two, indeed, -were especially fond of it; so it does not lack recommendation. The -rules of the game and its description are briefly these: - -Two persons (usually a lady and gentleman), chosen by the company, -privately fix upon an article or subject. Two others are then chosen to -discover the subject so agreed upon, and they must do this by asking -twenty questions as to its nature and qualities. A fifth person is -usually selected as umpire, who is made acquainted with the subject -fixed upon, and whose duty it is to see that all the questions are -fairly put and answered. The questions are to be put plainly, though in -the alternative, if desired, and the answers must be plain and direct. -The object of the thoughts must not be an abstract idea, or anything -so occult, or scientific, or technical, as to be beyond the reasonable -information of the company, but something well known to the present -day, or to general history. It may be, for example, any name of renown, -ancient or modern, or any well known work or memorial of art, but not -a mere event, as a battle, for instance. Of course, the discovery, if -made, is to be the fair result of mental inference from the questions -and answers, not of signs passing, or juggling of any description. - -Mr. Pitt is said to have once succeeded in this game, when the subject -was _The stone upon which Walworth, Lord Mayor of London, stood, when -he struck down Wat. Tyler, in Richard II.’s time_! - -In a game in which Mr. Canning was the questioner, the questions and -answers were as follows:— - -_First._—Does what you have thought of belong to the animal or -vegetable kingdom? - -_Answer._—To the vegetable. - -_Second._—Is it manufactured, or unmanufactured? - -_Answer._—Manufactured. - -_Third._—Is it a solid, or a liquid? - -_Answer._—A solid. - -_Fourth._—Is it a thing entire in itself, or in parts? - -_Answer._—Entire. - -_Fifth._—Is it for private use, or public? - -_Answer._—Public. - -_Sixth._—Does it exist in England, or out of it? - -_Answer._—In England. - -_Seventh._—Is it single, or are there others of the same kind? - -_Answer._—Single. - -_Eighth._—Is it historical, or only existent at present? - -_Answer._—Both. - -_Ninth._—For ornament, or use? - -_Answer._—Both. - -_Tenth._—Has it any connection with the person of the king? - -_Answer._—No. - -_Eleventh._—Is it carried, or does it support itself? - -_Answer._—The former. - -_Twelfth._—Does it pass by succession? [Not answered, on account of -uncertainty; but, by agreement, the question was counted one in the -progress of the game.] - -_Thirteenth._—Was it used at the coronation? - -_Answer._—Yes. - -_Fourteenth._—In the hall or abbey? - -_Answer._—Probably, in both; certainly in the abbey. - -_Fifteenth._—Does it belong specially to the coronation, or is it used -at other times? - -_Answer._—It is used at other times. - -_Sixteenth._—Is it exclusively of a vegetable nature, or is it not in -some parts a compound of a vegetable and a mineral? - -_Answer._—Exclusively of a vegetable nature. - -_Seventeenth._—What is its shape? [Objected to, as too particular; -withdrawn by the questioner and therefore not counted.] - -_Seventeenth, repeated._—Is it decorated, or simple? [Objected to, but -objection not sustained.] - -_Answer._—Simple. - -_Eighteenth._—Is it used at the ordinary ceremonial of the House of -Commons or House of Lords? - -_Answer._—No. - -_Nineteenth._—Is it ever used by either House? - -_Answer._—No. - -_Twentieth._—Is it generally stationary, or movable? - -_Answer._—Movable. - -Answer, guessed correctly at the end of the twentieth question: “_The -wand of the Lord High Steward_.” - - -GAME OF PHOTOGRAPH. - -ONE person is chosen to preside. He must see that each player is -provided with pencil and paper with which to write his replies to the -questions announced by the president. The questions are put in the -order here given, and the answers must be numbered to correspond with -the questions. - -Questions. - -1. What virtue do you most admire? - -2. What vice do you most abhor? - -3. Who is your favorite prose author? - -4. Who is your favorite poet? - -5. Who is your favorite poetess? - -6. What book do you prefer? - -7. What is your favorite amusement? - -8. What is your favorite economy? - -9. What is your favorite extravagance? - -10. What is your favorite color? - -11. What is your favorite hour? - -12. What is your favorite art? - -13. What is your favorite picture? - -14. What is your favorite statue? - -15. What is your favorite season? - -16. What is your favorite flower? - -17. What is your favorite aim of life? - -18. Who is your favorite hero? - -19. Who is your favorite heroine? - -20. Which is your favorite summer resort? - -21. What is your favorite weakness? - -22. What is the sweetest word in the world? - -23. What is the saddest word? - -24. What is your favorite man’s name? - -25. What is your favorite woman’s name? - -26. What is your prevailing characteristic? - -27. What is your favorite piece of music? - -28. What is your favorite occupation? - -29. Which do you prefer, wealth or a competency? - -30. Which is your favorite animal? - -When all the answers have been written, the papers are collected by the -President. No one is to see what answers have been written by any other -person. After shuffling them together, the President reads them aloud, -and each player guesses as to the authorship of each paper. Forfeits -are sometimes collected, and the game prolonged in that way. This game -cannot be well played except by persons who are well acquainted with -each other. - - -YORK AND LANCASTER, OR THE WAR OF THE ROSES. - -THIS game is commenced by the choice of two Commanders, either by lot -or by vote. As it is necessary for the success of the game to select -the most skillful as the Commanders, each player should carefully -consider the merits of all the others before casting his vote. One -Commander is called Duke of York, and the other Duke of Lancaster. The -Commanders draw lots for the first choice of men, and each Duke selects -alternately a man from the players till the whole are drawn. - -Each party marks out its fort by drawing semicircular lines; the forts -should be in line, twenty paces apart, and each of them sufficiently -large to hold easily one of the armies. Twenty paces in front of each -fort should be drawn a semicircle larger than the fort, which is called -the prison, the prisons and forts thus marking the four corners of a -square. - -The two Dukes then draw lots to decide which shall commence the game. -If the Duke of York wins, he sends out one of his red-rose men, usually -a new player, who must run at least beyond the line of the prison -before he returns. As soon as he has started the other Duke sends out -one of his men to pursue, and, if possible, to touch the red-rose -runner before he can regain his own fort. If this is accomplished, -the successful runner returns to his fort, while the vanquished party -must go to the enemy’s prison, from which he cannot stir until some one -from his own side releases him, by touching him in spite of the enemy. -This is not an easy task, as in order to reach the enemy’s prison, the -player must pass by the enemy’s fort. It is allowable for the prisoner -to stretch his hand as far towards his rescuer as possible, but he must -keep his body within the bounds; and if several prisoners are taken, it -is sufficient for one to remain within the prison, while the rest, by -joining hands, make a chain towards the player who is trying to release -them. [The Commanders in the commencement of the game must decide if -they will allow this latter mode of escape.] When a rescue is thus -accomplished, both the prisoner and his rescuer return to their fort, -no one being allowed to touch them until they have reached then fort -and again started out. - -But the game is not restricted to the two originally sent out. As soon -as either Duke sees one of his men pressed by an opponent, he sends out -a third, who is in his turn pursued by another from the opposing side; -each being allowed to touch any who have preceded, but none who have -left their fort after him. The war soon becomes exciting; prisoners are -made and released, the two Dukes watching the game, and rarely exposing -themselves, except in cases of emergency, but directing the whole -proceedings. The game is considered won, when one party has succeeded -in imprisoning the whole of the other side. - -Much depends upon the Commanders, who sometimes, by a bold dash, -rescue the most important of their men, and thereby turn the fate of -the battle; or when the attention of the opposite side is occupied by -some hardly-contested struggle, send out a player who walks quietly -up to the prison, and without attracting the notice of the opposing -party, lets out a prisoner. No player is permitted to touch more than -one person until he has returned to his fort; when he can sally out -again, armed with fresh strength, like Antæus of old, who could not -be conquered at wrestling because whenever he touched the ground his -strength was renewed by his Mother Earth. - - -POST-OFFICE. - -THIS family game is instructive as well as amusing. Each one present -writes a poem, anecdote, essay, or a letter to some person either -present or absent. The articles written should be concise and must in -all cases be original. Any one who chooses to do so can disguise his -handwriting. The papers, as they are completed, are carefully folded -and directed, and then deposited in a covered box placed on the table. - -The post-master must be chosen by the company. He has the right to open -all the letters and papers, first announcing to whom each is directed, -and reads them aloud. After the reading, the papers are distributed -according to the directions written upon them. - -Young people who write for the “family portfolio” soon become very much -interested in it, and find themselves acquiring a ready use of the pen. - - -HANDWRITING UPON THE WALL. - -CUT the word or words to be shown, out of a thick card or pasteboard; -place it before a lighted lamp, and the writing will be distinctly seen -upon the wall of the room. - - -GRACES. - -THIS also is an old game, but should be revived, as it is as beneficial -as many of the exercises in the gymnasium, and quite as _graceful_. It -is of German origin, and can be played in the open air, or in any hall -or long room. - -[Illustration] - -To play the game you need four smooth, round sticks nearly -three-quarters of a yard long. The stick at one end should be just -large enough to be grasped firmly by the hand, and should be tapered -gradually to the end. These sticks, or grace wands, may be prettily -painted and wound near the large end, where they are held, with fancy -ribbons. The hoops are from ten to twelve inches in diameter, made of -some light wood, as bamboo, covered with bright colored silks and wound -with silver cord or some tinsel chenille. - -The game is usually played by only two players, each taking two wands -and one hoop, and standing at a distance from each other; the two -wands are held in the hands across each other like open scissors. The -object is to throw and catch the hoop upon these wands. When trying to -catch the hoop the sticks are held like scissors shut, and are opened -apart when the hoop is thrown from you. If you can crown your opponent -without her catching the hoop, a kiss is the old-established forfeit. -The object of the game, as in “Shuttlecock and Battledoor,” is to keep -both hoops flying without once touching the floor. Beginners had better -first play with only one hoop. - - -FAMILY NEWSPAPER. - -THIS is an excellent pastime for a large family, or several families -can unite in it. Choose the most ready writer, and the person of the -best judgment among your number, for the editor. He must also be a good -penman. Your paper can be a weekly or a monthly journal as you please. -Every member of the family must contribute one or more articles for the -paper, either serious, laughable, instructive or absurd pieces, and -give to the editor in season for him to arrange his paper, and publish -it at the appointed time. Such as wish to conceal their authorship must -notify the editor, and he is bound in honor not to reveal the name of -any writer without his permission. Large sheets can be procured, or two -or more small ones can be used together. The paper can then be read -aloud to the family, or each can read it separately. The family paper -will be found to add another link to the home chain. All the papers -thus prepared should be carefully preserved, and in after years they -will prove a source of pleasure. Most vividly will they bring by-gone -days before you. - -A friend of mine lately told me of a newspaper of this description, -edited by a nephew only eleven years of age. She said that its perfect -regularity and neatness were beautiful to see. He printed the whole -with a pen, and it was arranged in proper newspaper form. The leading -editorials first, followed by a letter from abroad, anecdotes, terrible -accidents, telegraph news, marriages, deaths, advertisements, etc., -etc. He was one of a family of nine. Every member of the family wrote -for it, even a little girl of six wrote an anecdote about her pet lamb. - -[Illustration] - - - - -Games of Memory. - - -FRENCH and English exercises of the memory, such as the following, may -serve to amuse some leisure hour. The first is entitled the “Grand -Panjandrum:”—“She went into the garden to cut a cabbage leaf to make -an apple pie; and at the same time a great she-bear coming up the -street pops its head into the shop. ‘What! no soap?’ So he died, and -she very imprudently married the barber; and there were present the -Picininnies, and the Joblillies, and the Gurgulies, and the great -Panjandrum himself, with the little round button at top; and they all -fell to playing the game of ‘catch as catch can,’ till the gunpowder -ran out at the heels of their boots.” - - “Peter Piper picked a peck of pickled peppers, - A peck of pickled peppers Peter Piper picked; - If Peter Piper picked a peck of pickled peppers, - Where is the peck of pickled peppers Peter Piper picked?” - - “When a twister twisting would twist him a twist, - For twisting his twist three twists he will twist; - But if one of his twists untwists from the twist, - The twist untwisting untwists the twist.” - - “Didon dina, dit on, du dos d’un dodu dindon.” - - “Robert Rowley rolled a round roll round; - A round roll Robert Rowley rolled round; - Where rolled the round roll Robert Rowley rolled round?” - -A FRENCHMAN having taken herb tea for a cough, his neighbor asked him, -“Ton Thè, t’a t’il otè ta toux?” - - -“LE JARDIN DE MA TANTE.” - -LE vient du jardin de ma tante. O, qu’il est beau le jardin de ma -tante! Dans le jardin de ma tante, il y a un arbre. O, qu’il est beau -l’arbre du jardin de ma tante! Dans l’arbre du jardin de ma tante, il y -a un trou. O, qu’il est beau le trou, de l’arbre du jardin de ma tante! -Dans le trou, de l’arbre, du jardin, de ma tante, il y a un nid. O, -qu’il est beau le nid, du trou, de l’arbre, du jardin de ma tante! Dans -la nid, du trou, de l’arbre, du jardin, de ma tante, il y a un oiseau. -O, qu’il est beau l’oiseau du nid, du trou, de l’arbre, du jardin, de -ma tante! - -L’oiseau du nid, du trou, de l’arbre, du jardin, de ma tante, porte -dans son bec un billet, ou ces mots sont écrits:—“Je vous aime,” O, -qu’ils sont doux ces mots, “Je vous aime,” qui sont écrits sur le -billet porté dans le bec, de l’oiseau, du nid, du trou, de l’arbre, du -jardin, de ma tante. - - -A GOOD FAT HEN. - -1. A GOOD fat hen. - -2. Two ducks and one good fat hen. - -3. Three squalling wild geese, two ducks, and one good fat hen. - -4. Four plump partridges, three squalling wild geese, two ducks, and -one good fat hen. - -5. Five hundred Limerick oysters, four plump partridges, three -squalling wild geese, two ducks, and one good fat hen. - -6. Six pairs of Don Alphonso’s tweezers, five hundred Limerick oysters, -four plump partridges, three squalling wild geese, two ducks, and one -good fat hen. - -7. Seven hundred Macedonian horsemen drawn up in line of battle, six -pairs of Don Alphonso’s tweezers, five hundred Limerick oysters, four -plump partridges, three squalling wild geese, two ducks, and one good -fat hen. - -8. Eight cages of Heliogabulus sparrowkites, seven hundred Macedonian -horsemen drawn up in line of battle, six pairs of Don Alphonso’s -tweezers, five hundred Limerick oysters, four plump partridges, three -squalling wild geese, two ducks, and one good fat hen. - -9. Nine sympathetic, epithetic, didactic propositions, eight cages of -Heliogabulus sparrowkites, seven hundred Macedonian horsemen drawn up -in line of battle, six pairs of Don Alphonso’s tweezers, five hundred -Limerick oysters, four plump partridges, three squalling wild geese, -two ducks, and one good fat hen. - -10. Ten helioscopic, peroscopic, pharmaceutical tubes, nine -sympathetic, epithetic, didactic propositions, eight cages of -Heliogabulus sparrowkites, seven hundred Macedonian horsemen drawn up -in line of battle, six pairs of Don Alphonso’s tweezers, five hundred -Limerick oysters, four plump partridges, three squalling wild geese, -two ducks, and one good fat hen - -11. Eleven flat bottomed fly boats floating from Madagascar to -Mount Prunello, ten helioscopic, peroscopic, pharmaceutical tubes, -nine sympathetic, epithetic, didactic propositions, eight cages of -Heliogabulus sparrowkites, seven hundred Macedonian horsemen drawn up -in line of battle, six pairs of Don Alphonso’s tweezers, five hundred -Limerick oysters, four plump partridges, three squalling wild geese, -two ducks, and one good fat hen. - -12. Twelve European dancing masters sent to Egypt to teach the -Egyptian mummies to dance and sing, eleven flat bottomed fly boats -floating from Madagascar to Mount Prunello, ten helioscopic, -peroscopic, pharmaceutical tubes, nine sympathetic, epithetic, -didactic propositions, eight cages of Heliogabulus sparrowkites, seven -hundred Macedonian horsemen drawn up in line of battle, six pairs of -Don Alphonso’s tweezers, five hundred Limerick oysters, four plump -partridges, three squalling wild geese, two ducks, and one good fat hen. - -[Illustration: “CAN’T REMEMBER.”] - - - - -Parlor Games. - - -SQUAILS is a modern English game. The incompleteness of the original -rules, and the ridiculous terms employed in the game have prejudiced -many sensible people against it. Relieved of these absurdities, the -game is an interesting one. - -Materials. - -The materials for this game consist of sixteen squails, a target, and -a gauge. The squails are small discs of wood, about two inches in -diameter, eight of light and eight of dark colored wood. The squails -are designated by four distinct colors—two light and two dark of each -color. The target is of ivory, about one inch in diameter, and loaded -so as not to be easily moved or overturned. The gauge is a measure -three inches long, made with a convenient handle. - -The method of the game is as follows: The company being seated around -a dining table, the squails are distributed to them, and the target -placed in the center of the table. Now the object of each player is -to drive his squails as near the target as possible, by allowing the -squail to project over the side of the table about one-fourth its size, -and striking it with the palm of the hand. - -[Illustration] - -Vocabulary of Terms. - -TARGET.—The movable hub at which the squails are played. - -GAUGE.—The measure. - -LINE OF DEMARCATION.—An imaginary line round the table, at the -distance of the length of the gauge from the edge. - -OUT.—A squail struck over the line of demarcation on the opposite side -from the player striking it, is “out.” - -TO ROUT.—To strike a collection of enemy’s squails so as to scatter -them about. - -TO BLOCKADE.—To leave one’s squails in such a position as to block up -a passage in which the next hostile player could play to advantage. - -TO CUT OUT.—To leave one’s squails between the target, a hostile -squail lying near it. - -Rules. - -The game of squails may be played by any number of persons not -exceeding eight. If the number of players is even, half will play on -one side and half on the other—one side taking the light squails and -the other the dark ones. The players of the opposing sides must be -seated alternately round the table. If there is an uneven number of -players, there are no sides, and all are antagonistic to each other. - -A captain is chosen on each side, to whom the players may look for -advice, and who shall decide the amount to be scored at each round. - -The first play, if there are sides, is determined by the two captains -playing one squail each at the target, the one who drives his squail -nearest to the target having the first play. If an odd number -play, each one plays in a like manner for the lead. The lead being -determined, the commencing player places one of his squails about one -quarter off the edge of the table, and strikes it with the palm of his -hand, aiming at the target which is in the center of the table. The -squails slide on the surface of the table. - -The players must play one at a time in rotation, with the course of the -sun—i. e. from right to left. When all the squails have been played a -round is finished, and the nearest squail to the target counts one if -within the distance of the gauge. If more than one of the same side are -nearer than any of the other color, they all count one each, provided -they are within the distance of the length of the gauge—i. e. three -inches. A player can strike his squail from any position around the -table which he can reach without moving from his chair, or rising from -his seat. - -If the target is moved by a squail from its place, and does not cross -the line of demarcation, it must remain where it stops, unless it is -rolling and unsteady; in which case the next player can stand it firmly -in the place where he finds it, and all must play at it in its new -position till that round is finished. Before commencing a new round the -target must be placed back to the center of the table. - -At the end of a round, the captain of one side makes his claim for -so many “in,” and if the claim is disputed, the gauge is used by the -disputing captain to measure the distance from the target to the -disputed squails. If the captain of the side who claims one or more -squails “in” at the conclusion of the round touches them before they -have been allowed by the captain of the opposition, the squail or -squails so touched are null, and do not count towards the game. The -winner of one round begins the next. - -If the target is struck across the line of demarcation, i. e. “out,” it -terminates that round; the person who sent it out commences the next -round, and one is added to the score of the adversary. - -The game can consist of any number agreed upon by the players. Five is -a short game, and eleven is a long one. - -A squail having been struck so far on the table as not to be touched -by the gauge, measuring from the edge of the table, is considered as -played, and cannot be taken back. It is then said to have passed the -line of demarcation. If a squail passes the line of demarcation twice, -i. e. goes across the table, one of the opposing side must cry, “That -squail is out,” before the next squail in succession has been played, -otherwise, the owner may claim it, and play it again at the conclusion -of the round. If more than one squail is “out,” and not cried, they may -all be claimed and played at the end of the round in the order in which -they were “out.” - - -PARLOR OR CARPET BOWLS. - -THE materials of this game are one white ball, and a number of other -balls, designated by four distinct colors. It is played as follows: -Place the white ball on the floor near one end of the room with perhaps -a row of books behind it, to protect the finish. - -[Illustration] - -Divide the remaining balls equally among the players, or give an equal -number of balls to each player. If four play, it is more interesting -to form sides, the two players on one side taking the dark balls, and -the other two the light ones. Blue and black are considered dark—red -and yellow, light. The players, retiring to some part of the room more -or less distant from the white ball, now bowl the colored balls, which -they hold, at the white one, by turns. Each player bowls one ball at a -time, the play passing around the company as many times as there are -colored balls for each player. The first bowl goes by turn, as the last -bowl is the most valuable. The object of each player is to have the -balls that he bowls rest as near as possible to the white one, and -also to drive his enemy’s balls away from the white one, or the white -one away from them. When all the balls have been bowled, the ball that -lies nearest the white one counts 4; the one next nearest, 2; and the -third nearest, 1—to the person or side to which they belong. Thus, we -will suppose that of the three balls lying nearest to the white ball, -the nearest one belongs to the dark side, and the two next nearest -belong to the light side. Then the dark side scores 4, and the light -side 2 and 1, making 3. But if the _three_ nearest balls had belonged -to the dark side, they would have scored 7, and the light side nothing. -The game may be 20, or any other number agreed upon by the players -before commencing, and the player or side that gains that number first -wins the game. Should the game be nearly equal, so that both sides gain -20 in the same hand, then the side that makes the greatest number wins. -The white ball must remain wherever it is rolled by the playing of the -balls during each hand and placed back on some designated spot at the -_commencement_ of each hand. If two balls belonging to opposite parties -are equally distant from the white ball, it is a tie, and the two -players who bowled those balls must try again, and the one whose ball -is nearest will count 4, the other 3. - - -THE UNION GAME, OR RED, WHITE AND BLUE. - -THIS is an excellent parlor game. Any person possessing a croquet -board, by taking out the hoops, can use it for the Union game, although -a square or round board is better; if square, the board should measure -from three and a half to four feet each way; if round, from three and a -half to four feet in diameter. The board should be firmly made of well -seasoned wood, and covered with cloth or green baize. It should have a -rim or fence around the edge, just sufficient to prevent the balls from -rolling off the board. It is necessary to have three cubes made of some -light wood, about an inch and a half each way; one should be painted -red, one white, and one blue, with a star on each face. - -Each player should have three balls, painted red, white and blue, and a -mallet. The balls and mallets may be the same used in parlor croquet. -If this game is played on a board, it is necessary, in order to avoid -any disputes, to have a square marked in the centre in which to place -the cubes. A croquet board can be adapted to the game by removing the -central hoop. - -All persons, who prefer not to use a board, can play the game on the -floor, by placing the cubes on some central figure of the carpet. By -using larger blocks and the croquet balls and mallets, this game can be -played on a level spot of ground, in the open air. - -How the Game is to be Played. - -Place the red cube in the centre of the board, the white diagonally on -top of the red, and on top of the white place the blue cube, with its -sides square with the red. The person to commence the game is chosen by -lot. He places his red ball at the distance of a mallet’s head from the -edge of the board, and tries to send his ball against the cubes in the -centre; he can roll his three balls in succession, and at the end of -his play take back his balls and replace the cubes, if their position -has been changed by his play. The player on his left then plays his -three balls, and each in turn, until all have played. The same thing is -repeated until three rounds have been played. - -Rules of the Game. - -1. Each player must play from the place he first selects, and at the -same distance from the cubes as the other players, or forfeit his play. - -2. If a player with his red ball throws down the blue and white cubes -and moves the red cube over the square marked, it counts him 20, and -he need not play the white or blue ball, but whatever points he wins -during the second round with the first two balls counts on the first -roll. - -3. If a player only throws down the blue and white cubes without moving -the red from its square, he counts 15. - -4. If a player only knocks off the blue cube, he counts 10. - -5. If a player only moves the three cubes, he counts 5. - -6. If a player with the first two balls throws down two cubes and moves -the under red cube, his play is finished for that round, and when his -next turn comes, he can add what he wins with the first ball to the -count on his former play. - -7. If a player knocks the three cubes down in the three rolls, he -counts 20, and if he only knocks down two in three rolls without moving -the red, he counts 15; if only the blue cube he counts 10; if he merely -moves them all together he counts 5 for the three balls; if he hits -them but does not move them he counts nothing. - -8. If in rolling the three balls at the cubes he misses them every -time, he loses 5 from his score. - -One of the company should be provided with pencil and paper and keep an -accurate account of each player’s score. - - -ZOETROPE, OR WHEEL OF LIFE. - -THE Zoetrope is a newly invented toy. It presents a series of striking -optical delusions, and is constructed in part on the principle of the -Phenakestoscope, though altogether different in its arrangement and -effect. It can be exhibited on a table in the middle of a room, and a -dozen or more can be amused by it at the same time, one of the party -keeping it in motion. The exhibitor can give such description of the -pictures as they appear as he thinks best. A bright boy or girl can -add very much to the interest of the exhibition by witty descriptions. -The exhibitor can announce his performance to a family party in a -high-flown handbill, charge an admission fee to the room, and carry out -the exhibition in the most approved style. The toy is admirably adapted -for the entertainment of children. - -[Illustration] - - -GRECIAN GAMES. - -IN reading an account of the toys, sports and pastimes of the ancient -Greeks, one is surprised at their resemblance to our own. They had -many games now in common use, and supposed to be of modern invention. A -Grecian philosopher named Archytas invented the child’s rattle. - -Our children would like to revive the hoops of the ancient Greeks. They -surely were more tasteful than ours. I will describe them, and perhaps -some enterprising boy will try to imitate, if not surpass them. They -were made of bronze, three feet in diameter, very light, and adorned -with little spherical bells and movable rings, which jingled musically -as the hoops rolled along; the hoop stick was crooked at the point, and -called a “plectron.” - -Boys! do not be outdone by the young Greeks. Try and invent a hoop with -bells of different tones, that will play a melody as it rolls. Some -iron hoops have bells, but they are not musical. The Egyptians, too, -excelled in toys of all kinds. - - -JACK-STRAWS. - -JACK-STRAWS were played centuries ago, and like many other good old -games, have come into fashion anew and with some improvements. The -game may be played with straws or fine splinters of wood, four or five -inches in length. The straws are gathered in a bunch, not tied, but -held firmly together by one end of the bunch, in the hand, a few inches -above the table. Held in this manner the bunch will be spread at the -bottom, somewhat in the form of a haystack. The player suddenly drops -the bunch, and the straws fall in an irregular heap on the table. Each -player is provided with a straw or stick, on one end of which a small -hook or crooked pin is made fast, and each in turn tries to draw with -his hook a single straw from the heap without moving in the slightest -degree, any straw except the one he seeks to remove. If he succeeds, -he keeps the straw, and proceeds to draw out another or others, but -whenever he disturbs any other than the one straw he gives up his turn -to his opponent. The one who gains the largest number of straws wins -the game. - -The jack-straws sold in the toy shops are usually made of wood, and -each bunch contains pieces roughly representing kings, queens, bishops, -&c. Each of these pieces has a number marked on it, and when one of -them is drawn from the heap, it counts for the player as many straws as -its number indicates. If the players so agree, each can gather up the -straws, as often as his turn comes, and drop them anew. - -[Illustration: JACK-STRAWS.] - - - - -Games for Little Children. - - -DANCE, THUMBKIN, DANCE! is a game by which an older person can amuse -a number of little children. It is played by holding up the hand and -bending thumb and fingers in the following manner. First, put the -thumb in motion, singing in a lively tune, “Dance, thumbkin, dance;” -then keep the thumb still and move the four fingers, singing, “Dance, -ye merry men, every one, for thumbkin he can dance alone.” Then move -the forefinger and sing, “Dance, foreman, dance!” Then move all the -fingers, singing, “Dance, ye merry men, every one, for foreman he can -dance alone.” Then keep the second finger in motion, singing, “Dance, -middleman, dance!” Then move all the fingers, singing, “Dance, ye -merry men, every one, for middleman he can dance alone.” Then in the -same manner repeat the process with the two other fingers, calling the -third finger “ring-man,” and the fourth finger “little-man.” When these -changes are done rapidly, it entertains even babies. - - -UNCLE JOHN. - -ALL the children who join this game must stand in a circle holding each -others’ hands, and as they walk or dance around they sing the following -words: - - “Uncle John is very sick. What shall we send him? - A piece of pie, a piece of cake, a piece of apple dumpling. - What shall we send it in? In a golden saucer. - Who shall we send it by? By the king’s daughter. - D-o-w-n, down.” - -Then all must kneel down as quickly as possible, and rise up at once, -the one who is the last to kneel must, when they all rise, whisper to -some one a girl’s or boy’s name, and then all join in the circle, the -one who knelt last facing outwards. Then they all repeat as follows, -making use of the name whispered: - - “J—— B—— so they say - Goes a courting night and day, - Sword and pistol by his side, - M—— L—— shall be his bride, - She has sparks, one, two, three, - I can tell you who they be, - Joel, Toel, half a day, - Exel, Toel, turn away.” - -All again commence to sing “Uncle John is very sick,” &c., this -continues until each one faces outwards in turn or they are weary of it. - - -MOTHER GOOSE. - -THIS is a new and amusing game for little children. One among their -number must be chosen to take the part of “Mother Goose,” and she must -arrange her forces in a line, and place a cricket in the centre of -the room. She then leads off, clapping her hands and dancing slowly, -saying, “Hi, diddle, diddle, the cat’s in the fiddle.” All must -follow her, saying and acting exactly as she does, on penalty of a -forfeit. She then imitates the mewing of a cat and all imitate her. -She then repeats “the cow jumped over the moon,” and “Mother Goose” -runs and jumps over the cricket, all the others following her. Again -they pass round the room singing, “The little dog laughed to see the -sport.” Suddenly she stops and laughs heartily, each one imitating her, -and away they go again, singing, “The dish ran away with the spoon.” -“Mother Goose” then claps her hands as a signal for all to run, and off -they start, she after them; if she succeeds in catching one, she cries -out, “Here is Mother Goose,” and all assemble round her, and the play -commences again. If played in the open air, it is well to have some -post or tree as a goal, and if “Mother Goose” does not catch some one -before it is reached, she has to act her part again. - - -“CLAP OUT AND CLAP IN.” - -ALL the girls in the party arrange themselves behind chairs, sofas, -ottomans, &c., all the boys being sent out of the room, one girl stands -as door-keeper. Some girl then calls out the name of a boy whom she -wishes to take the seat in front of her, the door-keeper opens the door -and calls out the name. The boy called enters and the door is shut; -he looks all around wondering who has chosen him, and finally takes a -seat. If he happens to sit down in front of the girl who called his -name she kisses him, and he keeps his seat; but if not, as is most -likely to be the case, they all clap him out, and away he goes. Another -is then chosen and the same thing is gone through; sometimes a favorite -boy will be called in a number of times before he guesses correctly. -When all the girls have taken their turn in calling, they leave the -room, and the boys take their stand behind the seats, and the girls are -called in. - - -FINGERS AND THUMBS. - -[Illustration: - -One finger one thumb keep moving, One finger one thumb - -keep moving, One finger one thumb keep moving, Gee - -up, Ge I, Ge O, Two fingers one thumb keep moving, &c.] - - Three [fingers, one thumb,] keep moving. Three, &c. - - Four [fingers, one thumb,] keep moving. Four, &c. - - Five [fingers, one thumb,] keep moving. Five, &c. - - Six [fingers, one thumb,] keep moving. Six, &c. - - Seven [fingers, one thumb,] keep moving. Seven, &c. - - Eight [fingers, one thumb,] keep moving. Eight, &c. - - Eight [fingers, two thumbs,] keep moving. Eight, &c. - - Eight [fingers, two thumbs and one arm,] keep moving. Eight, &c. - - Eight [fingers, two thumbs and two arms,] keep moving. Eight, &c. - - Eight [fingers, two thumbs, two arms and one foot,] keep moving. - Eight, &c. - - Eight [fingers, two thumbs, two arms, and two feet,] keep moving. - Eight, &c. - - Eight [fingers, two thumbs, two arms, two feet, and your head,] keep - moving. Eight, &c. - -The words in brackets must be sung on one note, as in chants; and each -line must be repeated three times, as arranged under the above notes. -The person selected to commence this game must arrange all the players -in a circle, either seated or standing as he directs. Each must follow -the motions of the leader, and join him in singing. When the leader is -ready to commence the game he must clap his hands. He then begins to -move his fore-finger and thumb, and sings the words as arranged at the -beginning of these directions. All the motions he makes must correspond -with the words he sings, and each player must imitate his motions, and -continue them through the game. All the fingers, thumbs, arms, feet and -heads in the room will soon be in motion. The effect of this game is -quite laughable. The persons joining in this play can recite the words -without singing, if they prefer. - - -“YOU ARE NOTHING BUT A GOOSE.” - -THIS play consists in telling a story for the amusement of little -children, and at the same time drawing figures on a slate or paper in -illustration of it. For instance, “An old man and his wife lived in -a little cabin. I will draw it with my pencil, so that you may know -it. There it is, (here make a picture of the cabin.) This cabin had -a window, which I will make thus, (here put in the window.) Near the -window was a projecting door, like this, (here put in the door.) On the -side opposite the door was a road, bordered on one side by a hedge, -(draw the road and hedge.) This road terminated in a large pond, (mark -out the pond,) and herbs grew round it, (mark them.) One night some -robbers came to the further end of the pond, (make some marks for -robbers.) The old woman heard them and told her husband to get up and -see what was the matter. The old people walked down to the side of the -pond, (make marks for the old people on the side of the pond.) Each -of them held out a hand to caution the other to keep silence, (mark -the hands.) But they did not hear anything, for the robbers had taken -fright and had run away. After standing out in the cold for a long -time, the old man said to his wife, ‘Go along back to the house, you -are nothing but a goose.’ At this point you hold up your paper and it -will be seen that you have made a picture of a goose. The subjoined cut -illustrates the progress of the picture.” - -[Illustration] - -While telling the story you must be careful that the lookers-on see the -growing picture sideways, or upside down; otherwise they may suspect -your design before the picture is complete. Other simple stories can be -illustrated in like manner. - - -BUZZ. - -PROMPTNESS is very necessary in this game. Any number of children -excepting seven, both girls and boys, seat themselves round a table, -or in a circle. One begins the game by saying, “One!” the child on the -left says “two!” so on till they come to seven, which number must not -be mentioned, but in place thereof the word “Buzz!” Whenever a number -occurs in which the figure seven is used or any number into which seven -may be multiplied, “Buzz” must be used instead of that number. Such -are the numbers, 7, 14, 17, 21, 27, 28, 35, 37, 42, &c., &c. Any one -mentioning a number with seven in it instead of “Buzz,” or calling out -of turn, or naming a wrong number, must pay a forfeit. After she has -paid her forfeit, she calls out, “One!” and so it goes round again -to the left. When by a little practice the circle gets as high as -seventy-one, then, “Buzz one,” “Buzz two,” &c., must be used, and for -seventy-seven, “Buzz-Buzz,” and so on. If the person whose turn it is -to speak delays longer than while any one of the circle can moderately -count five, she must pay a forfeit. - - -THE PUZZLE WALL. - -[Illustration: FIGURE ONE.] - -[Illustration: FIGURE TWO.] - -SUPPOSE there was a pond, around which four poor men build their -houses, as in figure one. Suppose four wicked rich men afterward built -houses around the poor people, as in figure two, and wished to have all -the water of the pond to themselves. How could they build a high wall, -so as to shut out the poor people from the pond? You might try on your -slate a great while and not do it. I will show you: - -[Illustration] - - -DOLLS. - -GIVE your girls a number of substantial dolls to play with, and pieces -of cotton cloth, calico or muslin-delaine, ribbons, &c., with which to -make dresses; and do not buy elegantly dressed dolls, which can only be -used on great occasions. I will tell you how a little girl I once knew -played dolls. Her first doll was a “rag baby” that her aunt made and -dressed for her, like a real child. She had even a night-dress and cap. -She would amuse herself by hours together, dressing, undressing and -singing it to sleep; she would have it in her arms every night. As she -grew older she carefully treasured all bits of finery, and everything -she could manufacture into clothing for her doll. A little girl lived -near and they used to visit daily with their dolls. Christmas always -added to their treasures, and they finally concluded to join forces -and commence a baby-house on a large scale in a spare room. They had -a parlor, dining-room, bed-rooms, kitchen and pantry, all completely -furnished, and a dozen nice dolls. Every leisure moment was spent in -this baby-house. They had regular washings and ironings. They had -little tubs and flat-irons of their own. They baked bread, cookies and -ginger-cakes, for their mother’s cook would good-naturedly show them -how to mix and make wee bits of loaves. A thimble was often used as a -cookie or biscuit cutter. - -Such plays give girls a taste for domestic employments, and aid them in -becoming good housekeepers, and good housekeeping is always a desirable -and sometimes a very necessary accomplishment. - -They would often “play school,” and in asking questions, and answering -for their dolls, the lessons they were taught at school, were more -firmly impressed on their minds. - -If they had birthday parties, company was always invited at two; and -their “party” (that is, refreshments,) were served at half-past four in -Winter, and five in Summer. Beaux they did not think of. If little boys -joined them, they were their playmates, and no more. They always took -their dolls, and after playing simple games they would resort to them -as their chief amusement. - - -BOYS. - -IF boys desire a hammer, nails, boards, &c., do not deny them. When -a baby girl commences to play with a doll, a baby boy will pound, or -pretend to hammer nails, or drive horses. It is useless to attempt to -make boys love quiet sports. Set aside some spare spot in your house, -where the noise will not disturb your household, or, what is better, -build a little work-room especially for their use. It will be money -well invested. Thus by early cultivating their tastes and by giving -them employment, seed may be sown which will yield an abundant harvest. - -Mothers! do not, by yielding to your over-sensitive nerves, stupefy -your boys. If they are good for anything, they must and will make a -noise. It is better to let them have a place of their own, but you -should frequently inspect their work or play, and let them see you are -interested in all they do. If they make you a flower frame, praise it, -and if they show a taste for mechanics suggest to them other useful -articles to be constructed, such as boxes, silk-winders, &c. When -you make presents give them tools. Encourage them also by judicious -rewards, to keep their room neat and their tools in order. - -The following simple directions for making a few useful articles may be -of service to boys who like to exercise their mechanical ingenuity. - -Flower Frames. - -Simple frames are made by taking two long narrow strips of wood and -several small ones of different lengths, and nailing the latter to -the long ones at equal distances apart, or a still better way is to -make holes in the long strips and insert the ends of the short ones. -When they are finished paint them green. These frames can be made in -the form of a partly opened fan. A square frame can easily be made. -The prettiest frames are made of willows, wire, or rattans. Take -strips of wood and burn or bore holes through them at equal distances. -Then insert the wire, or rattan, or willow, and twist them around in -different forms, fastening the ends firm; then paint or varnish them. - -Boxes. - -Pretty boxes can be made of any common wood, by simply staining them -with asphaltum varnish. Then varnish with several coats of copal. -After they are well dried, take some pumice-stone and polish them. If -necessary, varnish carefully once again. Your common pine wood will -then be turned into black walnut, highly polished. Picture frames, -brackets, little book-racks, stands, crickets, and even sleds and -wagons can easily be made by an ingenious boy, and stained in this -manner or painted. Your sisters can ornament them with leather work -made to imitate carved wood. If you are puzzled in making any of these -articles, go to any workshop and the workmen will tell you how to make -them, if you speak properly to them. Never say, my dear boys, you have -nothing to do. - - -PLAY-GROUND RHYMES. - -THESE are used by boys and girls in selecting the leaders of their -games, instead of drawing lots. The following rhymes are in common use: - - One is all, two is all, - Zick is all, zan; - Bob-tail vinegar, - Tickle ’em, tan. - Harum-scarum, - Virginia Marum, - Tee-taw-buck. - - Little boy driving cattle, - Don’t you hear his money rattle? - One, two, three—out goes he. - - Aina, maina, ickery on - Feelsa, folsa, Nicholas John - Quever, quaver, English naver, - Stingum, stangum, jollo buck. - - Aina, maina, mona, mike, - Barcelona, bona, strike; - Airy, wairy, dina, snack, - Harico, barico, wee, wa, wack. - - One-ry, two-ry, dis-cum dary, - Hackibo, crackibo, Henry Lary; - Dis-cum dandy, American time, - Humelum, jumelum, twenty-nine. - - Hitum, titum, little Kitty, - Hop-um, skip-um, jumpey daily; - Roly, poly, dilly, dally, - He, hi, ho, diddle-dum buck. - - Lo-po, hi, do, de, ti, to, tu, - Hany, wany, zany zan, you’re the man. - - -FORFEITS. - -A GREAT many games for children and older persons end in forfeits. A -few hints in regard to them may be of service. It is very foolish for -any one to join a game unless he is willing to forget himself for the -time, and join heartily in it. The game of forfeits, if well played, -is amusing to old and young. Every one should be willing to redeem his -or her forfeit without stopping to think whether it is foolish or not. -A good, hearty laugh is healthful, and every sensible person ought to -be willing to take his turn in amusing the company. A whole game may -be ruined by the absurd actions of some one who foolishly refuses to -redeem his forfeit, for fear of lowering his dignity or making himself -ridiculous. - -In choosing a judge of forfeits, it is necessary to select a person of -quick perceptions and ready wit. The judge must be prompt in giving his -decisions, and they who redeem their forfeits must be as expeditious -as possible. Promptness is necessary to the success of all games. The -following list of forfeits, collected from various sources, may assist -the judge: - -Let the judge give out a line with which the one who owns the forfeit -shall make another line to rhyme, no matter how absurdly. - -Laugh first, sing next, then cry, and lastly whistle. - -Place your hands behind you and guess who touches them; you are not to -redeem your forfeit till you guess right. - -Stand with your heels and back close to the wall, then stoop without -moving your feet, and pick up the forfeit. - -Say “Quizzical, quiz, kiss me quick,” nine times without a mistake. - -Ask the person who owns the forfeit, what musical instrument he likes -best; then require him to give an imitation of it. - -Ask the person what animal he likes best; then require him to imitate -it, either by action or sound. - -If a gentleman, he must put on a lady’s bonnet, and imitate the -voice and manner of the lady to whom it belongs. If a lady, then she -must take a gentleman’s hat and imitate his manner, (sometimes these -imitations are very humorous. The use of some word or expression -habitually employed by the person imitated adds largely to the sport.) - -Go to service; apply to the person who holds the forfeit for a place -as maid of all work. The questions then to be asked are: “How do you -wash?” “How do you iron?” “How do you make a bed?” “How do you scrub -the floor?” “How do you clean knives and forks?” &c. The whole of -these processes must be imitated by motions, and if the replies are -satisfactory the forfeit must be given up. - -Put two chairs back to back, take off your boots or shoes and jump over -them. (The fun consists in a mistaken idea that the chairs are to be -jumped over instead of the shoes.) - - It is said there is a person you have loved since a boy, - Whose hand you must kiss ere I give you this toy, - It is not your father, or mother, or sister, - Nor cousin, nor friend, take care not to miss, sir. - - [_Himself._] - -Make a low courtesy to each one in the room: if it is a gentleman, he -must make a bow. - -Recite several of Mother Goose’s melodies. - -Make wry faces at every person in the room. - -Admire yourself in the mirror. - -Shiver and act the part of a person half frozen, or pretend to be -nearly suffocated with heat. - -Rush around the room and greet every one as if you had just arrived -from a long and dangerous voyage. - -If a gentleman, act the part of a village orator; if a lady, act the -strong-minded woman. - -(A gentleman’s and lady’s forfeit can be given together in many cases, -making it more amusing as well as expeditious.) - -Sing a song or repeat some high-flown poetry. - -Perform the laughing gamut without a pause or mistake: - - ha! - ha! ha! - ha! ha! - ha! ha! - ha! ha! - ha! ha! - ha! ha! - ha! ha! - -Keep silence and preserve a sober face for several minutes, without -regard to what may be said or done. - -Kiss your shadow in every corner of the room without laughing. - -Repeat, without mistake, any difficult sentence which the judge -appoints. - -Say to each person in the room, “You can’t say boo to a goose.” - -Tell the person to point out on a wall what he supposes to be the -height of an ordinary hat. If after measuring with a hat, he has (as is -rarely the case,) guessed right, he wins his forfeit; but if not, he or -she must wear the hat and bow or curtsy to every one in the room. - -Yawn till you make several others yawn. (It is well to give this -forfeit to one of the male sex with a large mouth. A large circle of -people may be made to yawn by simply opening and closing the fingers -slowly.) - -Two can redeem their forfeits in this way. They must stand in separate -corners of the room, each holding a lighted candle; one begins and -walks toward the other, with her handkerchief to her eyes, saying in a -most dismal tone, “The King of Morocco is dead! is dead!” The other in -passing by her, in the same attitude, sobs out, “Sad news! sad news!” -Again, in the same way, both exclaim, “Alas! alas!” All must be said -without laughing. The above penalty is often used as a game. - -Place a candle on a table or piano. Then blindfold the person and -place him just three paces from it, and directly in front of the -light. Then he must whirl around three times, walk forward, and blow -out the candle. This is amusing. A room full of persons may try it -unsuccessfully. Being blinded, and then whirling around, bewilders one, -and he will very likely walk in an opposite direction, and perhaps blow -in some one’s face, feeling sure he is right. - -A number of children may redeem their forfeits together, in this way: - - This is the way we wash our clothes, - Wash our clothes, - So early Monday morning; - This is the way we wash our clothes, - So early Monday morning. - -[_While singing this they must pretend to wash._] - - This is the way we rinse our clothes, - Rinse our clothes, - So early Monday morning; - This is the way we rinse our clothes, - So early Monday morning. - -[_With this verse they imitate rinsing, and with each verse they act -the words they sing._] - - This is the way we wring our clothes, - Wring our clothes, - So early Monday morning; - This is the way we wring our clothes, - So early Monday morning. - - This is the way we hang out our clothes, - Hang out our clothes, - So early Monday morning; - This is the way we hang out our clothes, - So early Monday morning. - - This is the way we sprinkle our clothes, - Sprinkle our clothes, - So early Monday evening; - This is the way we sprinkle our clothes, - So early Monday evening. - - This is the way we fold our clothes, - Fold our clothes, - So early Monday evening; - This is the way we fold our clothes, - So early Monday evening. - - This is the way we starch our clothes, - Starch our clothes, - So early Tuesday morning; - This is the way we starch our clothes, - So early Tuesday morning. - - This is the way we iron our clothes, - Iron our clothes, - So early Tuesday morning; - This is the way we iron our clothes, - So early Tuesday morning. - -This is a good game for young children. - -[Illustration] - - - - -CONDENSED LIST OF - -Games and Popular Amusements, - -Manufactured and Published by - -_MILTON BRADLEY & COMPANY,_ - -247 Main Street, Springfield, Mass. - - -We can guarantee that in the nature and method of our games nothing -will be found in the least objectionable to the most fastidious in such -matters, but on the contrary, they are all _moral_ and amusing, and -many of them very instructive in History, Literature, Business, &c., &c. - -We have made social home amusements a specialty for several years, and -the extensive and rapidly increasing sales that our publications have -already attained throughout the country, is gratifying evidence of the -universal favor with which they have been received. - -In this Catalogue we have not space to give even a brief description of -each, but append the ages of persons for which the several games are -best adapted, and the prices. - -Those games marked thus * will be sent by mail on receipt of price. The -rest cannot be safely sent by mail. - - -The New England and National Games. - - CHECKERED GAME OF LIFE. Ages, 5 to 50. Price $1.00. - - CHECKERED GAME OF LIFE. _Extra_, with muslin board and album box; - elegant for a present; same game as above. $2.00. - - *MODERN HIEROGLYPHICS. Three series; 10 and over. Each series 25 - cents. No. 3 is new and interesting. - - *PATRIOT HEROES; or, WHO’S TRAITOR? Historical, instructive, simple - and amusing; 8 to 18. 60 cents. - - *AUTHORS IMPROVED. Instructive; 10 and over. 50 cents. - - *AUTHORS IMPROVED. _Extra, presentation edition_, in album box, - superior cards, same game as above. $1.00. - - *WHAT IS IT? OR, THE WAY TO MAKE MONEY. Lively and social; a Business - Educator; 15 and over. 60 cents. - - *DOMINO CARDS. Linen ivory board; 8 to 15. 25 cents. - - *RUSSIAN DOMINOES. Five games; 8 and over. 50 cents. - - *CHINESE AND OLD SANTA CLAUS PUZZLES. 4 to 10. 20 cents. - - *ALPHABETS BEWITCHED. Instructive; 4 to 20. 25 cents. - - THE UNION GAME. Including Checkered Game, Chess, Checkers and - Backgammon; 5 and over. $1.00. - - MY GRANDFATHER’S GAMES. Standard; 5 to 15. 30 cents. - - *THE MYRIOPTICON. A Miniature Panorama, immensely popular with the - boys; 7 to 12. $1.25. - - *DISSECTED PICTURES. Three pictures—Darkey going to mill, Minnie - shaving her cat, Amy teaching her dog his letters; 5 to 12. 60 cents. - - DISSECTED PICTURES. Two pictures; 5 to 12. 50 cents. - - *CONTRABAND GYMNAST. Comical; 1 to 100. 20 cents. - - *ALPHABETICAL LOTTO. Instructive; 4 to 12. 25 cents. - - *CURIOUS BIBLE QUESTIONS. Sunday School Cards; Reward Cards, Bible - series; for Sunday Schools and the family. Per package, 10 cents. - - AMERICAN SQUAILS. Very popular; 8 to 100. $2.00. _Our American - Squails have improved target_, and a common-sense set of rules, with - respectable terms substituted for the disgusting terms used in the - English game and its imitations in this country. - - THE CENTRIPETON. For one or a dozen; 1 to 75. $2.50. - - PARLOR CROQUET. From $10 to $50. - - PARLOR BOWLS. For all ages. $1.50, $2.00, $2.75. - - THE ZOETROPE; OR, WHEEL OF LIFE. Scientific; a big thing for a whole - household. Two styles. $4.00, $5.00. - - *CROQUET. Its Principles and Rules, for Lawn and Parlor. Illustrated. - The latest and standard rules. 25 cents. - - -_PARLOR CROQUET TABLES._ - -For _Parlor Croquet_, the _board_ or _table_ form is the only one -that is really practicable, as the floor game is too destructive to -furniture and finish. - -Examine _Bradley’s Patent Parlor Croquet_, with Indexical Balls, Socket -Bridges, and Rubber Cushion, before purchasing the game. There are no -others so good for the same price. - - -_PARLOR BOWLS._ - -The best active family game for the price. Inferior in interest only to -Parlor Croquet. Our rules are original, and superior to any other rules -for Bowls. - - -_THE ZOETROPE, OR WHEEL OF LIFE._ - -No toy was ever invented that sold as rapidly, or afforded one-half the -amusement to young and old, as this. - -It is constructed on PURELY SCIENTIFIC PRINCIPLES, and _the comical and -mirth-provoking effect is produced solely by_ OPTICAL ILLUSION. - -_It needs only to be seen to be appreciated._ - - -_LAWN CROQUET._ - -BRADLEY’S PATENT CROQUETERIES. - -Our LAWN CROQUET has been acknowledged during the past season to be the -best in the market, either FOREIGN or DOMESTIC. - -We manufacture under three U. S. Patents, which secure to us the -exclusive right to manufacture Croquet sets with _Indexical Balls_, -_Plated Bridges_, or _Socket Bridges_, and we shall sustain our rights -by legal force, if compelled to do so by continued infringements. In -addition to our patented improvements, we warrant every set, with our -stamp, to be of the best seasoned rock maple, and superior finish. - - - Send for a Catalogue to - MILTON BRADLEY & CO., - _Springfield, Mass._ - - - - -BEZIQUE. - - -The Game of Bezique Complete, - -PUBLISHED BY - -OLNEY & PRATT, - -_No. 41 John Street, New York_. - - -Of all Card games ever invented, this one is perhaps the most -interesting, if it is not the most scientific. It is especially a card -game for the family circle, and familiar gathering of friends, calling -out at once the interest, skill and social nature of its players. As a -card game among ladies, it has no rival in their admiration. Whether -the game was originated in the brilliant Court of Louis XIV., during -the last part of the sixteenth century, by a Duchess—and the term -Bezique has a personal signification relative to a singular marriage, -which occurred at that time, of a lady of the highest rank and great -beauty, to a Duke named Bezique—cannot be clearly affirmed, though -it is accounted so, and appears quite likely, when we consider that -the Knave card represented Dukes in the original game. Its origin is -accredited to other sources, but we give the above, as it is the only -account we have been able to gather that gives any explanation of the -word Bezique. This game has been revived in the last few years among -the French, with some alterations and additions, and has become a -favorite Card amusement in the fashionable circles of Paris life. In -the meantime it has been introduced in the United States, and, though -at present it is played only by the few in the higher circles of -society, it is rapidly making its popularity with all. - - Put up in Rosewood and Satinwood Cases, beautifully inlaid, - making an elegant Holiday Present, retails at $10 00 - - In handsome Colored Cloth Boxes, retails at 5 00 - - In Morocco Paper Boxes, gilt and very pretty, retails at 2 50 - - -A Liberal Discount to the Trade. - - - - -OUR YOUNG FOLKS. - - -This Monthly, begun in January, 1865, has already won the reputation of -being “=the best Juvenile Magazine published in any land or language=.” -Prominent Educators, distinguished Clergymen of all denominations, -and the Press generally, have commended it in the highest terms. -Its contents are always thoroughly interesting and healthy, at once -variously attractive and useful. - -The List of Contributors for 1867 will include, as heretofore, the -names of the most distinguished writers of the country, and the -Publishers will continue to rely for Illustrations upon the assistance -of the best Artists and Draughtsmen. Among the particular matters -of interest that relate to the new volume, may be mentioned the -following:— - - THE LEADING STORY of the year will be contributed by REV. ELIJAH - KELLOGG, author of the celebrated _Speech of Spartacus to the - Gladiators_, etc., and will be a vivid picture of the life of American - boys and girls a century ago, preserving the history of customs - and manners which are now forgotten or unknown, and enlivened with - anecdote and incident. - - MRS. HARRIET BEECHER STOWE, after completing _Little Pussy Willow_, - will continue her regular monthly contributions. - - “ROUND-THE-WORLD JOE,” the popular contributor to the old - “Schoolmate,” has been engaged, and will furnish a series of articles - of adventure and observation in foreign countries. - - BAYARD TAYLOR’S tales of distant lands will be continued. - - MRS. A. M. DIAZ has written several articles, of which one, _William - Henry’s Letters to his Grandmother_, will be found especially - entertaining. - - “AUNT FANNY” has supplied several stories which will be printed during - the year. - - P. H. C. will give several more of his favorite _Lessons in Magic_, - some of which will take up a different class of experiments from those - that have been previously explained. - - MUSIC.—_Each number_ of the next volume will contain a song, composed - expressly for “Our Young Folks.” These songs will be written by EMILY - HUNTINGTON MILLER, and each will be especially adapted to the month in - which it appears. - - Contributions will also be occasionally furnished by - - H. W. Longfellow, - Capt. Mayne Reid, - Rose Terry, - E. Stuart Phelps, - C. D. Shanly, - J. H. A. Bone, - “Carleton,” - J. G. Whittier, - T. B. Aldrich, - Author of “Leslie Goldthwaite,” - Horatio Alger, Jr., - Author of “Seven Little Sisters,” - Mary N. Prescot, - Louise C. Chollet, - J. Warren Newcomb, Jr. - Kate Putnam, - Jane R. Austin, - C. D. Gardette, - Julia C. R. Dorr, - - and other well known and favorite writers. - - The department of ILLUSTRATION will remain under the supervision of - Mr. A. V. S. ANTHONY, and the Publishers will spare neither trouble - nor expense in giving the best pictures which can be obtained. - _Full-page Engravings_ from designs by Artists of the first estimation - will be given regularly, and _Colored Illustrations_ will be - frequently supplied. - - =Terms of Our Young Folks.=—SINGLE SUBSCRIPTIONS.—Two Dollars a - year. Single Numbers, Twenty Cents. CLUBS.—Three Copies for Five - Dollars; Five Copies for Eight Dollars; Ten Copies for Fifteen - Dollars; Twenty Copies for Thirty Dollars; and an extra copy _gratis_ - to the person forming the Club of Twenty. - - Specimen Numbers sent to any address on receipt of Twenty Cents. - - All letters respecting the Magazine should be addressed to the - Publishers, - - TICKNOR & FIELDS, - _124 Tremont Street, Boston_. - - - - - -End of the Project Gutenberg EBook of Popular Pastimes for Field and Fireside, by -Caroline L. 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