diff options
75 files changed, 17 insertions, 20516 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..97c66f2 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51896 (https://www.gutenberg.org/ebooks/51896) 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. Smith - -*** END OF THIS PROJECT GUTENBERG EBOOK POPULAR PASTIMES--FIELD, FIRESIDE *** - -***** This file should be named 51896-0.txt or 51896-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/8/9/51896/ - -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) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/51896-0.zip b/old/51896-0.zip Binary files differdeleted file mode 100644 index 0465534..0000000 --- a/old/51896-0.zip +++ /dev/null diff --git a/old/51896-h.zip b/old/51896-h.zip Binary files differdeleted file mode 100644 index 13bc97d..0000000 --- a/old/51896-h.zip +++ /dev/null diff --git a/old/51896-h/51896-h.htm b/old/51896-h/51896-h.htm deleted file mode 100644 index 9ca3119..0000000 --- a/old/51896-h/51896-h.htm +++ /dev/null @@ -1,11703 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Popular Pastimes for Field and Fireside, by Carolyn S. Smith. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body {margin-left: 10%; margin-right: 10%;} -div.limit {max-width: 35em; margin-left: auto; margin-right: auto;} -div.limit1 {max-width: 16em; margin-left: 2em; margin-right: auto;} -div.limit3 {max-width: 24em; margin-left: 6em; margin-right: auto;} -.font1 {font: 1em "Old English Text MT", serif;} -.font2 {font-family:sans-serif, serif;} -div.chapter {page-break-before: always;} - - h1,h2 {text-align: center; clear: both;} - -p {margin-top: 0.2em; text-align: justify; margin-bottom: 0em; text-indent: 1.5em;} -.pe {margin-top: 0.2em; text-align: justify; margin-bottom: 0em; padding-left: 1.5em; text-indent: -1.5em;} -.pe1 {margin-top: 0.2em; text-align: justify; margin-bottom: 0em; padding-left: 2.7em; text-indent: -2.7em;} -.pi1 {text-indent: 0em; padding-left: 1em;} -.pi1q {text-indent: 0em; margin-left: -0.45em;} -.pi4 {text-indent: 0em; padding-left: 4em;} -.pi6 {text-indent: 0em; padding-left: 6em;} -.pi8 {text-indent: 0em; padding-left: 8em;} -.psh {text-indent: 0em; text-align: center; font-size: 125%; margin-top: 1em; margin-bottom: 1.5em; line-height: 1em;} -.pn1 {text-align: justify; margin-top: 1em; margin-bottom: 0em; text-indent: 0em;} -.pc {text-align: center; text-indent: 0em;} -.pc1 {margin-top: 1em; text-align: center; text-indent: 0em;} -.pc2 {margin-top: 2em; text-align: center; text-indent: 0em;} -.pr4 {text-indent: 0em; text-align: center; padding-right: 4em; } -.pc4 {margin-top: 4em; text-align: center; text-indent: 0em;} -.pp4 {margin-top: 0em; text-align: left; margin-bottom: 0em; padding-left: 4em; text-indent: 0em;} -.pp4q {margin-top: 0em; text-align: left; margin-bottom: 0em; padding-left: 4em; text-indent: -0.45em;} -.pp6 {margin-top: 0em; font-size: 90%; text-align: left; margin-bottom: 0em; padding-left: 6em; text-indent: 0em;} -.pp6q {margin-top: 0em; text-align: left; margin-bottom: 0em; padding-left: 6em; text-indent: -0.45em;} -.pp7 {margin-top: 0em; font-size: 90%; text-align: left; margin-bottom: 0em; padding-left: 7em; text-indent: 0em;} -.pp8 {margin-top: 0em; font-size: 90%; text-align: left; margin-bottom: 0em; padding-left: 8em; text-indent: 0em;} -.pp8q {margin-top: 0em; text-align: left; margin-bottom: 0em; padding-left: 8em; text-indent: -0.45em;} -.pp9 {margin-top: 0em; font-size: 90%; text-align: left; margin-bottom: 0em; padding-left: 9em; text-indent: 0em;} -.pp10 {margin-top: 0em; font-size: 90%; text-align: left; margin-bottom: 0em; padding-left: 10em; text-indent: 0em;} -.pr2 {margin-top: 0em; text-align: right; text-indent: 0em; padding-right: 2em;} -.pr4 {margin-top: 0em; text-align: right; text-indent: 0em; padding-right: 4em;} -.ptn {margin-top: 0.3em; text-align: justify; text-indent: -1em; margin-left: 2%;} - -.p1 {margin-top: 1em;} -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} - -.small {font-size: 75%;} -.reduct {font-size: 90%;} -.lmid {font-size: 110%;} -.mid {font-size: 125%;} -.large {font-size: 150%;} -.elarge {font-size: 175%;} -.xlarge {font-size: 200%;} - -hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: 33.5%; margin-right: 33.5%; clear: both;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.d1 {width: 85%; margin-left: 7.5%; margin-right: 7.5%; margin-top: 4em; margin-bottom: 0.5em;} - -table {margin-left: auto; margin-right: auto;} -#toc {width: 75%; line-height: 1em; margin-top: 1em;} - -#t01, #t02, #t04, #t12, #t13 {width: 75%; line-height: 1em; margin-top: 1em;} -#t03 {width: 100%; line-height: 1em; margin-top: 1em;} -#t05, #t06, #t07, #t08, #t09, #t10, #t11, #t14, #t15 - {width: 90%; line-height: 1em; margin-top: 1em;} - - .tdl1 {text-align: justify; vertical-align: top; line-height: 1em; padding-top: 0.5em; padding-left: 2em; text-indent: -2em; font-size: 90%;} - .tdl2 {text-align: justify; vertical-align: top; line-height: 1em; padding-top: 0.5em;} - .tdl3 {text-align: left; vertical-align: top; line-height: 1em; padding-left: 0.5em; padding-top: 0.5em;} - .tdl4 {text-align: left;} - .tdl5 {text-align: justify; vertical-align: top; line-height: 1em; padding-left: 2em; text-indent: -2em; font-size: 90%;} - .tdc2 {text-align: center; font-size: 120%; padding-top: 0.7em;} - .tdc3 {text-align: center;} - .tdc4 {text-align: center; width: 2em;} - .tdr3 {text-align: right; vertical-align: bottom; width: 1em;} - .tdr4 {text-align: right; vertical-align: top; width: 1em; padding-top: 0.5em;} - .tdr5 {text-align: right; vertical-align: bottom; width: 4em;} - .tbl1 {text-align: left; vertical-align: top; line-height: 1em; padding-left: 4em; border-right: solid 1px; width: 50%;} - .tbl2 {text-align: left; vertical-align: top; line-height: 1em; padding-left: 4em; border-left: solid 1px; width: 50%;} - .tbl3 {text-align: left; vertical-align: top; line-height: 1em; border-right: solid 1px; width: 50%;} - -.figcenter {margin: auto; text-align: center; margin-top: 2em; margin-bottom: 2em;} -.figadv {margin: auto; text-align: center;} - -.pagenum { /* visibility: hidden; */ position: absolute; left: 94%; color: gray; - font-size: smaller; text-align: right; text-indent: 0em; font-style: normal; font-weight: normal;} - -.figcenter {margin: auto; text-align: center; margin-top: 2em; margin-bottom: 2em;} -.floatleft {float: left; clear: left; text-align: center; padding: 0.5em; margin: 0 0.5em 0 0;} -.floatright {float: right; clear: right; text-align: center; padding: 0.5em; margin: 0 0 0 0.5em;} - -.caption {font-weight: bold;} -.cf {font-weight: bold; font-size: 90%;} -.pc100 {margin-top: 0em; width: 6em; margin-left: auto; margin-right: auto; text-align: center; margin-bottom: 0.5em; text-indent: 0em;} -.pc150 {margin-top: 0em; width: 9em; margin-left: auto; margin-right: auto; text-align: center; margin-bottom: 0.5em; text-indent: 0em;} -.pc200 {margin-top: 0em; width: 12em; margin-left: auto; margin-right: auto; text-align: center; margin-bottom: 0.5em; text-indent: 0em;} -.pc250 {margin-top: 0em; width: 17em; margin-left: auto; margin-right: auto; text-align: center; margin-bottom: 0.5em; text-indent: 0em;} -.pc400 {margin-top: 0em; width: 25.5em; margin-left: auto; margin-right: auto; text-align: center; margin-bottom: 0.5em; text-indent: 0em;} - -.smcap {font-variant: small-caps;} - -img.dc1 {float: left; margin: 0 0.5em 0 0; position: relative; z-index: 1;} - -p.dc08, -p.dc13, -p.dc14 - {text-indent: 0em; padding-top: 2em;} - -p.dc08:first-letter, -p.dc13:first-letter, -p.dc14:first-letter - {padding-right: .2em;} - -p.dc08:first-letter {margin-left: -0.8em;} -p.dc13:first-letter {margin-left: -1.3em;} -p.dc14:first-letter {margin-left: -1.4em;} - -@media handheld{ - img.dc1 {display: none; - visibility: hidden;} - - p.dc08:first-letter, - p.dc13:first-letter, - p.dc14:first-letter - {padding-right: 0em; - margin-left: 0em;} -} - -.transnote {background-color: #E6E6FA; color: black; font-size:smaller; padding:0.5em; margin-bottom:5em; font-family:sans-serif, serif; } - </style> - </head> -<body> - - -<pre> - -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) - - - - - - -</pre> - -<div class="limit"> - -<div class="chapter"> -<div class="transnote p4"> -<p class="pc large">TRANSCRIBER’S NOTES:</p> -<p class="ptn">—Obvious print and punctuation errors were corrected.</p> -<p class="ptn">—The transcriber of this project created the book cover image using the title page of -the original book. The image is placed in the public domain.</p> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_i" id="Page_i">[i]</a></span></p> - -<div class="chapter"> - -<div class="figcenter"> - <img src="images/fr.jpg" width="350" height="565" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p> - -<div class="chapter"> - -<h1 class="p4">Popular Pastimes</h1> - -<p class="pc4">FOR</p> - -<p class="pc2 xlarge">Field and Fireside,</p> - -<p class="pc4">OR</p> - -<p class="pc2 elarge">Amusements for Young and Old.</p> - -<p class="pc4">CAREFULLY COMPILED BY</p> -<p class="pc large">AUNT CARRIE.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<p class="pc">SPRINGFIELD, MASS.: -<span class="lmid">PUBLISHED BY MILTON BRADLEY & CO.</span> -1867.</p> - -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p> - -<p class="pc4"> -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.</p> - -<div class="limit1"> -<hr class="d1" /> -<p class="pc reduct">SAMUEL BOWLES AND COMPANY. -Printers, Binders and Electrotypers.</p> -</div> - -</div> - -<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span></p> - -<div class="chapter"> - -<p class="pc4 mid">AUNT CARRIE</p> -<p class="pc2">DEDICATES</p> -<p class="pc2 large">TO HER YOUNG FRIENDS</p> - -<div class="figcenter"> - <img src="images/tb.jpg" width="200" height="61" - alt="" - title="" /> -</div> - -<p class="pc">IN THE HOPE THAT IT WILL ADD -TO THEIR</p> - -<p class="pc1 large">HOME PLEASURES.</p> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Preface.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/di.jpg" width="82" height="200" alt=""/> -</div> -<p class="dc08">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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span> -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?</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.”</p> - -<p>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.</p> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Contents.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<table id="toc" summary="cont"> - - <tr> - <td> </td> - <td class="tdr3"><span class="small">PAGE</span></td> - </tr> - - <tr> - <td class="tdl1"><span class="smcap">Preface,</span></td> - <td class="tdr3"><a href="#Page_v">v</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">CROQUET.</td> - </tr> - - <tr> - <td class="tdl1"><span class="smcap">Materials</span> 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,</td> - <td class="tdr3"><a href="#Page_13">13</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">BASE BALL.</td> - </tr> - - <tr> - <td class="tdl1">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,</td> - <td class="tdr3"><a href="#Page_42">42</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">ARCHERY.</td> - </tr> - - <tr> - <td class="tdl1">Position of the Targets—Attitude in Shooting—Directions—Bows—Targets,</td> - <td class="tdr3"><a href="#Page_64">64</a></td> - </tr> - - - <tr> - <td colspan="2" class="tdc2">GARDENING AND FLOWERS.<span class="pagenum"><a name="Page_viii" id="Page_viii"><span class="small">[viii]</span></a></span></td> - </tr> - - <tr> - <td class="tdl1">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,</td> - <td class="tdr3"><a href="#Page_67">67</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">ILLUMINATION.</td> - </tr> - - <tr> - <td class="tdl1">Materials—Lists of Selected Colors—Brushes—Coloring—Table -of Colors and Mixed Tints—Design,</td> - <td class="tdr3"><a href="#Page_85">85</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">HOUSE AND HOME ARTS.</td> - </tr> - - <tr> - <td class="tdl1">Decalcomanie,</td> - <td class="tdr3"><a href="#Page_98">98</a></td> - </tr> - - <tr> - <td class="tdl1">Engraved Boxes,</td> - <td class="tdr3"><a href="#c101">101</a></td> - </tr> - - <tr> - <td class="tdl1">Coral Flowers and Baskets,</td> - <td class="tdr3"><a href="#c102">102</a></td> - </tr> - - <tr> - <td class="tdl1">Imitation of Inlaid Ivory,</td> - <td class="tdr3"><a href="#c103a">103</a></td> - </tr> - - <tr> - <td class="tdl1">Alum Baskets,</td> - <td class="tdr3"><a href="#c103b">103</a></td> - </tr> - - <tr> - <td class="tdl1">Painting on Glass,</td> - <td class="tdr3"><a href="#c104">104</a></td> - </tr> - - <tr> - <td class="tdl1">Painting on Velvet,</td> - <td class="tdr3"><a href="#c106">106</a></td> - </tr> - - <tr> - <td class="tdl1">Casting in Plaster, Sulphur, &c.,</td> - <td class="tdr3"><a href="#Page_109">109</a></td> - </tr> - - <tr> - <td class="tdl1">Leather Work,</td> - <td class="tdr3"><a href="#c111">111</a></td> - </tr> - - <tr> - <td class="tdl1">Cigar Boxes made Useful,</td> - <td class="tdr3"><a href="#c116">116</a></td> - </tr> - - <tr> - <td class="tdl1">Potichimanie,</td> - <td class="tdr3"><a href="#Page_118">118</a></td> - </tr> - - <tr> - <td class="tdl1">Ornaments in Rice Shell Work,</td> - <td class="tdr3"><a href="#Page_120">120</a></td> - </tr> - - <tr> - <td class="tdl1">Allspice Baskets,</td> - <td class="tdr3"><a href="#c124">124</a></td> - </tr> - - <tr> - <td class="tdl1">Rice or Shell Baskets,</td> - <td class="tdr3"><a href="#c125a">125</a></td> - </tr> - - <tr> - <td class="tdl1">Wafer Baskets,</td> - <td class="tdr3"><a href="#c125b">125</a></td> - </tr> - - <tr> - <td class="tdl1">Impressions of Butterflies,</td> - <td class="tdr3"><a href="#c126a">126</a></td> - </tr> - - <tr> - <td class="tdl1">How to take Impressions of Leaves,</td> - <td class="tdr3"><a href="#c126b">126</a></td> - </tr> - - <tr> - <td class="tdl1">Paper Landscapes,</td> - <td class="tdr3"><a href="#Page_127">127</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">NATURAL MAGIC.</td> - </tr> - - <tr> - <td class="tdl1">The Æolian Harp,</td> - <td class="tdr3"><a href="#Page_128">128</a></td> - </tr> - - <tr> - <td class="tdl1">The Magic of Acoustics,</td> - <td class="tdr3"><a href="#c129a">129</a></td> - </tr> - - <tr> - <td class="tdl1">How Sound travels through a Solid,</td> - <td class="tdr3"><a href="#c129b">129</a></td> - </tr> - - <tr> - <td class="tdl1">Singular Example of Superstition,</td> - <td class="tdr3"><a href="#c130">130</a></td> - </tr> - - <tr> - <td class="tdl1">Theory of the Voice,</td> - <td class="tdr3"><a href="#c131">131</a></td> - </tr> - - <tr> - <td class="tdl1">The visibly growing Acorn,</td> - <td class="tdr3"><a href="#c132">132</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">DANCING.<span class="pagenum"><a name="Page_ix" id="Page_ix"><span class="small">[ix]</span></a></span></td> - </tr> - - <tr> - <td class="tdl1">Pop goes the Weasel,</td> - <td class="tdr3"><a href="#c134a">134</a></td> - </tr> - - <tr> - <td class="tdl1">Lancers,</td> - <td class="tdr3"><a href="#c134b">134</a></td> - </tr> - - <tr> - <td class="tdl1">Le Prince Imperial Quadrille,</td> - <td class="tdr3"><a href="#c137">137</a></td> - </tr> - - <tr> - <td class="tdl1">Common Cotillion,</td> - <td class="tdr3"><a href="#c139">139</a></td> - </tr> - - <tr> - <td class="tdl1">Basket Dance,</td> - <td class="tdr3"><a href="#c140">140</a></td> - </tr> - - <tr> - <td class="tdl1">White Cockade,</td> - <td class="tdr3"><a href="#c141a">141</a></td> - </tr> - - <tr> - <td class="tdl1">The Waltz and Polka Quadrille,</td> - <td class="tdr3"><a href="#c141b">141</a></td> - </tr> - - <tr> - <td class="tdl1">Sir Roger De Coverly or Virginia Reel,</td> - <td class="tdr3"><a href="#c141c">141</a></td> - </tr> - - <tr> - <td class="tdl1">Nine-Pin Dance,</td> - <td class="tdr3"><a href="#c142a">142</a></td> - </tr> - - <tr> - <td class="tdl1">Caledonian Quadrilles,</td> - <td class="tdr3"><a href="#c142b">142</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">DRAMATIC AMUSEMENTS.</td> - </tr> - - <tr> - <td class="tdl1">General Directions for Private Theatricals,</td> - <td class="tdr3"><a href="#Page_144">144</a></td> - </tr> - - <tr> - <td class="tdl1">Dramatic Reading Clubs,</td> - <td class="tdr3"><a href="#c147">147</a></td> - </tr> - - <tr> - <td class="tdl1">Charades and how to Act them—Examples,</td> - <td class="tdr3"><a href="#c149">149</a></td> - </tr> - - <tr> - <td class="tdl1">Tableaux Vivants,</td> - <td class="tdr3"><a href="#c154">154</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">THE SIBYL.</td> - </tr> - - <tr> - <td class="tdl1">Sibylline Leaves—The Fiat of Fate—Flower Fate—Fate Box,</td> - <td class="tdr3"><a href="#Page_156">156</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">THE PUZZLER.</td> - </tr> - - <tr> - <td class="tdl1">Conundrums,</td> - <td class="tdr3"><a href="#Page_160">160</a></td> - </tr> - - <tr> - <td class="tdl1">Enigmas, Charades and Riddles,</td> - <td class="tdr3"><a href="#c162">162</a></td> - </tr> - - <tr> - <td class="tdl1">An Enigmatical Dinner,</td> - <td class="tdr3"><a href="#Page_168">168</a></td> - </tr> - - <tr> - <td class="tdl1">Paradoxes and Puzzles,</td> - <td class="tdr3"><a href="#c170">170</a></td> - </tr> - - <tr> - <td class="tdl1">Arithmetical Problems,</td> - <td class="tdr3"><a href="#c173">173</a></td> - </tr> - - <tr> - <td class="tdl1">Answers to Conundrums,</td> - <td class="tdr3"><a href="#c175">175</a></td> - </tr> - - <tr> - <td class="tdl1">Answers to Enigmas and Charades,</td> - <td class="tdr3"><a href="#c176">176</a></td> - </tr> - - <tr> - <td class="tdl1">Answers to Paradoxes and Puzzles,</td> - <td class="tdr3"><a href="#c178">178</a></td> - </tr> - - <tr> - <td class="tdl1">Answers to Arithmetical Problems,</td> - <td class="tdr3"><a href="#c180">180</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">GAMES FOR OLD AND YOUNG.</td> - </tr> - - <tr> - <td class="tdl1">Blind Man’s Buff,</td> - <td class="tdr3"><a href="#Page_182">182</a></td> - </tr> - - <tr> - <td class="tdl1">Shadow Buff,</td> - <td class="tdr3"><a href="#c183a">183</a></td> - </tr> - - <tr> - <td class="tdl1">Blind Man’s Wand,</td> - <td class="tdr3"><a href="#c183b">183</a></td> - </tr> - - <tr> - <td class="tdl1">Chinese Shadows,</td> - <td class="tdr3"><a href="#c184a">184</a></td> - </tr> - - <tr> - <td class="tdl1">The Comical Concert,</td> - <td class="tdr3"><a href="#c184b">184</a></td> - </tr> - - <tr> - <td class="tdl1">The Menagerie,<span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span></td> - <td class="tdr3"><a href="#c186a">186</a></td> - </tr> - - <tr> - <td class="tdl1">Quaker Meeting,</td> - <td class="tdr3"><a href="#c186b">186</a></td> - </tr> - - <tr> - <td class="tdl1">Resemblances,</td> - <td class="tdr3"><a href="#c187">187</a></td> - </tr> - - <tr> - <td class="tdl1">Put in a Word,</td> - <td class="tdr3"><a href="#c188a">188</a></td> - </tr> - - <tr> - <td class="tdl1">Proverbs,</td> - <td class="tdr3"><a href="#c188b">188</a></td> - </tr> - - <tr> - <td class="tdl1">Game of Characters,</td> - <td class="tdr3"><a href="#c189">189</a></td> - </tr> - - <tr> - <td class="tdl1">Lawyer,</td> - <td class="tdr3"><a href="#c190a">190</a></td> - </tr> - - <tr> - <td class="tdl1">Consequences,</td> - <td class="tdr3"><a href="#c190b">190</a></td> - </tr> - - <tr> - <td class="tdl1">Fox and Geese,</td> - <td class="tdr3"><a href="#c191">191</a></td> - </tr> - - <tr> - <td class="tdl1">Stage-Coach,</td> - <td class="tdr3"><a href="#c192">192</a></td> - </tr> - - <tr> - <td class="tdl1">Hunt the Fox,</td> - <td class="tdr3"><a href="#c193a">193</a></td> - </tr> - - <tr> - <td class="tdl1">Sneezing,</td> - <td class="tdr3"><a href="#c193b">193</a></td> - </tr> - - <tr> - <td class="tdl1">The Ready Writer,</td> - <td class="tdr3"><a href="#c193c">193</a></td> - </tr> - - <tr> - <td class="tdl1">Rhyming Words in Pantomime,</td> - <td class="tdr3"><a href="#c194">194</a></td> - </tr> - - <tr> - <td class="tdl1">Exhibition of the Modern Giant,</td> - <td class="tdr3"><a href="#c196">196</a></td> - </tr> - - <tr> - <td class="tdl1">The Shadow at Command,</td> - <td class="tdr3"><a href="#c197">197</a></td> - </tr> - - <tr> - <td class="tdl1">The Wizard of the East,</td> - <td class="tdr3"><a href="#c198">198</a></td> - </tr> - - <tr> - <td class="tdl1">How to Bring a Person down upon a Feather,</td> - <td class="tdr3"><a href="#c199">199</a></td> - </tr> - - <tr> - <td class="tdl1">The Apparent Impossibility,</td> - <td class="tdr3"><a href="#c200a">200</a></td> - </tr> - - <tr> - <td class="tdl1">The Turned Head,</td> - <td class="tdr3"><a href="#c200b">200</a></td> - </tr> - - <tr> - <td class="tdl1">Statuary,</td> - <td class="tdr3"><a href="#c201a">201</a></td> - </tr> - - <tr> - <td class="tdl1">“He can do little who can’t do this,”</td> - <td class="tdr3"><a href="#c201b">201</a></td> - </tr> - - <tr> - <td class="tdl1">“Brother, I’m Bobbed,”</td> - <td class="tdr3"><a href="#c202a">202</a></td> - </tr> - - <tr> - <td class="tdl1">“How do You Like it? When do You Like it? And Where -will You Put it?”</td> - <td class="tdr3"><a href="#c202b">202</a></td> - </tr> - - <tr> - <td class="tdl1">The Bird Catcher,</td> - <td class="tdr3"><a href="#c203">203</a></td> - </tr> - - <tr> - <td class="tdl1">Questions and Answers,</td> - <td class="tdr3"><a href="#c206a">206</a></td> - </tr> - - <tr> - <td class="tdl1">The Magic Wand,</td> - <td class="tdr3"><a href="#c206b">206</a></td> - </tr> - - <tr> - <td class="tdl1">The Rhyming Game,</td> - <td class="tdr3"><a href="#c207">207</a></td> - </tr> - - <tr> - <td class="tdl1">The Game of Twenty Questions,</td> - <td class="tdr3"><a href="#c208">208</a></td> - </tr> - - <tr> - <td class="tdl1">Game of Photograph,</td> - <td class="tdr3"><a href="#c210">210</a></td> - </tr> - - <tr> - <td class="tdl1">York and Lancaster, or the War of the Roses,</td> - <td class="tdr3"><a href="#c212">212</a></td> - </tr> - - <tr> - <td class="tdl1">Post-Office,</td> - <td class="tdr3"><a href="#c214a">214</a></td> - </tr> - - <tr> - <td class="tdl1">Hand-writing on the Wall,</td> - <td class="tdr3"><a href="#c214b">214</a></td> - </tr> - - <tr> - <td class="tdl1">Graces,</td> - <td class="tdr3"><a href="#c215">215</a></td> - </tr> - - <tr> - <td class="tdl1">Family Newspaper,</td> - <td class="tdr3"><a href="#c216">216</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">GAMES OF MEMORY.</td> - </tr> - - <tr> - <td class="tdl1">Grand Panjandrum,</td> - <td class="tdr3"><a href="#Page_218">218</a></td> - </tr> - - <tr> - <td class="tdl1">“Le Jardin de ma tante,”</td> - <td class="tdr3"><a href="#c219a">219</a></td> - </tr> - - <tr> - <td class="tdl1">A Good Fat Hand</td> - <td class="tdr3"><a href="#c219b">219</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">PARLOR GAMES.<span class="pagenum"><a name="Page_xi" id="Page_xi"><span class="small">[xi]</span></a></span></td> - </tr> - - <tr> - <td class="tdl1">Squails,</td> - <td class="tdr3"><a href="#Page_222">222</a></td> - </tr> - - <tr> - <td class="tdl1">Parlor, or Carpet Bowls,</td> - <td class="tdr3"><a href="#c226">226</a></td> - </tr> - - <tr> - <td class="tdl1">The Union Game, or Red, White and Blue,</td> - <td class="tdr3"><a href="#c227">227</a></td> - </tr> - - <tr> - <td class="tdl1">Zoetrope, or Wheel of Life,</td> - <td class="tdr3"><a href="#c229">229</a></td> - </tr> - - <tr> - <td class="tdl1">Grecian Games,</td> - <td class="tdr3"><a href="#c230">230</a></td> - </tr> - - <tr> - <td class="tdl1">Jack-Straws,</td> - <td class="tdr3"><a href="#c231">231</a></td> - </tr> - - <tr> - <td colspan="2" class="tdc2">GAMES FOR LITTLE CHILDREN.</td> - </tr> - - <tr> - <td class="tdl1">Dance, Thumbkin, Dance!</td> - <td class="tdr3"><a href="#Page_233">233</a></td> - </tr> - - <tr> - <td class="tdl1">Uncle John,</td> - <td class="tdr3"><a href="#c234a">234</a></td> - </tr> - - <tr> - <td class="tdl1">Mother Goose,</td> - <td class="tdr3"><a href="#c234b">234</a></td> - </tr> - - <tr> - <td class="tdl1">Clap out and Clap in,</td> - <td class="tdr3"><a href="#c235">235</a></td> - </tr> - - <tr> - <td class="tdl1">Fingers and Thumbs,</td> - <td class="tdr3"><a href="#c236">236</a></td> - </tr> - - <tr> - <td class="tdl1">“You are nothing but a Goose,”</td> - <td class="tdr3"><a href="#c237">237</a></td> - </tr> - - <tr> - <td class="tdl1">Buzz,</td> - <td class="tdr3"><a href="#c238">238</a></td> - </tr> - - <tr> - <td class="tdl1">The Puzzle Wall,</td> - <td class="tdr3"><a href="#c239">239</a></td> - </tr> - - <tr> - <td class="tdl1">Dolls,</td> - <td class="tdr3"><a href="#c240">240</a></td> - </tr> - - <tr> - <td class="tdl1">Boys,</td> - <td class="tdr3"><a href="#c241">241</a></td> - </tr> - - <tr> - <td class="tdl1">Play-Ground Rhymes,</td> - <td class="tdr3"><a href="#c243">243</a></td> - </tr> - - <tr> - <td class="tdl1">Forfeits,</td> - <td class="tdr3"><a href="#c244">244</a></td> - </tr> - -</table> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span></p> -<p> </p> -<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Croquet.</h2> - -<div> - <img class="dc1" src="images/dc.jpg" width="114" height="200" alt=""/> -</div> -<p class="dc13">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 <i>science</i>, 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>In Rules of the Game, explanatory remarks are enclosed in -brackets.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">MATERIALS OF THE GAME.</p> - -<p><span class="smcap">A complete</span> set of Croquet consists of <i>eight balls, eight -mallets, ten iron bridges, and two posts</i>.</p> - -<p>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<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -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.</p> - -<div class="floatleft"> - <img src="images/ill-015.jpg" width="100" height="593" - alt="" - title="" /> - <div class="cf"><p class="pc100">MALLET.</p> -</div></div> - -<p>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, <span class="small"><sup>15</sup>/<sub>16</sub></span> 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.</p> - - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p> - -<p>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.</p> - -<div class="floatright"> - <img src="images/ill-016.jpg" width="200" height="263" - alt="" - title="" /> - <div class="cf"><p class="pc200">THE BRIDGE.</p> -</div></div> - -<p>One manufacturer has adopted and patented the happy -idea of galvanizing or plating the iron bridges with zinc, -which gives them a <i>permanent</i> light color, and at the same -time perfectly preserves them from rust.</p> - -<p>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.</p> - -<div class="floatleft"> - <img src="images/ill-017.jpg" width="100" height="248" - alt="" - title="" /> - <div class="cf"><p class="pc100">THE POST.</p> -</div></div> - -<p>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<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -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:</p> - -<table cellspacing="0" id="t01" summary="t01"> - - <tr> - <td class="tbl1">1. Black.<br />2. White.<br />3. Blue.<br />4. Yellow.</td> - <td class="tbl2">5. Brown.<br />6. Red.<br />7. Green.<br />8. Pink.</td> - </tr> - -</table> - -<p class="p1">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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">THE GROUND.</p> - -<p><span class="smcap">In</span> 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<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -distance between the bridges, is governed very much by the -taste and accommodation of the owner.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">GENERAL PRINCIPLES OF THE GAME.</p> - -<p><span class="smcap">Two</span> 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<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -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.</p> - -<p>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.)</p> - -<div class="figcenter"> - <img src="images/ill-019.jpg" width="400" height="348" - alt="" - title="" /> -</div> - -<p>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.</p> - -<p>Assuming that each player has a ball and a mallet, that the<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> - -<p>When one ball driven by a blow of the mallet hits another, -it is said to make <i>Roquet</i> on that ball.</p> - -<p>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.</p> - -<p>As an example of the use of the <i>Roquet-Croquet</i>, 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 -<i>Roquet</i> black, then she can <i>Roquet-Croquet</i> 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 <i>Roquet-Croquet</i> 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 <i>white</i> was an extra player and the other balls were -in very favorable positions, but it serves as an illustration of<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">ARRANGEMENT OF THE BRIDGES.</p> - -<p class="psh font1">Diagram No. 1.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - -<div class="floatleft"> - <div class="cf"><p class="pc250">DIAGRAM No. 1.</p></div> - <img src="images/ill-023.jpg" width="250" height="603" - alt="" - title="" /> -</div> - -<p>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.</p> - -<p>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 <i>very</i> 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 <i>impossible</i> -for a player to make the grand round in one tour, -without the aid of the roquet. This of course would very<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -rarely be accomplished,—never, except by extraordinarily -skillful play,—yet it should -be made possible, but very -difficult.</p> - -<div class="floatleft"> - <div class="cf"><p class="pc250">DIAGRAM No. 2.</p></div> - <img src="images/ill-024.jpg" width="250" height="658" - alt="" - title="" /> -</div> - -<p class="pc2">————</p> - -<p class="psh font1 p2">Diagram No. 2.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> - -<p class="pc2">————</p> - -<div class="floatleft"> - <div class="cf"><p class="pc250">DIAGRAM No. 3.</p></div> - <img src="images/ill-025.jpg" width="250" height="643" - alt="" - title="" /> -</div> - -<p class="psh font1 p2">Diagram No. 3.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">RULES OF THE GAME.</p> - -<p class="psh font1 p2">Striking the Ball.</p> - -<p>I. <span class="smcap">At</span> 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.</p> - -<p>[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.]</p> - -<p>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.</p> - -<p>2. The ball <i>must be struck</i> and not pushed—a push never -being allowable under any circumstances; and the blow must be -given with the <i>face</i>—never with the side—of the mallet head.</p> - -<p>[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.]</p> - -<p>3. Whenever the mallet hits the ball, if it moves it however -slightly, it must be considered a stroke.</p> - -<p>4. The player may if he wholly miss his ball, strike at it -again.</p> - -<p class="p2">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.</p> - -<p>[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<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -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.]</p> - -<p>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.</p> - -<p>[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.]</p> - -<p>2. A roquet made <i>upon</i>, or <i>by</i>, a booby does not entitle -the player to an extra stroke; neither can a booby croquet or -be croqueted.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">Running a Bridge.</p> - -<p class="p2">III. A player continues to play so long as he makes a -point in the game.</p> - -<p>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 <i>step</i>.)</p> - -<p>2. A player is allowed but one extra stroke, even though -he make roquet and run one or more bridges at one stroke.</p> - -<p>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.</p> - -<p>4. If a player makes three steps at one stroke, he may -take position as above up to two mallet lengths or less.</p> - -<p class="p2">IV. The bridges must be passed through in their regular -order in the direction of the course. (This is called running -a bridge.)</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>4. A ball lying under a bridge is not in position for that<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -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.</p> - -<p>[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.]</p> - -<p class="p2">V. Tolling the <i>turning</i> post is in all respects equivalent -to running a bridge, but the post may be tolled from any -quarter.</p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">Striking Out.</p> - -<p>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 -<i>dead ball</i>, and must be <i>immediately</i> removed from the field.</p> - -<p>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 <i>rover</i>.</p> - -<p>2. When all the balls on one side have made the grand -round and hit the starting post, that side has won the game.</p> - -<p>[Some authors on Croquet require the ball to be placed on -the <i>spot</i> 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.]</p> - -<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">The Rover.</p> - -<p>VII. If the roquet-croquet is allowed to all players alike, -the rover is governed entirely by the same laws as other players.</p> - -<p>1. Therefore, a rover having completed the grand round, -and having no other steps to make (except <i>stepping out</i>, -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.</p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">Roquet.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>3. Any player in his turn is at liberty at any time to -make roquet on <i>any</i> ball on the ground.</p> - -<p>4. Roquet does not entitle a booby to a continuance of play.</p> - -<p>5. Roquet on a booby does not entitle the playing ball to -a continuance of play.</p> - -<p>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.</p> - -<p>7. If a ball roquet another and thereby gain the privilege<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -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.</p> - -<p>[Thus supposing the playing ball roquets a ball that it has -not roqueted since making a step, and <i>afterwards</i> at the same -blow runs a bridge; it of course has a right to croquet the -roqueted ball; then as that roquet was made <i>before</i> 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 -<i>first</i> run a bridge and afterwards at the same blow roqueted a -ball then it can have but one croquet according to Rule IX.]</p> - -<p>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.</p> - -<p>[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 <i>privilege</i> that he has acquired—but it is also -as well established that a <i>step</i> 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.]</p> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">The Croquet and Roquet-Croquet.</p> - -<p>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.</p> - -<p>1. If a player in the act of croqueting does not <i>separate</i> -the balls, he is at liberty to take the stroke over again.</p> - -<p>[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.]</p> - -<p>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.</p> - -<p>[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.]</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>[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.]</p> - -<p class="p2">X. The laws that govern Croquet all apply to Roquet-Croquet, -except as to points for which special rules are herein -given.</p> - -<p class="pc2">————</p> - -<p class="psh font1 p2">The Flinch.</p> - -<p>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.</p> - -<p>[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.]</p> - -<p>1. The above rule only applies in a game where the roquet-croquet -is allowed to all players.</p> - -<p>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<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -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.</p> - -<p class="p2">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.</p> - -<p class="p2">XIII. If a ball be hit off the ground it is to be placed -<i>at once</i>, 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 -<i>square</i> with the boundary.</p> - -<p class="p2">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 -<i>opposing side</i> in such position as he may judge it would have -rested.</p> - -<p><i>A person not taking part in the game, should never be -within the bounds of a croquet ground when a game is in -progress</i>—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.</p> - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p class="psh p2">SUGGESTIONS TO BEGINNERS.</p> - -<p><span class="smcap">Keep your temper</span>—<i>and remember when your turn comes</i>.</p> - -<p>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.</p> - -<p>Practice the roquet-croquet whenever an opportunity offers, as -it is susceptible of more scientific playing than any other stroke.</p> - -<p>Accustom yourself to be guided strictly according to established -rules as far as you are informed on the subject.</p> - -<p>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.</p> - -<p>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.</p> - -<p>If the enemy have an expert rover it is generally advisable -to use every effort to strike him out.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> - -<p>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.</p> - -<p>Leave your own ball as near your friend and as far from an -enemy as possible.</p> - -<p>Accustom yourself as much as possible to strike with one -hand, as it is much more graceful, and many players allow no -other blow.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 <i>sharp</i>, <i>quick</i> 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.</p> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p> - -<p>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.</p> - -<p>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 <i>perfectly round</i>, -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.”</p> - -<p>We endorse the foregoing statement, adding that responsible<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -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.</p> - -<p><i>Parlor Croquet</i> 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.</p> - -<p>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.</p> - -<p><i>The Board game</i> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p> - -<p>The size of the mallets should be in proportion to that of -the balls—with handles about eight inches long.</p> - -<p>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, <i>first</i>, 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; <i>second</i>, 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.</p> - -<p>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 -<i>vs.</i> furniture.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">VOCABULARY.</p> - -<p><span class="smcap">A Booby.</span>—A ball that has attempted to run the first -bridge and failed.</p> - -<p><span class="smcap">Bridges or Arches.</span>—The iron hoops or bows through -which the balls pass.</p> - -<p><span class="smcap">Bridged Ball.</span>—A ball that has run the first bridge.</p> - -<p><span class="smcap">Concussion.</span>—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.</p> - -<p><span class="smcap">Croquet.</span>—(Pronounced Cró-kay.) The title of the game.</p> - -<p><span class="smcap">The Croquet.</span>—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.)</p> - -<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p> - -<p><span class="smcap">Dead Ball.</span>—One that has made the grand round and hit -the starting post.</p> - -<p><span class="smcap">Distanced.</span>—A ball is distanced when at the termination -of the game it has not tolled the turning post.</p> - -<p><span class="smcap">Down.</span>—The course from the turning post to the starting -post.</p> - -<p><span class="smcap">A Flinch.</span>—When in the croquet, the playing ball is driven -from under the foot by the blow of the mallet, it is called a -flinch.</p> - -<p><span class="smcap">Front of a Bridge.</span>—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.</p> - -<p><span class="smcap">Grand Round.</span>—A ball has made the grand round when it -has run all the bridges and tolled the turning post, and is then -a rover.</p> - -<p><span class="smcap">Playing Ball.</span>—The ball struck with the mallet.</p> - -<p><span class="smcap">Point.</span>—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.</p> - -<p><span class="smcap">Position.</span>—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.</p> - -<p><span class="smcap">Proper Bridge.</span>—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.</p> - -<p><span class="smcap">Push.</span>—A stroke in which the mallet remains in contact -with the ball after the instant of contact.</p> - -<p><span class="smcap">Ricochet.</span>—(Rick´-o-shay.)—A ball making Roquet on -two or more balls by the same blow of the mallet.</p> - -<p><span class="smcap">Roquet.</span>—(Ro´-kay.) A ball makes Roquet on another -ball when proceeding from a blow of the mallet it comes in<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -contact with it either directly or by rebounding from a fixed -obstacle in the ground or from another ball.</p> - -<p>[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.]</p> - -<p><span class="smcap">Roquet-Croquet.</span>—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.</p> - -<p><span class="smcap">A Rover.</span>—A ball that has run all the bridges and has -not hit the starting post.</p> - -<p><span class="smcap">Starting Post.</span>—The stake from which the play proceeds. -See diagram.</p> - -<p><span class="smcap">A Step.</span>—Running a bridge, or tolling the turning post.</p> - -<p><span class="smcap">Striking Out.</span>—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.</p> - -<p><span class="smcap">The Turning Post.</span>—The post opposite the starting post.</p> - -<p><span class="smcap">Tolling the Turning Post.</span>—Striking the turning post in -its proper order.</p> - -<p><span class="smcap">Under a Bridge.</span>—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.</p> - -<p><span class="smcap">Up.</span>—The course from the starting post to the turning post.</p> - -<div class="figcenter"> - <img src="images/ill-041.jpg" width="300" height="134" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Base Ball.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dt.jpg" width="93" height="200" alt=""/> -</div> -<p class="dc13">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<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -13, 1865. These regulations for the convenience of -our readers we here insert.</p> - -<div class="figcenter"> - <img src="images/ill-043.jpg" width="400" height="202" - alt="" - title="" /> -</div> - - -<p class="psh">RULES OF THE GAME.</p> - -<p><span class="smcap">Section</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>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 <i>flat</i> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[It will be seen that the rule requires the ball to be pitched -as near as possible over the home base, <i>and for the striker</i>; -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.</p> - -<p>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 <i>at</i> -them instead of <i>for</i> them as the rules require.]</p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -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.]</p> - -<p><span class="smcap">Sec.</span> 8. When a baulk is made by the pitcher, every -player running the bases is entitled to one base, without being -put out.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 9. If a ball, from a stroke of the bat, <i>first touches -the ground</i>, <i>the person of a player</i>, <i>or any other object</i>, 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 10. A player making the home base, shall be entitled -to score one run.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 12. The striker is out if a foul ball is caught, either -before touching the ground, or upon the first bound.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[The bound-catch, in this instance—the ball striking the -ground back of the home base—is considered in the light of<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -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.]</p> - -<p><span class="smcap">Sec.</span> 14. Or, if a fair ball is struck, and the ball is caught -without having touched the ground.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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 <i>and remain on it</i> until the ball has been fairly settled in -the hands of the pitcher. But in case of fly-catches, a player<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -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 <i>after</i> the ball has been caught.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 22. Any player, who shall intentionally prevent an -adversary from catching or fielding the ball, shall be declared -out.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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 <i>if it be taken from the hands of any one not engaged -in the game</i>, no player can be put out unless the ball -shall first have been settled in the hands of the pitcher.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 26. If two hands are already out, no player running -home at the time the ball is struck, can make a <i>run to count -in the score of the game</i> if the striker is put out.</p> - -<p><span class="smcap">Sec.</span> 27. An innings must be concluded at the time the -third hand is put out.</p> - -<p><span class="smcap">Sec.</span> 28. The game should consist of nine innings to each<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> -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.</p> - -<p><span class="smcap">Sec.</span> 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, <i>either in or out of the National Association</i>, 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 32. No person engaged in a match, either as umpire, -scorer, or player, shall be either directly or indirectly interested<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="smcap">Sec.</span> 36. No person shall be permitted to act as umpire<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -or scorer in any match, unless he shall be a member of a Base-Ball -Club governed by these rules.</p> - -<p>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.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 39. No person who shall be in arrears to any other<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -club, or who shall at any time receive compensation for his -services as player, shall be competent to play in any match.</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p>[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.]</p> - -<p><span class="smcap">Sec.</span> 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.</p> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> - - -<p class="psh p2">ON THE SELECTION AND MEASURING -OF A GROUND.</p> - -<p><span class="smcap">It</span> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-055.jpg" width="400" height="459" - alt="" - title="" /> - <div class="caption"><p class="pc400">DIAGRAM OF BASE BALL FIELD.</p> -</div></div> - -<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> - -<p class="psh">PITCHER’S POINT AND HOME BASE.</p> - -<p><span class="smcap">Both</span> 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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">ON THE USE OF THE BAT.</p> - -<p><span class="smcap">All</span> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">DESCRIPTION OF THE GAME.</p> - -<p><span class="smcap">In</span> 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.</p> - -<p>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,<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">FIELD POSITIONS.</p> - -<p class="psh p2 font1">1. The Catcher.</p> - -<p><span class="smcap">The</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">2. The Pitcher.</p> - -<p><span class="smcap">The</span> 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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">3. The Short Stop.</p> - -<p>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<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">4. First Base.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">5. Second Base.</p> - -<p>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<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">6. Third Base.</p> - -<p>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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">7. Left Field.</p> - -<p>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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">8. Center Field.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">9. Right Field.</p> - -<p>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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">The Umpire.</p> - -<p>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.<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span> -His position is to the right of and between the striker and -catcher, on a line between the home and third base.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">The Scorer.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-063.jpg" width="300" height="173" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Archery.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/da.jpg" width="106" height="200" alt=""/> -</div> -<p class="dc14">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.</p> - -<p>The attitude of an <i>accomplished</i> 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.</p> - -<p>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,<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Targets are made of wood and generally painted in circles. -The central point is the one to be aimed at by the archers.</p> - -<p>The same dresses used at Croquet parties are desirable for -Archery, and add much to the graceful appearance of the -Archer.</p> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-066.jpg" width="300" height="151" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Gardening, Flowers.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dw.jpg" width="112" height="200" alt=""/> -</div> -<p class="dc14">WE, as a nation, are not a happy, home-loving -people. The “spirit of unrest” -pervades all classes.</p> - -<p>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.</p> - -<p>But the time has come, when it is well -to curb that spirit, and cultivate all quiet, -home-loving influences.</p> - -<p>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<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p> - -<p>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, -<i>too bad</i>, mamma, I know God did not make the city for little -children, because he loves us.”</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -such as Cypress Vine, Madeira Vine, Nasturtium, Maurandya -Barclayanna, Dwarf Convolvulus, Mountain Fringe, &c., &c. -By midsummer your simple fence will be very beautiful.</p> - -<p>Having spent many years in cultivating flowers, perhaps a -few practical directions from my own experience may be of -service to my readers.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">HOW TO PLANT SEEDS.</p> - -<p><span class="smcap">We</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -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.</p> - -<p>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<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -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.</p> - -<p>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<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -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.</p> - -<p>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.</p> - -<p>If we ladies would spend less time on our dress and in arrangements<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">FERNERIES.</p> - -<p><span class="smcap">Is</span> 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<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">IVIES.</p> - -<p><span class="smcap">English Ivies</span> 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<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">PRESSED FLOWERS.</p> - -<p><span class="smcap">To</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>There are innumerable varieties of Ferns, Lycopodiums and -Maiden Hair, both native and foreign, suitable for pressing.<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">STRAWBERRIES.</p> - -<p><span class="smcap">A few</span> 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<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> -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.</p> - -<p>Strawberry plants should be replanted every third year; it<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">GRAPES.</p> - -<p><span class="smcap">The</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -is much more than can be said of some young people, whose -eyes sparkle at the sight of its fruit.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">DESIGNS FOR FLOWERS.</p> - -<p><span class="smcap">There</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">TO PRODUCE VARIOUS FLOWERS FROM -ONE STEM.</p> - -<p><span class="smcap">Scoop</span> 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<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">TO PRESERVE ROSES TILL WINTER.</p> - -<p><span class="smcap">It</span> 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.</p> - -<div class="figcenter"> - <img src="images/ill-084.jpg" width="300" height="333" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Illumination.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/di.jpg" width="82" height="200" alt=""/> -</div> -<p class="dc08">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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span></p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">MATERIALS.</p> - -<p><span class="smcap">A careful</span> 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:</p> - -<p class="pi6 p1">YELLOWS.</p> - -<p class="pi4">Cadmium Yellow.<br /> -Gamboge.<br /> -Lemon Yellow.<br /> -Mars Yellow.<br /> -Naples Yellow.<br /> -<i>Raw Sienna.</i><br /> -<i>Yellow Ochre.</i></p> - -<p class="pi6 p1">REDS.</p> - -<p class="pi4">Brown Madder.<br /> -Carmine.<br /> -Crimson Lake.<br /> -Indian Red.<br /> -Orange Vermilion.<br /> -<i>Light Red.</i><br /> -<i>Scarlet Vermilion.</i><br /> -Rose Madder.<br /> -Rubens’ Madder.<br /> -Vermilion.</p> - -<p class="pi6 p1">BLUES.</p> - -<p class="pi4">Cobalt.<br /> -French Blue.<br /> -<i>Intense Blue.</i><br /> -<i>Indigo.</i><br /> -Smalt.<br /> -<i>Ultramarine Ash.</i></p> - -<p class="pi6 p1">ORANGES.</p> - -<p class="pi4"><i>Burnt Roman Ochre.</i><br /> -Burnt Sienna.<br /> -Mars Orange.<br /> -Neutral Orange.</p> - -<p class="pi6 p1">PURPLES.</p> - -<p class="pi4">Burnt Carmine.<br /> -Indian Purple.<br /> -<i>Purple Lake.</i><br /> -Purple Madder.<br /> -<i>Violet Carmine.</i></p> - -<p class="pi6 p1">GREENS.</p> - -<p class="pi4">Emerald Green.<br /> -Oxide of Chromium.<br /> -<i>Olive Green.</i></p> - -<p class="pi6 p1">BROWNS.</p> - -<p class="pi4"><i>Burnt Umber.</i><br /> -<i>Sepia.</i><br /> -<i>Vandyke Brown.</i></p> - -<p class="pi6 p1">BLACKS.</p> - -<p class="pi4"><i>Ivory Black.</i><br /> -Lamp-black.</p> - -<p class="pi6 p1">WHITE.</p> - -<p class="pi4">Chinese White.</p> - -<p class="p1">The selected colors should be apportioned into five lists, as -follows, viz:</p> - -<p><span class="smcap">First List.</span>—Gamboge, cadmium yellow, crimson lake,<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -vermilion, cobalt, French blue, emerald green, lamp-black, -Chinese white.</p> - -<p><span class="smcap">Second List.</span>—Lemon yellow, gamboge, cadmium yellow, -rose madder, crimson lake, vermilion, cobalt, French blue, -burnt sienna, emerald green, vandyke brown, lamp-black, -Chinese white.</p> - -<p><span class="smcap">Third List.</span>—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.</p> - -<p><span class="smcap">Fourth List.</span>—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.</p> - -<p><span class="smcap">Fifth List.</span>—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.</p> - -<p>These five lists will be found to be carefully selected, and -to contain the colors best adapted for illumination.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p> - -<p>Good Bristol board with a fine firm grain, and having an -ivory-like surface, but without gloss, is the best material for -illuminating upon.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">BRUSHES.</p> - -<p><span class="smcap">Few</span> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">COLORING.</p> - -<p><span class="smcap">Under</span> 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.</p> - -<p>There is only space in this book for a few practical directions -for laying on such colors as are named.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p> - -<p>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.</p> - -<p>The following is a list of colors and mixed tints, stated -without technical phraseology, as far as possible:</p> - -<p class="psh p2 font1">Table of Colors and Mixed Tints.</p> - -<p class="pc">YELLOWS.</p> - -<p><i>Vivid high-toned yellow or primrose.</i>—Lemon yellow, yellow -and white, gamboge and white.</p> - -<p><i>Bright transparent yellow.</i>—Gamboge.</p> - -<p><i>Rich glowing yellow.</i>—Cadmium yellow.</p> - -<p><i>Clear transparent yellow.</i>—Mars yellow, lemon yellow and -cadmium yellow, lemon yellow and gamboge and mars yellow.</p> - -<p><i>Rich brown yellow.</i>—Cadmium yellow and little purple -madder, cadmium yellow and little Indian red.</p> - -<p><i>Buff yellow.</i>—Cadmium and touch of burnt carmine, orange -and little white.</p> - -<p class="pc1">REDS.</p> - -<p><i>Vivid high-toned red.</i>—Orange vermilion.</p> - -<p><i>Deep opaque red.</i>—Vermilion.</p> - -<p><i>Bright transparent pink.</i>—Rose madder, rose madder and -touch of carmine.</p> - -<p><i>Opaque pink.</i>—White and little orange vermilion, white -and little vermilion, white and little Indian red, white and -touch of carmine, white and little rose madder.</p> - -<p><i>Rich glowing crimson.</i>—Crimson, lake, carmine.</p> - -<p><i>Chocolate red.</i>—Vandyke brown and carmine, vandyke -brown and crimson lake, burnt carmine and orange vermilion.</p> - -<p><i>Russet red.</i>—Carmine and Indian red.</p> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<p class="pc1">BLUES.</p> - -<p><i>Bright azure blue.</i>—Cobalt, cobalt and white.</p> - -<p><i>Rich strong blue.</i>—French blue.</p> - -<p><i>Deep dense blue.</i>—French blue and little black.</p> - -<p><i>Brilliant purple blue.</i>—Smalt.</p> - -<p class="pc1">ORANGES.</p> - -<p><i>Clear pure yellow orange.</i>—Mars orange, neutral orange.</p> - -<p><i>Deeper yellow orange.</i>—Burnt sienna.</p> - -<p><i>Intensely brilliant transparent red orange.</i>—Carmine over -a ground of gamboge.</p> - -<p><i>Rich glowing warm orange.</i>—Cadmium yellow and carmine, -cadmium yellow and orange vermilion, orange vermilion -and little lemon yellow.</p> - -<p class="pc1">PURPLES.</p> - -<p><i>Rich cold purple</i>, (<i>violet, lavender, &c.</i>)—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.</p> - -<p><i>Rich warm purple</i>, (<i>pure maroon, &c.</i>)—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.</p> - -<p><i>Greyish lilac.</i>—Cobalt and brown madder.</p> - -<p class="pc1">GREENS.</p> - -<p><i>Vivid high-toned green.</i>—Emerald green, emerald green -and lemon yellow.</p> - -<p><i>Bright apple green.</i>—Emerald green and little oxide of -chromium, emerald green little oxide of chromium and little -lemon yellow, lemon yellow and little cobalt.</p> - -<p><i>High-toned transparent green.</i>—Gamboge and little cobalt,<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -cadmium and little cobalt, gamboge and little French blue, -cadmium and little French blue.</p> - -<p><i>Low-toned transparent green.</i>—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.</p> - -<p><i>Light opaque green.</i>—Oxide of chromium and white.</p> - -<p><i>Deep opaque green.</i>—Oxide of chromium.</p> - -<p class="pc1">BROWNS.</p> - -<p><i>Pure brown.</i>—Vandyke brown.</p> - -<p><i>Rich warm brown.</i>—Vandyke brown and little burnt carmine -or crimson lake, purple madder and touch of cadmium -yellow, vandyke brown and brown madder.</p> - -<p><i>Cold brown.</i>—Vandyke brown and Indian purple.</p> - -<p><i>Yellow brown.</i>—Indian red and little cadmium.</p> - -<p><i>Stone drab.</i>—Vandyke brown and white, yellow ochre and -white.</p> - -<p class="pc1">BLACK.</p> - -<p><i>Dense black.</i>—Lamp-black.</p> - -<p class="pc1">WHITE.</p> - -<p><i>Pure white</i>.—Chinese white.</p> - -<p class="pc1">GREYS AND NEUTRALS.</p> - -<p><i>Grey.</i>—Black and white.</p> - -<p><i>Purple grey.</i>—Black and white and little cobalt.</p> - -<p><i>Slate grey.</i>—Black and white and little crimson lake, black -and white and Indian red and cobalt.</p> - -<p><i>Silvery grey.</i>—Black and white and rose madder.</p> - -<p><i>Clear warm neutrals for shading.</i>—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.</p> - -<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p> - -<p class="p2">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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a2.jpg" width="200" height="39" - alt="" - title="" /> -</div> - -<p class="psh">DESIGN.</p> - -<p><span class="smcap">If</span> 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<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -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.</p> - -<p>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 <i>ornamentation must consist of conventionalized representation -of natural objects</i>. 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.</p> - -<p>In conventionalism, we beforehand arrange certain limits at -which to stop, and then get as much of nature as we can within -those limits.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -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.</p> - -<p>The last rule of design is, that there <i>should be a general -purpose and meaning running throughout the ornamental detail</i>. -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<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -pretty?” but, “is it <i>right</i>?” and this habit will, I think, -be a safeguard to you.</p> - -<p>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 <i>think</i> 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.</p> - -<p>These foregoing directions were prepared for this work by -a lady who excels in the art of illumination.</p> - -<div class="figcenter"> - <img src="images/ill-097.jpg" width="300" height="100" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">House and Home Arts.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dd.jpg" width="90" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p>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<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -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.</p> - -<p>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.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">Materials.</p> - -<p>The necessary materials are as follows: <i>cementing varnish</i>, -<i>protecting varnish</i>, two or three <i>camel’s hair brushes</i> of various -sizes, (these should be of fine quality, as the cheaper ones -never have good points), a glass of <i>clear water</i>, a small vial -of benzine or burning fluid for cleaning the varnish brushes; -and be careful and procure suitably prepared pictures.</p> - -<p class="pc2">————</p> - -<p class="psh p2 font1">Directions.</p> - -<p>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<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c101" - alt="" - title="" /> -</div> - -<p class="psh">ENGRAVED BOXES.</p> - -<p><span class="smcap">The</span> 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<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c102" - alt="" - title="" /> -</div> - -<p class="psh">CORAL FLOWERS AND BASKETS.</p> - -<p><span class="smcap">Form</span> 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<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c103a" - alt="" - title="" /> -</div> - -<p class="psh">IMITATION OF INLAID IVORY.</p> - -<p><span class="smcap">Have</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c103b" - alt="" - title="" /> -</div> - -<p class="psh">ALUM BASKETS.</p> - -<p><span class="smcap">Success</span> 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.</p> - -<p>The frame may be made in any shape you fancy. It is<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c104" - alt="" - title="" /> -</div> - -<p class="psh">PAINTING ON GLASS.</p> - -<p><span class="smcap">Some</span> 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.</p> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c106" - alt="" - title="" /> -</div> - -<p class="psh">PAINTING ON VELVET.</p> - -<p><span class="smcap">Painting</span> 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.</p> - -<p>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.</p> - -<p>It is necessary to mix gum water with all the colors made, -to prevent their spreading into each other; gum dragon is the<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Toilet-sets, sofa-cushions, fancy tables, pin-cushions, and a -variety of articles may be ornamented in this way.</p> - -<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c109" - alt="" - title="" /> -</div> - -<p class="psh">CASTING IN PLASTER, SULPHUR, <span class="smcap">Etc.</span></p> - -<p><span class="smcap">Taking</span> 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<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> -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.</p> - -<p>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 <i>vice -versa</i>—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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c111" - alt="" - title="" /> -</div> - -<p class="psh">LEATHER WORK.</p> - -<p><span class="smcap">“The</span> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The whole skins are very expensive, and any one who wishes -to experiment can obtain for quite a small sum pieces of<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -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,<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> -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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span> -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.</p> - -<div class="floatleft"> - <img src="images/ill-115.jpg" width="200" height="218" - alt="" - title="" /> - <div class="cf"><p class="pc200">SKELETON BRACKET.</p> -</div></div> - -<p>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.</p> - -<p>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.</p> - -<div class="floatright"> - <img src="images/ill-116.jpg" width="200" height="233" - alt="" - title="" /> - <div class="cf"><p class="pc200">DESIGN FOR A BRACKET.</p> -</div></div> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c116" - alt="" - title="" /> -</div> - -<p class="psh">CIGAR-BOXES MADE USEFUL.</p> - -<p><span class="smcap">Beautiful</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> -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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c118" - alt="" - title="" /> -</div> - -<p class="psh">POTICHIMANIE.</p> - -<p><span class="smcap">Potichimanie</span> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> -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.</p> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c120" - alt="" - title="" /> -</div> - -<p class="psh">ORNAMENTS IN RICE SHELL-WORK.</p> - -<p><span class="smcap">The</span> 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.</p> - -<p>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,<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="floatleft"> - <img src="images/ill-121.jpg" width="100" height="354" - alt="" - title="" /> - <div class="cf"><p class="pc100">WIRED SHELLS.</p> -</div></div> - -<p>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<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -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.</p> - -<div class="floatright"> - <img src="images/ill-122a.jpg" width="200" height="343" - alt="" - title="" /> - <div class="cf"><p class="pc100">SHELL-LEAF.</p> -</div></div> - -<p>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.</p> - -<div class="floatleft"> - <img src="images/ill-122b.jpg" width="150" height="145" - alt="" - title="" /> - <div class="cf"><p class="pc150">SHELL-FLOWER.</p> -</div></div> - -<p>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<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span> -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.</p> - -<div class="floatright"> - <img src="images/ill-123.jpg" width="100" height="344" - alt="" - title="" /> - <div class="cf"><p class="pc100">WHEAT EARS.</p> -</div></div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="floatleft"> - <img src="images/ill-124.jpg" width="250" height="206" - alt="" - title="" /> - <div class="cf"><p class="pc150">WATCH-STAND.</p> -</div></div> - -<p>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<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c124" - alt="" - title="" /> -</div> - -<p class="psh">ALLSPICE BASKETS.</p> - -<p><span class="smcap">The</span> allspice berries should be soaked in spirit to soften -them, and then holes should be made through them. They<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c125a" - alt="" - title="" /> -</div> - -<p class="psh">RICE OR SHELL BASKETS.</p> - -<p><span class="smcap">The</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c125b" - alt="" - title="" /> -</div> - -<p class="psh">WAFER BASKETS.</p> - -<p><span class="smcap">Make</span> 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<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c126a" - alt="" - title="" /> -</div> - -<p class="psh">IMPRESSIONS OF BUTTERFLIES.</p> - -<p><span class="smcap">If</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c126b" - alt="" - title="" /> -</div> - -<p class="psh">TO TAKE IMPRESSIONS OF LEAVES.</p> - -<p><span class="smcap">Dip</span> 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.</p> - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c127" - alt="" - title="" /> -</div> - -<p class="psh">PAPER LANDSCAPES.</p> - -<p><span class="smcap">Observe</span> 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.</p> - -<div class="figcenter"> - <img src="images/ill-127.jpg" width="300" height="154" - alt="" - title="" /> -</div> - - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Natural Magic.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dt.jpg" width="93" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c129a" - alt="" - title="" /> -</div> - -<p class="psh">THE MAGIC OF ACOUSTICS.</p> - -<p><span class="smcap">The</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c129b" - alt="" - title="" /> -</div> - -<p class="psh">TO SHOW HOW SOUND TRAVELS -THROUGH A SOLID.</p> - -<p><span class="smcap">Take</span> 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.</p> - -<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c130" - alt="" - title="" /> -</div> - -<p class="psh">A SINGULAR EXAMPLE OF SUPERSTITION.</p> - -<p><span class="smcap">The</span> following <i>true story</i> 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<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> -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.</p> - -<p>The peculiar configuration of the river banks had concentrated -the sounds, and the distance and the water had -softened them.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c131" - alt="" - title="" /> -</div> - -<p class="psh">THEORY OF THE VOICE.</p> - -<p><span class="smcap">Provide</span> 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.</p> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c132" - alt="" - title="" /> -</div> - -<p class="psh">THE VISIBLY GROWING ACORN.</p> - -<p><span class="smcap">Cut</span> 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.</p> - -<div class="figcenter"> - <img src="images/ill-132.jpg" width="300" height="161" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Dancing.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dd.jpg" width="90" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c134a" - alt="" - title="" /> -</div> - -<p class="psh">POP GOES THE WEASEL.</p> - -<p><span class="smcap">This</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c134b" - alt="" - title="" /> -</div> - -<p class="psh">LANCERS.</p> - -<p><span class="smcap">This</span>, also, is a very old English dance. There are innumerable -changes, but those given here are the most popular.</p> - -<p class="psh p2 font1">First Change.</p> - -<div class="floatleft"> - <img src="images/ill-135.jpg" width="220" height="217" - alt="" - title="" /> -</div> - -<p>First lady and opposite gentleman forward and back; same -couple forward a second time, turn with right hand, and return<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span> -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.</p> - -<p class="psh p2 font1">Second Change.</p> - -<p>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.</p> - -<p class="psh p2 font1">Third Change.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p> - -<p>Ladies grand chain is danced in Paris in place of the windmill. -The three other couples dance the same.</p> - -<p class="psh p2 font1">Fourth Change.</p> - -<p>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.</p> - -<p class="psh p2 font1">Fifth Change.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<p class="psh">GRAND SQUARE.</p> - -<div class="floatleft"> - <img src="images/ill-137.jpg" width="220" height="217" - alt="" - title="" /> -</div> - -<p>At the same time, the first lady and second gentleman, and -the second lady and first gentleman join hands and turn to<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c137" - alt="" - title="" /> -</div> - -<p class="pc large">LE PRINCE IMPERIAL QUADRILLE.</p> - -<p class="pc">(A new change introduced by the Empress Eugenie.)</p> - -<p class="pc large font1">First Change.</p> - -<p class="pc mid">LE CHAINE CONTINUE DES DAMES.</p> - -<p class="p2"><span class="smcap">Head</span> 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<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -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.</p> - -<p class="pc2 large p2 font1">Second Change.</p> - -<p class="pc mid">LA NOUVELLE TRENIS.</p> - -<p class="p2">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.</p> - -<p class="pc2 large p2 font1">Third Change.</p> - -<p class="pc mid">LA CORBEILLE.</p> - -<p class="p2">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.</p> - -<p class="pc2 large p2 font1">Fourth Change.</p> - -<p class="pc mid">LA DOUBLE PASTOURELLE.</p> - -<p class="p2">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<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span> -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.</p> - -<p class="pc2 large p2 font1">Fifth Change.</p> - -<p class="pc mid">LA TOURBILLON</p> - -<p class="p2">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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c139" - alt="" - title="" /> -</div> - -<p class="psh">COMMON COTILLION.</p> - -<p class="psh font1">First Change.</p> - -<p><span class="smcap">First</span> and second couples right and left. The same couples -balance. Ladies chain. Same half promenade, half right -and left back.</p> - -<p class="psh font1">Second Change.</p> - -<p>Forward two, first lady and second gentleman then cross -over, chassez and return to places. Balance. Each couple -the same.</p> - -<p><span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span></p> - -<p class="psh font1">Third Change.</p> - -<p>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.</p> - -<p class="psh font1">Fourth Change.</p> - -<p>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.</p> - -<p class="pc2 large p2 font1">Fifth Change.</p> - -<p class="pc mid">JIG DANCE.</p> - -<p class="p2">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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c140" - alt="" - title="" /> -</div> - -<p class="psh">BASKET DANCE.</p> - -<p><span class="smcap">Forward</span> 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.</p> - -<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c141a" - alt="" - title="" /> -</div> - -<p class="psh">WHITE COCKADE.</p> - -<p><span class="smcap">First</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c141b" - alt="" - title="" /> -</div> - -<p class="psh">THE WALTZ AND POLKA QUADRILLE.</p> - -<p><span class="smcap">The</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c141c" - alt="" - title="" /> -</div> - -<p class="psh">SIR ROGER DE COVERLEY, OR VIRGINIA -REEL.</p> - -<p><span class="smcap">Danced</span> 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,<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c142a" - alt="" - title="" /> -</div> - -<p class="psh">THE NINE-PIN DANCE.</p> - -<p><span class="smcap">Eight</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c142b" - alt="" - title="" /> -</div> - -<p class="psh">CALEDONIAN QUADRILLES.</p> - -<p class="pc large font1">First Change.</p> - -<p class="p2"><span class="smcap">First</span> 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.</p> - -<p class="psh font1">Second Change.</p> - -<p>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.</p> - -<p class="psh font1">Third Change.</p> - -<p>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;<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -all join hands in a circle and forward and back twice. Repeat -four times.</p> - -<p class="psh font1">Fourth Change.</p> - -<p>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.</p> - -<p class="psh font1">Fifth Change.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-143.jpg" width="300" height="200" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Dramatic Amusements.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dp.jpg" width="98" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p>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<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span> -and villages, I will give a short account of how such things -can be managed.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Dissolve crystals of nitrate of copper in spirits of wine,<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span> -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.</p> - -<p>The following is a list of plays which are easily and often -acted in private theatricals:</p> - -<p class="psh font1">Comedies.</p> - -<table cellspacing="0" id="t02" summary="t02"> - - <tr> - <td class="tbl1">The Rivals.<br />Fashion.</td> - <td class="tbl2">London Assurance.<br />Lady of Lyons.</td> - </tr> - -</table> - -<p class="psh font1">Farces.</p> - -<table cellspacing="0" id="t03" summary="t03"> - - <tr> - <td class="tbl3">The Loan of a Lover.<br />The Widow’s Victim.<br /> -Perfection.<br />Sketches in India.<br /> -Morning Calls.<br />Swiss Cottage.<br /> -My New Wife and My Old Umbrella.<br />Kill or Cure.<br />Poor Pillecody.</td> - <td class="tbl2">Bombastes Furioso.<br />Lend Me Five Shillings.<br /> -Phantom Breakfast.<br />Rough Diamond.<br /> -A Pretty Piece of Business.<br />Old Guard.<br /> -A Game of Romps.<br />Betsy Baker.</td> - </tr> - -</table> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c147" - alt="" - title="" /> -</div> - -<p class="psh">DRAMATIC READING CLUBS.</p> - -<p><span class="smcap">These</span> 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<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -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:</p> - -<p>1. Each member of the club must take his or her turn in -choosing a play, and in giving out the rôle of characters.</p> - -<p>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.</p> - -<p>3. The one who selects the play has a right to the best -character.</p> - -<p>4. The club shall meet once a week at the houses of -members, in alphabetical rotation.</p> - -<p>5. Whenever any member is unable to take his part and -cannot attend the meeting, he must provide some one to take -his character.</p> - -<p>6. No new member can be admitted without the vote of -the majority.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -familiar with the best plays, without wearying of them; and -each member had an opportunity of consulting his own taste.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c149" - alt="" - title="" /> -</div> - -<p class="psh">CHARADES.</p> - -<p><span class="smcap">There</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span> -them ease of manner; but let them only act before a home -circle.</p> - -<p>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:</p> - -<p><span class="smcap">Penitent.</span>—“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.</p> - -<p><span class="smcap">Bridewell.</span>—“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<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span> -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 <i>well</i> will be -represented.</p> - -<p>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.</p> - -<p><span class="smcap">Farewell.</span>—“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<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -them to any place, &c. The gentleman must then ask, -“What is the <i>fare</i>?” and bargains for it, refusing to pay -<i>fare</i> 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 <i>well</i>, and if all the family -are <i>well</i>, &c.</p> - -<p>“Farewell” can be acted in various ways. A party with -bandboxes and baskets, on their way west, may be bidding -<i>farewell</i> to friends; or a lover, going to California, may be -taking leave of his lady-love, &c.</p> - -<p><span class="smcap">Railway.</span>—“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 <i>rail</i>.” 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 <i>way</i> to the depot, or an -old lady may ask which is the <i>way</i> 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 -<i>railway</i>, bringing in the word in all possible ways.</p> - -<p><span class="smcap">Carpet.</span>—“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 <i>cars</i>, 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 <i>pet</i> 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 <i>carpets</i>. Have<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -in readiness under the counter several pieces of <i>carpets</i> or -rugs, which the shopman should display, while the lady consults -the taste of her future lord, &c.</p> - -<p><span class="smcap">Lunatic.</span>—“Luna:” A gentleman, dressed as a young -collegian, enters with a young lady on his arm; they pretend -to be walking by <i>moon</i>-light. He speaks of the moon by its -latin name, <i>Luna</i>, 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 <i>Luna</i> is. “Tic:” A -lady represents an old woman, and goes about offering to -make over old <i>tics</i>, 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 <i>lunatic</i>, in any way he sees fit.</p> - -<p><span class="smcap">Lamentable.</span>—(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 <i>L’Aman</i> 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<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> -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.</p> - -<p><span class="smcap">Warlock.</span>—(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 <i>lock</i> 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 <i>lock</i>, 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.</p> - -<p>The following words are easy to be acted:—</p> - -<table id="t04" summary="t04"> - - <tr> - <td class="tdl2">Back-bite.<br />Com-fort.<br />In-fan-tile.</td> - <td class="tdl2">Bond-age.<br />Ann-ounce.<br />Sin-cere.</td> - <td class="tdl2">Brace-let.<br />In-firm.<br />Spec-tacles.</td> - </tr> - -</table> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c154" - alt="" - title="" /> -</div> - -<p class="psh">TABLEAUX VIVANTS.</p> - -<p><span class="smcap">Tableau</span> 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<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/ill-155.jpg" width="250" height="305" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">The Sibyl.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/df.jpg" width="91" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c157" - alt="" - title="" /> -</div> - -<p class="psh">THE FIAT OF FATE.</p> - -<div class="floatleft"> - <img src="images/ill-157.jpg" width="120" height="142" - alt="" - title="" /> -</div> - -<p><span class="smcap">Make</span> 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:</p> - -<p class="psh p2 font1">The Fiat of Fate.</p> - -<p class="pi8">To all who wish their fate to know,<br /> -These hearts will future fortunes show;<br /> -With shaded eyes then touch and name—<br /> -The <i>color</i> will thy lot proclaim.</p> - -<p class="pc1">BLUE.</p> - -<p class="pi8">If fortune favors thee, wish blue,<br /> -Thou couldst not wish a brighter hue;<br /> -On life’s dark disc this shade portrays<br /> -Truth, happiness, and length of days.</p> - -<p class="pc1">VARIEGATED.</p> - -<p class="pi8">These variegated colors show<br /> -A pleasing mixture here below,<br /> -To those whose lot it is to name,<br /> -This emblem, of both joy and pain.</p> - -<p class="pc1">WHITE.</p> - -<p class="pi8">This lovely white then touch with joy,<br /> -And gain a fate without alloy;<br /> -Fair, pure and spotless is the life<br /> -Thus singled out from future strife.</p> - -<p><span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p> - -<p class="pc1">SCARLET.</p> - -<p class="pi8">With caution this gay color name,<br /> -For wide and evil is its fame;<br /> -Inflammatory, it taints the air,<br /> -Portending strife and civil war.</p> - -<p class="pc1">GREEN.</p> - -<p class="pi8">This cool, inviting, lovely green,<br /> -Has to the single ever been<br /> -An emblem of their future state,<br /> -Their peaceful, though forsaken, fate.</p> - -<p class="pc1">LILAC.</p> - -<p class="pi8">The lilac tint betokens life<br /> -Of every hope, and plans are rife;<br /> -Of love and friendship, holy, true,<br /> -The pink is tempered by the blue.</p> - -<p class="pc1">CHECKERED.</p> - -<p class="pi8">The many colors here portrayed,<br /> -Of every hue, and every shade,<br /> -Portends a checkered changing lot,<br /> -From palace to the humble cot.</p> - -<p class="pc1">BROWN.</p> - -<p class="pi8">This sombre brown denotes a calm<br /> -And pleasing life, devoid of harm;<br /> -An innocent and simple mind,<br /> -A temper meek and well inclined.</p> - -<p class="pc1">SLATE.</p> - -<p class="pi8">This pale and melancholy shade<br /> -Betokens ills that never fade;<br /> -But prey upon the tainted power,<br /> -Embittering each succeeding hour.</p> - -<p class="pc1">PURPLE.</p> - -<p class="pi8">This royal color, rich in pride,<br /> -A splendid fate may well betide;<br /> -Exalted rank and riches great,<br /> -Vanity, power, pomp and state.</p> - -<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - -<p class="pc1">YELLOW.</p> - -<p class="pi8">Beware of yellow, ’tis a color<br /> -Speaks of misery, grief and dolor;<br /> -Of jealousy, and broken vows,<br /> -And many nameless, endless woes.</p> - -<p class="pc1">PINK.</p> - -<p class="pi8">A life of innocence and mirth<br /> -Will be thy portion here on earth;<br /> -With reason, then, you may rejoice,<br /> -The modest pink has been your choice.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c159a" - alt="" - title="" /> -</div> - -<p class="psh">FLOWER FATE.</p> - -<p><span class="smcap">Procure</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c159b" - alt="" - title="" /> -</div> - -<p class="psh">FATE BOX.</p> - -<p><span class="smcap">Write</span> 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.</p> - -<div class="figcenter"> - <img src="images/ill-159.jpg" width="300" height="179" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p> - -<h2 class="p4">The Puzzler.</h2> - -<div class="chapter"> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dt.jpg" width="93" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<p class="psh">CONUNDRUMS.</p> - -<p>1. <span class="smcap">If</span> 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?</p> - -<p>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?”</p> - -<p>3. Why had the children of Israel plenty of food in the -desert?</p> - -<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p> - -<p>4. Why were there plenty of sandwiches in the desert?</p> - -<p>5. Why is a short negro like a white man?</p> - -<p>6. Why do we all go to bed?</p> - -<p>7. Why is a room full of married people like an empty -room?</p> - -<p>8. Why is an angry person like a hard baked loaf of -bread?</p> - -<p>9. When is a door not a door?</p> - -<p>10. Why is a man in love like a lobster?</p> - -<p>11. Why is an avaricious man like one with a short -memory?</p> - -<p>12. Why is a pair of pantaloons too big every way like -two populous towns in France?</p> - -<p>13. You are requested to ask the following question in -three letters: “Are you the person?”</p> - -<p>14. What sea would make the best bedroom?</p> - -<p>15. Which are ladies most in favor of, tall or short men?</p> - -<p>16. Why is a speech, delivered on the deck of a man-of-war, -like a lady’s necklace?</p> - -<p>17. Why is the letter D like a sailor?</p> - -<p>18. Why is grass like a mouse?</p> - -<p>19. Why is a bald head like heaven?</p> - -<p>20. What two letters make a County in Massachusetts?</p> - -<p>21. Why is an angry man like a lady in full dress?</p> - -<p>22. Why is a good wife like the evil one?</p> - -<p>23. Why is a good story like a parish bell?</p> - -<p>24. Why were the brokers of 1857 like Pharaoh’s -daughter?</p> - -<p>25. Why is there but little difference between a light in -a cavern and a dance in the hall of a tavern?</p> - -<p>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?</p> - -<p><span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span></p> - -<p>27. Who was the fastest woman in the Bible?</p> - -<p>28. How did Adam and Eve leave Paradise?</p> - -<p>29. Why was not Noah a good mouser?</p> - -<p>30. Why are camel’s hair shawls in this country like a -stone deaf person?</p> - -<p>31. In what way would you ask a Doctor of Divinity to -play on a violin, in the shortest possible way?</p> - -<p>32. Why is an odd walker easiest recognized at his own -door?</p> - -<p>33. Why is the gray hair of a person who has had many -trials like a plated spoon?</p> - -<p>34. Why is a sword like lager beer?</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c162" - alt="" - title="" /> -</div> - -<p class="psh">ENIGMAS, CHARADES AND RIDDLES.</p> - -<table id="t05" summary="t05"> - - <tr> - <td class="tdr4">1.</td> - <td class="tdl3">My first is a common London cry,<br /> -My next an insect; now try<br /> -To guess my whole; a clue I’ll give, though slight,<br /> -It oft emits my first, a glorious sight.</td> - </tr> - - <tr> - <td class="tdr4">2.</td> - <td class="tdl3">We are twin brothers, and in vain,<br /> -We never meet but to complain.</td> - </tr> - - <tr> - <td class="tdr4">3.</td> - <td class="tdl3">My first implies to be able,<br /> -My second is a Christian name which may be read both ways,<br /> -My whole is in North America.</td> - </tr> - - <tr> - <td class="tdr4">4.</td> - <td class="tdl3">My first may be seen, and my second be heard;<br /> -My whole is the name of a sweet-singing bird.</td> - </tr> - - <tr> - <td class="tdr4">5.</td> - <td class="tdl3">By me men often upward go,<br /> -Behead—a reptile it will show.</td> - </tr> - - <tr> - <td class="tdr4">6.</td> - <td class="tdl3">A word of four letters I pray you to take;<br /> -If that word you follow, ’twill sure make you ache;<br /> -Just alter that word, and squeeze out one letter;<br /> -Then follow that word, and ’twill soon make you better.</td> - </tr> - - <tr> - <td class="tdr4">7.<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></td> - <td class="tdl3">My first in every shop is seen,<br /> -My next affords us light;<br /> -My total you will see, I ween,<br /> -When you’ve bade friends good-night.</td> - </tr> - - <tr> - <td class="tdr4">8.</td> - <td class="tdl3">My first sounds much like something true,<br /> -My second sounds much like a lie;<br /> -But what is spoken like my whole,<br /> -Let no one venture to deny.</td> - </tr> - - <tr> - <td class="tdr4">9.</td> - <td class="tdl3">To a word of consent add one half of a fright,<br /> -Next subjoin what you never behold in the night;<br /> -These rightly connected, you’ll quickly obtain<br /> -What millions have seen, but will ne’er see again.</td> - </tr> - - <tr> - <td class="tdr4">10.</td> - <td class="tdl3">Found long ago, yet made to-day,<br /> -Employed while others sleep;<br /> -What few would wish to give away,<br /> -And none would wish to keep.</td> - </tr> - - <tr> - <td class="tdr4">11.</td> - <td class="tdl3">Two hundred men and women sitting,<br /> -Talking, reading, sleeping, knitting;<br /> -Boston, Lynn, Salem, Andover,<br /> -In, out, under, over;<br /> -Tugging, hugging, dreaming, screaming,<br /> -Rain, or snow, or sunshine beaming;<br /> -Buzz and stir, smoke and hissing,<br /> -Often ends with hearty kissing.</td> - </tr> - - <tr> - <td class="tdr4">12.</td> - <td class="tdl3">My first is to hard-working horses oft spoken;<br /> -My second, of sudden surprise is a token;<br /> -My third is a place we shall do well to shun;<br /> -My fourth is a river, which in Scotland doth run;<br /> -My half is an order to quit, you will find;<br /> -My whole is an idol set up by mankind.</td> - </tr> - - <tr> - <td class="tdr4">13.</td> - <td class="tdl3">In every hedge my second is,<br /> -<span class="pi1">As well as every tree;</span><br /> -And when poor school-boys act amiss,<br /> -<span class="pi1">It often is their fee.</span><br /> -My first, likewise, is always wicked,<br /> -<span class="pi1">Yet ne’er committed sin;</span><br /> -My total for my first is fitted,<br /> -<span class="pi1">Composed of brass or tin.</span></td> - </tr> - - <tr> - <td class="tdr4">14.<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span></td> - <td class="tdl3">My first is a part of the day,<br /> -<span class="pi1">My second at feasts overflows;</span><br /> -In the cottage my whole is oft seen,<br /> -<span class="pi1">To measure old Time as he goes.</span></td> - </tr> - - <tr> - <td class="tdr4">15.</td> - <td class="tdl3">If you a musical instrument behead,<br /> -A sweeter-toned one will remain behind.</td> - </tr> - - <tr> - <td class="tdr4">16.</td> - <td class="tdl3">A shining wit pronounced of late<br /> -That every acting magistrate<br /> -Is water, in a freezing state.</td> - </tr> - - <tr> - <td class="tdr4">17.</td> - <td class="tdl3">In spring, I am gay in my attire;<br /> -In summer, I wear more clothing than in spring;<br /> -In winter, I am naked.</td> - </tr> - - <tr> - <td class="tdr4">18.</td> - <td class="tdl3">A word of three syllables, seek till you find,<br /> -That has in it the twenty-six letters combined.</td> - </tr> - -</table> - -<p class="p1">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?</p> - -<p class="p1">20. In Sir Walter Scott’s celebrated poem, “Marmion,” -are the following lines:—</p> - -<p class="pp4q p1">“Charge, Chester! charge! On, Stanley, on!<br /> -Were the last words of Marmion.”</p> - -<p class="p1">These lines suggested the following enigma:—</p> - -<p class="pp4 p1">Were I in noble Stanley’s place,<br /> -When Marmion urged him to the charge;<br /> -The word you then might all descry<br /> -Would bring a tear to every eye.<br /> -</p> - -<table id="t06" summary="t06"> - - <tr> - <td class="tdr4">21.</td> - <td class="tdl3">Round the house—in the corners,<br /> -Down the stairs—behind the door!</td> - </tr> - -</table> - -<p class="pn1">22. I’m reckoned only fifty, but for centuries have been,<br /> -In every age, in every clime, among the living seen;<br /> -Mute, though incessantly in talk, I give to silence sound;<br /> -And single ’tis my fate to be, whilst fast in wedlock bound.<br /> -The learned place me at their head, tho’ oft unknown to fame,<br /> -<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>And eloquence itself delights to sound abroad my name;<br /> -Though plunged in guilt, the tenant of a prison’s gloomy cell,<br /> -Yet, twice invoked, my potent aid concludes the wizard’s spell.<br /> -I ride upon the whirlwind—point the lightning thro’ the storm;<br /> -And mine the power, with but a word, another world to form;<br /> -I, too, alone, can kindle fame, and, what is very odd,<br /> -The veriest miser can prevent from making gold his god.<br /> -I usher in the morning, yet shun the face of day;<br /> -A stranger to the voice of mirth, yet join in every play.<br /> -The fabled liquid I, with which poor Tantalus was cursed;<br /> -For, in the proffered goblet seen, I mock the wretch’s thirst.<br /> -The rich secure me for their wealth, the cunning for their wiles;<br /> -And, ’reft of me, ah! changed how soon were beauty’s sweetest smiles!<br /> -I lurk within the brilliant glance that flashes from her eye,<br /> -Rest on her ruby lip, and in her laughing dimples lie;<br /> -I breathe the first soft sound of love, in the maiden’s willing ear,<br /> -And mingle in the rising blush that tells that love is dear;<br /> -I lead the laugh, I swell the glee amid the festal hall,<br /> -But a truant from the banquet, and a laggard in the ball.<br /> -First in the martial lists I ride, with mail, and lance and shield;<br /> -And, foremost of the line, I charge upon the battle-field.<br /> -And yet, though ranked among the bold, I scarcely join the fight;<br /> -When, foul disgrace to manhood’s race, I turn at once to flight.<br /> -From greatness thus removed, I make acquaintanceship with evil;<br /> -And, (in your ear a word) maintain alliance with the devil!</p> - -<table id="t07" summary="t07"> - - <tr> - <td class="tdr4">23.</td> - <td class="tdl3">We are little airy creatures,<br /> -All of different voice and natures;<br /> -One of us in glass is set,<br /> -One of us you’ll find in jet;<br /> -The other you may see in tin,<br /> -And the fourth a box within;<br /> -If the fifth you should pursue,<br /> -It can never fly from you.</td> - </tr> - - <tr> - <td class="tdr4">24.</td> - <td class="tdl3">My parent bred me to the sea,<br /> -I’ve been where never man could be;<br /> -Long time I’ve ranged the ocean wide,<br /> -And all the rage of storms defied;<br /> -The lowering clouds obscured the sky,<br /> -And foaming billows mounted high;<br /> -<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>Tho’ winds with almost fury blew,<br /> -And thunders roll’d, and lightnings flew;<br /> -Waves, winds and thunders all in vain<br /> -Opposed my passage thro’ the main.<br /> -At length, my parent died, and I<br /> -On shore would fain my fortune try;<br /> -I left the sea, grew fond of show,<br /> -Dress’d neat, and soon became a beau.<br /> -My body’s taper, tall and straight,<br /> -I chiefly dwell among the great;<br /> -Am like a bridegroom, clad in white,<br /> -And much the ladies I delight;<br /> -Attend when Chloe goes to rest,<br /> -She’s always by my presence blest;<br /> -No ghost or goblin can she fear,<br /> -Nor midnight hag, if I am near.<br /> -No more a seaman, bold and rough,<br /> -I shine at balls, am fond of snuff<br /> -To gay assemblies I repair,<br /> -And make a brilliant figure there.<br /> -At last, a burning fever came,<br /> -That quite dissolved my tender frame;<br /> -I wasted fast, light-headed grew;<br /> -Of all my friends, not one I knew;<br /> -Great drops of sweat ran down my side,<br /> -And I, alas! by inches died.</td> - </tr> - - <tr> - <td class="tdr4">25.</td> - <td class="tdl3">A word there is of plural number,<br /> -Foe to peace and tranquil slumber;<br /> -Add but to this the letter S,<br /> -And though strange the metamorphosis,<br /> -There soon will meet your wond’ring view<br /> -One syllable transposed to two;<br /> -Plural is plural now no more,<br /> -And sweet what bitter was before.</td> - </tr> - - <tr> - <td class="tdr4">26.</td> - <td class="tdl3">My first two letters make a man,<br /> -My three first a woman;<br /> -My four first letters make a great man<br /> -My whole a great woman.</td> - </tr> - - <tr> - <td class="tdr4">27.</td> - <td class="tdl3">My first is myself, a very short word;<br /> -My second’s a puppet, and you are my third.</td> - </tr> - - <tr> - <td class="tdr4">28.<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></td> - <td class="tdl3">Cut off my head, singular I am;<br /> -<span class="pi1">Cut off my tail, and plural I appear;</span><br /> -Cut off my head and tail, and you will find<br /> -<span class="pi1">That though my body’s left, yet nought is there.</span><br /> -What is my head cut off? a sounding sea;<br /> -<span class="pi1">What is my tail? a mighty river,</span><br /> -Within whose peaceful depths my whole doth play,<br /> -<span class="pi1">And parent of sweet sounds is mute forever.</span></td> - </tr> - - <tr> - <td class="tdr4">29.</td> - <td class="tdl3">We left our little ones at home,<br /> -<span class="pi1">And whither went we did not know;</span><br /> -We for the church’s sake did roam,<br /> -<span class="pi1">And lost our lives in doing so.</span><br /> -We went right onward on the road,<br /> -<span class="pi1">With all the wicked full in view;</span><br /> -We lived to man, we died to God,<br /> -<span class="pi1">Yet nothing of religion knew.</span></td> - </tr> - - <tr> - <td class="tdr4">30.</td> - <td class="tdl3">My first is a famous watering place in England,<br /> -My second is a city where a mighty queen did dwell;<br /> -My whole is the name of a queen famous in ancient history.</td> - </tr> - - <tr> - <td class="tdr4">31.</td> - <td class="tdl3">My first gives light to man;<br /> -My second you’ll find in woman;<br /> -My third belongs to woman;<br /> -My whole is a Christian name.</td> - </tr> - - <tr> - <td class="tdr4">32.</td> - <td class="tdl3"><span class="pi1">To run and draw,</span><br /> -<span class="pi1">In peace or war,</span><br /> -My first have long been used;<br /> -<span class="pi1">And pleased or vex’d,</span><br /> -<span class="pi1">Have, by my next,</span><br /> -Been petted and abused:<br /> -<span class="pi1">Upon the seas,</span><br /> -<span class="pi1">In many a breeze,</span><br /> -My third may oft be seen;<br /> -<span class="pi1">My whole is an art</span><br /> -<span class="pi1">Known in each part</span><br /> -Where my two first have been.</td> - </tr> - - <tr> - <td class="tdr4">33.</td> - <td class="tdl3">My whole is that which lightning does,<br /> -<span class="pi1">Beheaded, that which horses fear;</span><br /> -Behead again, and lo! a tree,<br /> -<span class="pi1">A forest tree, will then appear.</span></td> - </tr> - -</table> - -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p> - -<p class="psh font1">An Enigmatical Dinner.</p> - -<div class="figcenter"> - <img src="images/ill-168.jpg" width="400" height="577" - alt="" - title="" /> -</div> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - -<p class="psh font1">Dessert.</p> - -<div class="figcenter"> - <img src="images/ill-169.jpg" width="400" height="565" - alt="" - title="" /> -</div> - -<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c170" - alt="" - title="" /> -</div> - -<p class="psh">PARADOXES AND PUZZLES.</p> - -<p>1. <span class="smcap">A captain</span> 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?</p> - -<p>2. <i>The Wolf, the Goat and the Cabbages.</i>—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?</p> - -<p>3. <i>The impossibility made possible.</i>—Place three pieces -of money on the table and desire some person to take away -the piece from the centre without touching it.</p> - -<p>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 <i>won</i>. How many did the winner -eat?</p> - -<p>5. What is the difference between six dozen dozen and a -half a dozen dozen?</p> - -<table id="t08" summary="t08"> - - <tr> - <td class="tdr4">6.</td> - <td class="tdl3">Four people sat down one evening to play;<br /> -They played all that eve, and parted next day.<br /> -Could you think, when you’re told, as thus they all sat,<br /> -No other played with them, nor was there one bet;<br /> -Yet, when they rose up, each gained a guinea,<br /> -Tho’ none of them lost to the amount of a penny!</td> - </tr> - -</table> - -<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p> - -<p>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?</p> - -<p>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?</p> - -<div class="figcenter"> - <img src="images/ill-171.jpg" width="400" height="465" - alt="" - title="" /> -</div> - -<p><span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span></p> - -<p>9. Place eight counters or coins, as in the diagram below:</p> - -<div class="figcenter"> - <img src="images/ill-172a.jpg" width="400" height="58" - alt="" - title="" /> -</div> - -<p>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.</p> - -<div class="floatleft"> - <img src="images/ill-172b.jpg" width="150" height="149" - alt="" - title="" /> -</div> - -<p>10. <i>The wine Merchant and his Clerk.</i>—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?</p> - -<table id="t09" summary="t09"> - - <tr> - <td class="tdl4">11.</td> - <td class="tdr3"><div class="figcenter"> - <img src="images/ill-172c.jpg" width="200" height="161" - alt="" - title="" /> -</div></td> - <td class="tdc3">man’s family.</td> - </tr> - -</table> - -<div class="floatleft"> - <img src="images/ill-172d.jpg" width="200" height="133" - alt="" - title="" /> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c173" - alt="" - title="" /> -</div> - -<p class="psh">ARITHMETICAL PROBLEMS.</p> - -<p>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?</p> - -<p>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?</p> - -<p>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?</p> - -<p>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?</p> - -<p>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?</p> - -<p>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?</p> - -<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p> - -<p>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?</p> - -<p class="psh font1">“The Two Travelers.”</p> - -<table id="t10" summary="t10"> - - <tr> - <td class="tdr4">8.</td> - <td class="tdl3">Two travelers trudged along the road together,<br /> -Talking, as Yankees do, about the weather;<br /> -When, lo! beside their path the foremost spies<br /> -Three casks, and loud exclaims, “A prize, a prize!”<br /> -One large, two small, but all of various size.<br /> -This way and that they gazed, and all around,<br /> -Each wondering if an owner might be found.<br /> -But not a soul was there—the coast was clear—<br /> -So to the barrels they at once drew near;<br /> -And both agree, whatever may be there,<br /> -In friendly partnership they’ll fairly share.<br /> -Two they found empty, but the other full,<br /> -And straightway from his pocket one doth pull<br /> -A large clasp-knife; a heavy stone lay handy,<br /> -And thus in time they found their prize was brandy.<br /> -’Tis tasted and approved; their lips they smack,<br /> -And each pronounces ’tis the famous Cognac.<br /> -<span class="pi1q">“Wont we have many a jolly night, my boy?</span><br /> -May no ill luck our present hopes destroy!”<br /> -’Twas fortunate one knew the mathematics,<br /> -And had a smattering of hydrostatics;<br /> -Then measured he the casks, and said, “I see<br /> -This is eight gallons—those are five, and three.”<br /> -The question then was how they might divide<br /> -The brandy, so that each should be supplied<br /> -With just four gallons, neither less nor more,<br /> -With eight, and five and three, they puzzle sore;<br /> -Filled up the five, filled up the three, in vain.<br /> -<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>At length a happy thought came o’er the brain<br /> -Of one; ’twas done, and each went home content,<br /> -And their good dames declared ’twas excellent.<br /> -With those three casks they made division true;<br /> -I found the puzzle out; say, friend, can you?</td> -</tr> - -</table> - -<table id="t11" summary="t11"> - - <tr> - <td class="tdr4">9.</td> - <td class="tdl3"><span class="pi1q">“To five and five and fifty-five</span><br /> -<span class="pi1">The first of letters add;</span><br /> -It is a thing that pleased a king,<br /> -<span class="pi1">And made a wise man mad.”</span></td> - </tr> - - <tr> - <td class="tdr4">10.</td> - <td class="tdl3"><span class="pi1q">“The sum of four figures in value will be</span><br /> -<span class="pi1">Above seven thousand nine hundred and three;</span><br /> -But when they are halved you’ll find, very fair,<br /> -<span class="pi1">The sum will be nothing, in truth, I declare.”</span></td> - </tr> - -</table> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c175" - alt="" - title="" /> -</div> - -<p class="psh">ANSWERS TO CONUNDRUMS.</p> - -<p>1. <span class="smcap">Goliah.</span></p> - -<p>2. He was his own son.</p> - -<p>3. Because of the sand which is (sandwiches) there.</p> - -<p>4. Because the children of Ham were bred (bread) and -mustered (mustard) there.</p> - -<p>5. He is not at all black (a tall black).</p> - -<p>6. The bed will not come to us.</p> - -<p>7. There is not a single person in it.</p> - -<p>8. He is crusty.</p> - -<p>9. When it is ajar.</p> - -<p>10. He had a lady in his head.</p> - -<p>11. He is always forgetting (for-getting).</p> - -<p>12. Because they are too long and too loose (Toulon and -Toolouse).</p> - -<p>13. R U E (are you he).</p> - -<p>14. Adriatic (a dry attic).</p> - -<p>15. Hymen.</p> - -<p>16. It is a deck oration (decoration).</p> - -<p>17. It follows the sea (C).</p> - -<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p> - -<p>18. The cat’ll eat it (the cattle eat it).</p> - -<p>19. There is no parting there.</p> - -<p>20. S X (Essex).</p> - -<p>21. He is ruffled.</p> - -<p>22. She sows tares while the husbandman sleeps.</p> - -<p>23. It is often told (tolled).</p> - -<p>24. Because they found little profit (prophet) in the -rushes on the banks.</p> - -<p>25. Because one is a taper in a cavern, the other a caper -in a tavern.</p> - -<p>26. Jeroboam, Samuel, Benjamin (Jerry beau ’em; Sam -you will; Ben jam in).</p> - -<p>27. Herodias’ daughter, because she got ahead of John -the Baptist on a charger.</p> - -<p>28. They were snaked out.</p> - -<p>29. It took him forty days and nights to find Ara-rat.</p> - -<p>30. Because we can not make them here (hear).</p> - -<p>31. Fiddle-de-dee (Fiddle D D).</p> - -<p>32. Because he is best known by his gait (gate).</p> - -<p>33. “Its silvered o’er with care.”</p> - -<p>34. Because it cannot be used till it is drawn.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c176" - alt="" - title="" /> -</div> - -<p class="psh">ANSWERS TO ENIGMAS AND CHARADES.</p> - -<p>1. Fire-fly.</p> - -<p>2. Mur-mur.</p> - -<p>3. Canada.</p> - -<p>4. Sky-lark.</p> - -<p>5. Ladder—adder.</p> - -<p>6. Fast—Feast.</p> - -<p>7. Counter-pane.</p> - -<p>8. Truly.</p> - -<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> - -<p>9. Yesterday.</p> - -<p>10. A bed.</p> - -<p>11. Railway train.</p> - -<p>12. Gold.</p> - -<p>13. Candle-stick.</p> - -<p>14. Hour-glass.</p> - -<p>15. Flute.</p> - -<p>16. Justice, (just-ice.)</p> - -<p>17. A tree.</p> - -<p>18. Alphabet.</p> - -<p>19. The animal sent was an antelope, (aunt elope!) the -fruit returned was a cantelope (can’t elope.)</p> - -<p>20. On I on, (onion.)</p> - -<p>21. Broom.</p> - -<p>22. The letter L.</p> - -<p>23. The vowels.</p> - -<p>24. A spermaceti candle.</p> - -<p>25. Cares—s.</p> - -<p>26. Heroine.</p> - -<p>27. Idol.</p> - -<p>28. Cod.</p> - -<p>29. The kine that bore the ark. 1 Samuel, vi., 10, 12, 14.</p> - -<p>30. Bathsheba.</p> - -<p>31. Solomon.</p> - -<p>32. Horse-man-ship.</p> - -<p>33. Flash.</p> - -<p class="psh font1">Answer to Enigmatical Dinner.</p> - -<p>1. Turkey.</p> - -<p>2. Parsnips.</p> - -<p>3. Hare, (hair.)</p> - -<p>4. Dandelion, (dandy-lion.)</p> - -<p>5. Lamb.</p> - -<p>6. Mint-sauce.</p> - -<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span></p> - -<p>7. Tongue.</p> - -<p>8. Mangoes.</p> - -<p>9. Potatoes.</p> - -<p>10. Ham.</p> - -<p>11. Cabbage.</p> - -<p class="psh font1">Dessert.</p> - -<p>1. Ice cream.</p> - -<p>2. Maderia, (wine.)</p> - -<p>3. Whips.</p> - -<p>4. Champagne, (sham-pain.)</p> - -<p>5. Punch.</p> - -<p>6. Brandy.</p> - -<p>7. Pine-apples.</p> - -<p>8. Hock.</p> - -<p>9. Pears.</p> - -<p>10. Trifle.</p> - -<p>11. Currants.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c178" - alt="" - title="" /> -</div> - -<p class="psh">ANSWERS TO PARADOXES AND -PUZZLES.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span></p> - -<p>4. One hundred.</p> - -<p>5. 792; six dozen dozen being 864, and a half a dozen -dozen 72.</p> - -<table id="t12" summary="t12"> - - <tr> - <td class="tdr4">6.</td> - <td class="tdl3">Four merry fiddlers played all night<br /> -To many a dancing ninny;<br /> -And the next morning went away,<br /> -And each received a guinea.</td> - </tr> - - <tr> - <td class="tdr4">7.</td> - <td class="tdl3">Persevere ye perfect men,<br /> -Ever keep these precepts ten.</td> - </tr> - -</table> - -<p class="p1">It was discovered that by using the vowel E this couplet -was formed.</p> - -<p>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.</p> - -<p>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.</p> - -<p>10. The clerk arranged them thus:</p> - -<div class="figcenter"> - <img src="images/ill-179.jpg" width="400" height="102" - alt="" - title="" /> -</div> - -<p>11. Be above meddling in a man’s family.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c180" - alt="" - title="" /> -</div> - -<p class="psh">ANSWERS TO ARITHMETICAL PROBLEMS.</p> - -<p>1. The man’s age was 69 years and 12 weeks. The woman’s, -30 years and 40 weeks.</p> - -<p>2. 90 yards.</p> - -<p>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.</p> - -<p>4. 7 × 6 × 5 × 4 × 3 × 2 × 1, result is 5,040, the number -of changes.</p> - -<p>5. 15 eggs.</p> - -<p>6. A had seven and B had five sheep.</p> - -<p>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.</p> - -<p>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.</p> - -<p>9. This puzzle has as yet no answer. I trust some of the<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-181.jpg" width="300" height="188" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Games for Old and Young.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/db.jpg" width="86" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c183a" - alt="" - title="" /> -</div> - -<p class="psh">SHADOW BUFF.</p> - -<p><span class="smcap">Shadow</span> 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.”</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c183b" - alt="" - title="" /> -</div> - -<p class="psh">BLIND MAN’S WAND.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p>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.<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c184a" - alt="" - title="" /> -</div> - -<p class="psh">CHINESE SHADOWS.</p> - -<p><span class="smcap">This</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c184b" - alt="" - title="" /> -</div> - -<p class="psh">“THE COMICAL CONCERT.”</p> - -<p><span class="smcap">This</span> game, when well played, is extremely diverting. -The players are arranged as an orchestra, and each one undertakes<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -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:</p> - -<p class="pp8 p1">Rub-a-dub, goes the drum;<br /> -Twang, twang, goes the harp<br /> -Toot, too, hoo, goes the horn;<br /> -Tweedle-dee, tweedle-dee, goes the violin, &c.</p> - -<p class="p1">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<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c186a" - alt="" - title="" /> -</div> - -<p class="psh">THE MENAGERIE.</p> - -<p><span class="smcap">This</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c186b" - alt="" - title="" /> -</div> - -<p class="psh">QUAKER MEETING.</p> - -<p><span class="smcap">Those</span> 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<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c187" - alt="" - title="" /> -</div> - -<p class="psh">RESEMBLANCES.</p> - -<p><span class="smcap">One</span> 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:</p> - -<p><i>Mary.</i>—Tell me, Alice, what does my thought resemble?</p> - -<p><i>Alice.</i>—A windmill.</p> - -<p><i>Mary.</i>—I thought of Rogers’ poetry; what resemblance is -there between his poems and a windmill?</p> - -<p><i>Alice.</i>—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.”</p> - -<p><i>Mary.</i>—That is right; it is now your turn, Annie. What -does my thought resemble?</p> - -<p><i>Annie.</i>—A chandelier.</p> - -<p><i>Mary.</i>—I thought of a partridge; how does a partridge resemble -a chandelier?</p> - -<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p> - -<p><i>Annie.</i>—Dear me, I’m sure I cannot tell! I will give you -my pawn.</p> - -<p>This play, by the strange inconsistencies which it authorizes, -exercises the imagination, and brings into play a good -deal of wit.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c188a" - alt="" - title="" /> -</div> - -<p class="psh">PUT IN A WORD.</p> - -<p><span class="smcap">Some</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c188b" - alt="" - title="" /> -</div> - -<p class="psh">PROVERBS.</p> - -<p><span class="smcap">The</span> 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<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span> -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.”</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c189" - alt="" - title="" /> -</div> - -<p class="psh">GAME OF CHARACTERS.</p> - -<p><span class="smcap">A person</span> 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.</p> - -<p><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c190a" - alt="" - title="" /> -</div> - -<p class="psh">LAWYER.</p> - -<p><span class="smcap">All</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c190b" - alt="" - title="" /> -</div> - -<p class="psh">CONSEQUENCES.</p> - -<p><span class="smcap">This</span> 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<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c191" - alt="" - title="" /> -</div> - -<p class="psh">FOX AND GEESE.</p> - -<p><span class="smcap">This</span> 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:—</p> - -<div class="figcenter"> - <img src="images/ill-191.jpg" width="400" height="297" - alt="" - title="" /> -</div> - -<p>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<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c192" - alt="" - title="" /> -</div> - -<p class="psh">STAGE-COACH.</p> - -<p><span class="smcap">All</span> 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<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c193a" - alt="" - title="" /> -</div> - -<p class="psh">HUNT THE FOX.</p> - -<p><span class="smcap">Take</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c193b" - alt="" - title="" /> -</div> - -<p class="psh">SNEEZING.</p> - -<p><span class="smcap">All</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c193c" - alt="" - title="" /> -</div> - -<p class="psh">THE READY WRITER.</p> - -<p><span class="smcap">This</span> 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<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span> -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:</p> - -<p class="pp6 p1">Avoid avarice, as an asp.<br /> -Britons! be bold! be brave!<br /> -Constant crime causes careless consciences.<br /> -Do defer doing dirty deeds.<br /> -Even every engineer engaged escaped.<br /> -Fawning favorites fear fortune’s freaks.<br /> -God’s goodness gives great gifts.<br /> -Happy homes have happy hearts.<br /> -It is instruction I intend.<br /> -Keep kind, kinsfolk! keep kind!<br /> -Jockeys joyfully joking jaded jackasses.<br /> -Little lambs love long lanes.<br /> -Many men make much money.<br /> -Name nine noisy noblemen now.<br /> -Ostentation often operates on opulence.<br /> -Perfect piety produces pretty practices.<br /> -Quit, quibbling quacks, quarreling, quickly.<br /> -Round rough rocks ragged rascals run.<br /> -Such stings sting so sharply.<br /> -Try to turn topsy-turvy.<br /> -Up! up! ungrateful, unjust usurper!<br /> -Verily, verily, vice vilifies virtue.<br /> -Willing wives will wash well.<br /> -Yes, yet you yawned yesterday.<br /> -Zeal! zeal! zealous zary, zeal!</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c194" - alt="" - title="" /> -</div> - -<p class="psh">RHYMING WORDS IN PANTOMIME.</p> - -<p><span class="smcap">All</span> 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<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span> -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.</p> - -<p>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.</p> - -<table id="t13" summary="t13"> - - <tr> - <td class="tdl2">Sun.<br />Dun.<br />Pun.<br />Run.<br /> -Gun.<span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span><br />Fun.<br />Spun.<br />Bun.</td> - <td class="tdl2">Hair.<br />Hare.<br />Pair.<br />Pear.<br /> -Bear.<br />Fair.<br />Prayer.<br />Flare.</td> - <td class="tdl2">Map.<br />Cap.<br />Lap.<br />Rap.<br /> -Snap.<br />Trap.<br />Flap.<br />Clap.</td> - <td class="tdl2">Hill.<br />Kill.<br />Mill.<br />Fill.<br /> -Still.<br />Rill.<br />Sill.<br />Bill.</td> - <td class="tdl2">Sheep.<br />Deep.<br />Weep.<br />Keep.<br /> -Creep.<br />Reap.<br />Cheap.<br />Leap.</td> - </tr> - -</table> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c196" - alt="" - title="" /> -</div> - -<p class="psh">AN EXHIBITION OF THE MODERN GIANT.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p>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.</p> - -<p>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.”</p> - -<p><span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c197" - alt="" - title="" /> -</div> - -<p class="psh">THE SHADOW AT COMMAND.</p> - -<p><span class="smcap">This</span> 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<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c198" - alt="" - title="" /> -</div> - -<p class="psh">THE WIZARD OF THE EAST.</p> - -<p><span class="smcap">The</span> principal performer attires himself in a robe, a paper -cap, spectacles, and other appointments necessary to the outfit<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span> -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 <i>the one who spoke -last</i> (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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c199" - alt="" - title="" /> -</div> - -<p class="psh">TO BRING A PERSON DOWN UPON A -FEATHER</p> - -<p><span class="smcap">This</span> is a practical pun:—You desire any one to stand on -a chair or table, and you tell him that notwithstanding his<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c200a" - alt="" - title="" /> -</div> - -<p class="psh">THE APPARENT IMPOSSIBILITY.</p> - -<p><span class="smcap">You</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c200b" - alt="" - title="" /> -</div> - -<p class="psh">THE TURNED HEAD.</p> - -<p><span class="smcap">Let</span> 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.</p> - -<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c201a" - alt="" - title="" /> -</div> - -<p class="psh">STATUARY.</p> - -<p><span class="smcap">Statuary</span>, 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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c201b" - alt="" - title="" /> -</div> - -<p class="psh">HE CAN DO LITTLE WHO CAN’T DO -THIS.</p> - -<p><span class="smcap">Arrange</span> 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.</p> - -<p><span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c202a" - alt="" - title="" /> -</div> - -<p class="psh">BROTHER! I AM BOBBED!</p> - -<p><span class="smcap">A person</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c202b" - alt="" - title="" /> -</div> - -<p class="psh">HOW DO YOU LIKE IT? WHEN DO YOU -LIKE IT? AND WHERE WILL YOU -PUT IT?</p> - -<p><span class="smcap">The</span> 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,<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>” -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c203" - alt="" - title="" /> -</div> - -<p class="psh">THE BIRD-CATCHER.</p> - -<p><span class="smcap">All</span> 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<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span> -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:—</p> - -<p>The Cock—“Cook a doodle doo.”</p> - -<p>The Hen—“Cut, cut, cut, ca da cut.”</p> - -<p>The Chicken—“Peep, peep, peep.”</p> - -<p>The Turkey—“Gobble, obble obble.”</p> - -<p>The Duck—“Quack, quack, quack.”</p> - -<p>The Canary—“Pretty Dick.”</p> - -<p>The Magpie—“Jack wants his dinner.”</p> - -<p>The Sparrow—“Chip, chip.”</p> - -<p>The Whippowill—“Whip po will.”</p> - -<p>The Parrot—“Pretty Poll; Poll wants cracker.”</p> - -<p>The Curlew—“Pe-wit, pe-wit.”</p> - -<p>The Crow—“Caw, caw, caw.”</p> - -<p>The Goose—“Hiss—s—s.”</p> - -<p>The Raven—“Cro-a-ak.”</p> - -<p>The Snowbird—“Chick-adee-dee.”</p> - -<p>The Owl—“To-wit, to-wit, to-whoo.”</p> - -<p>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<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span> -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:—</p> - -<p>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<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> -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.]</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c206a" - alt="" - title="" /> -</div> - -<p class="psh">QUESTIONS AND ANSWERS.</p> - -<p><span class="smcap">All</span> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c206b" - alt="" - title="" /> -</div> - -<p class="psh">THE MAGIC WAND.</p> - -<p><span class="smcap">The</span> 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<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c207" - alt="" - title="" /> -</div> - -<p class="psh">THE RHYMING GAME.</p> - -<p><span class="smcap">Where</span> 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<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c208" - alt="" - title="" /> -</div> - -<p class="psh">THE GAME OF TWENTY QUESTIONS.</p> - -<p><span class="smcap">This</span> 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:</p> - -<p>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<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span> -inference from the questions and answers, not of signs -passing, or juggling of any description.</p> - -<p>Mr. Pitt is said to have once succeeded in this game, when -the subject was <i>The stone upon which Walworth, Lord Mayor -of London, stood, when he struck down Wat. Tyler, in -Richard II.’s time</i>!</p> - -<p>In a game in which Mr. Canning was the questioner, the -questions and answers were as follows:—</p> - -<p><i>First.</i>—Does what you have thought of belong to the -animal or vegetable kingdom?</p> - -<p><i>Answer.</i>—To the vegetable.</p> - -<p><i>Second.</i>—Is it manufactured, or unmanufactured?</p> - -<p><i>Answer.</i>—Manufactured.</p> - -<p><i>Third.</i>—Is it a solid, or a liquid?</p> - -<p><i>Answer.</i>—A solid.</p> - -<p><i>Fourth.</i>—Is it a thing entire in itself, or in parts?</p> - -<p><i>Answer.</i>—Entire.</p> - -<p><i>Fifth.</i>—Is it for private use, or public?</p> - -<p><i>Answer.</i>—Public.</p> - -<p><i>Sixth.</i>—Does it exist in England, or out of it?</p> - -<p><i>Answer.</i>—In England.</p> - -<p><i>Seventh.</i>—Is it single, or are there others of the same -kind?</p> - -<p><i>Answer.</i>—Single.</p> - -<p><i>Eighth.</i>—Is it historical, or only existent at present?</p> - -<p><i>Answer.</i>—Both.</p> - -<p><i>Ninth.</i>—For ornament, or use?</p> - -<p><i>Answer.</i>—Both.</p> - -<p><i>Tenth.</i>—Has it any connection with the person of the -king?</p> - -<p><i>Answer.</i>—No.</p> - -<p><i>Eleventh.</i>—Is it carried, or does it support itself?</p> - -<p><i>Answer.</i>—The former.</p> - -<p><i>Twelfth.</i>—Does it pass by succession? [Not answered,<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span> -on account of uncertainty; but, by agreement, the question -was counted one in the progress of the game.]</p> - -<p><i>Thirteenth.</i>—Was it used at the coronation?</p> - -<p><i>Answer.</i>—Yes.</p> - -<p><i>Fourteenth.</i>—In the hall or abbey?</p> - -<p><i>Answer.</i>—Probably, in both; certainly in the abbey.</p> - -<p><i>Fifteenth.</i>—Does it belong specially to the coronation, or -is it used at other times?</p> - -<p><i>Answer.</i>—It is used at other times.</p> - -<p><i>Sixteenth.</i>—Is it exclusively of a vegetable nature, or is -it not in some parts a compound of a vegetable and a mineral?</p> - -<p><i>Answer.</i>—Exclusively of a vegetable nature.</p> - -<p><i>Seventeenth.</i>—What is its shape? [Objected to, as too -particular; withdrawn by the questioner and therefore not -counted.]</p> - -<p><i>Seventeenth, repeated.</i>—Is it decorated, or simple? [Objected -to, but objection not sustained.]</p> - -<p><i>Answer.</i>—Simple.</p> - -<p><i>Eighteenth.</i>—Is it used at the ordinary ceremonial of the -House of Commons or House of Lords?</p> - -<p><i>Answer.</i>—No.</p> - -<p><i>Nineteenth.</i>—Is it ever used by either House?</p> - -<p><i>Answer.</i>—No.</p> - -<p><i>Twentieth.</i>—Is it generally stationary, or movable?</p> - -<p><i>Answer.</i>—Movable.</p> - -<p>Answer, guessed correctly at the end of the twentieth question: -“<i>The wand of the Lord High Steward</i>.”</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c210" - alt="" - title="" /> -</div> - -<p class="psh">GAME OF PHOTOGRAPH.</p> - -<p><span class="smcap">One</span> 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<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span> -questions are put in the order here given, and the answers -must be numbered to correspond with the questions.</p> - -<p class="psh font1">Questions.</p> - -<div class="limit3"> -<p>1. What virtue do you most admire?</p> - -<p>2. What vice do you most abhor?</p> - -<p>3. Who is your favorite prose author?</p> - -<p>4. Who is your favorite poet?</p> - -<p>5. Who is your favorite poetess?</p> - -<p>6. What book do you prefer?</p> - -<p>7. What is your favorite amusement?</p> - -<p>8. What is your favorite economy?</p> - -<p>9. What is your favorite extravagance?</p> - -<p>10. What is your favorite color?</p> - -<p>11. What is your favorite hour?</p> - -<p>12. What is your favorite art?</p> - -<p>13. What is your favorite picture?</p> - -<p>14. What is your favorite statue?</p> - -<p>15. What is your favorite season?</p> - -<p>16. What is your favorite flower?</p> - -<p>17. What is your favorite aim of life?</p> - -<p>18. Who is your favorite hero?</p> - -<p>19. Who is your favorite heroine?</p> - -<p>20. Which is your favorite summer resort?</p> - -<p>21. What is your favorite weakness?</p> - -<p>22. What is the sweetest word in the world?</p> - -<p>23. What is the saddest word?</p> - -<p>24. What is your favorite man’s name?</p> - -<p>25. What is your favorite woman’s name?</p> - -<p>26. What is your prevailing characteristic?</p> - -<p>27. What is your favorite piece of music?</p> - -<p>28. What is your favorite occupation?</p> - -<p>29. Which do you prefer, wealth or a competency?</p> - -<p>30. Which is your favorite animal?</p> -</div> - -<p><span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span></p> - -<p class="p1">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.</p> - - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c212" - alt="" - title="" /> -</div> - -<p class="psh">YORK AND LANCASTER, OR THE WAR -OF THE ROSES.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c214a" - alt="" - title="" /> -</div> - -<p class="psh">POST-OFFICE.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c214b" - alt="" - title="" /> -</div> - -<p class="psh">HANDWRITING UPON THE WALL.</p> - -<p><span class="smcap">Cut</span> 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.</p> - -<p><span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c215" - alt="" - title="" /> -</div> - -<p class="psh">GRACES.</p> - -<p><span class="smcap">This</span> 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 <i>graceful</i>. It is of German origin, and can be played -in the open air, or in any hall or long room.</p> - -<div class="figcenter"> - <img src="images/ill-215.jpg" width="400" height="258" - alt="" - title="" /> -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c216" - alt="" - title="" /> -</div> - -<p class="psh">FAMILY NEWSPAPER.</p> - -<p><span class="smcap">This</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/ill-217.jpg" width="250" height="202" - alt="" - title="" /> -</div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Games of Memory.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/df.jpg" width="91" height="200" alt=""/> -</div> -<p class="dc13">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.”</p> - -<p class="pp6q p1">“Peter Piper picked a peck of pickled peppers,<br /> -A peck of pickled peppers Peter Piper picked;<br /> -If Peter Piper picked a peck of pickled peppers,<br /> -Where is the peck of pickled peppers Peter Piper picked?”</p> - -<p class="pp8q p1">“When a twister twisting would twist him a twist,<br /> -For twisting his twist three twists he will twist;<br /> -But if one of his twists untwists from the twist,<br /> -The twist untwisting untwists the twist.”</p> - -<p><span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span></p> - -<p class="pp8q p1">“Didon dina, dit on, du dos d’un dodu dindon.”</p> - -<p class="pp6q p1">“Robert Rowley rolled a round roll round;<br /> -A round roll Robert Rowley rolled round;<br /> -Where rolled the round roll Robert Rowley rolled round?”</p> - -<p class="p1">A <span class="smcap">Frenchman</span> having taken herb tea for a cough, his -neighbor asked him, “Ton Thè, t’a t’il otè ta toux?”</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c219a" - alt="" - title="" /> -</div> - -<p class="psh">“LE JARDIN DE MA TANTE.”</p> - -<p><span class="smcap">Le</span> 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!</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c219b" - alt="" - title="" /> -</div> - -<p class="psh">A GOOD FAT HEN.</p> - -<p>1. <span class="smcap">A good</span> fat hen.</p> - -<p>2. Two ducks and one good fat hen.</p> - -<p>3. Three squalling wild geese, two ducks, and one good -fat hen.</p> - -<p><span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span></p> - -<p>4. Four plump partridges, three squalling wild geese, -two ducks, and one good fat hen.</p> - -<p>5. Five hundred Limerick oysters, four plump partridges, -three squalling wild geese, two ducks, and one good fat hen.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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</p> - -<p>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<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span> -pairs of Don Alphonso’s tweezers, five hundred Limerick -oysters, four plump partridges, three squalling wild geese, -two ducks, and one good fat hen.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-221.jpg" width="250" height="285" - alt="" - title="" /> - <div class="caption"><p class="pc250">“CAN’T REMEMBER.”</p> -</div></div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Parlor Games.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/ds.jpg" width="86" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p class="psh font1">Materials.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/ill-223.jpg" width="400" height="321" - alt="" - title="" /> -</div> - -<p class="psh font1">Vocabulary of Terms.</p> - -<p><span class="smcap">Target.</span>—The movable hub at which the squails are played.</p> - -<p><span class="smcap">Gauge.</span>—The measure.</p> - -<p><span class="smcap">Line of Demarcation.</span>—An imaginary line round the -table, at the distance of the length of the gauge from the -edge.</p> - -<p><span class="smcap">Out.</span>—A squail struck over the line of demarcation on -the opposite side from the player striking it, is “out.”</p> - -<p><span class="smcap">To Rout.</span>—To strike a collection of enemy’s squails so -as to scatter them about.</p> - -<p><span class="smcap">To Blockade.</span>—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.</p> - -<p><span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span></p> - -<p><span class="smcap">To Cut Out.</span>—To leave one’s squails between the target, -a hostile squail lying near it.</p> - -<p class="psh font1">Rules.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The game can consist of any number agreed upon by the -players. Five is a short game, and eleven is a long one.</p> - -<p>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.”</p> - -<p><span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c226" - alt="" - title="" /> -</div> - -<p class="psh">PARLOR OR CARPET BOWLS.</p> - -<p><span class="smcap">The</span> 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.</p> - -<div class="figcenter"> - <img src="images/ill-226.jpg" width="400" height="280" - alt="" - title="" /> -</div> - -<p>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<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span> -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 <i>three</i> -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 <i>commencement</i> 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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c227" - alt="" - title="" /> -</div> - -<p class="psh">THE UNION GAME, OR RED, WHITE AND -BLUE.</p> - -<p><span class="smcap">This</span> 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<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="psh font1">How the Game is to be Played.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p> - -<p class="psh font1">Rules of the Game.</p> - -<p>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.</p> - -<p>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.</p> - -<p>3. If a player only throws down the blue and white cubes -without moving the red from its square, he counts 15.</p> - -<p>4. If a player only knocks off the blue cube, he counts 10.</p> - -<p>5. If a player only moves the three cubes, he counts 5.</p> - -<p>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.</p> - -<p>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.</p> - -<p>8. If in rolling the three balls at the cubes he misses -them every time, he loses 5 from his score.</p> - -<p>One of the company should be provided with pencil and -paper and keep an accurate account of each player’s score.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c229" - alt="" - title="" /> -</div> - -<p class="psh">ZOETROPE, OR WHEEL OF LIFE.</p> - -<p><span class="smcap">The</span> Zoetrope is a newly invented toy. It presents a series -of striking optical delusions, and is constructed in part on the<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/ill-230.jpg" width="400" height="319" - alt="" - title="" /> -</div> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c230" - alt="" - title="" /> -</div> - -<p class="psh">GRECIAN GAMES.</p> - -<p><span class="smcap">In</span> reading an account of the toys, sports and pastimes of -the ancient Greeks, one is surprised at their resemblance to<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span> -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.</p> - -<p>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.”</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c231" - alt="" - title="" /> -</div> - -<p class="psh">JACK-STRAWS.</p> - -<p><span class="smcap">Jack-straws</span> 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<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span> -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.</p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/ill-232.jpg" width="250" height="220" - alt="" - title="" /> - <div class="caption"><p class="pc">JACK-STRAWS.</p> -</div></div> - -<hr class="chap" /> - -</div> - -<p><span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span></p> - -<div class="chapter"> - -<h2 class="p4">Games for Little Children.</h2> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" - alt="" - title="" /> -</div> - -<div> - <img class="dc1" src="images/dd.jpg" width="90" height="200" alt=""/> -</div> -<p class="dc13">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.</p> - -<p><span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c234a" - alt="" - title="" /> -</div> - -<p class="psh">UNCLE JOHN.</p> - -<p><span class="smcap">All</span> 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:</p> - -<p class="pp6 p1">“Uncle John is very sick. What shall we send him?<br /> -A piece of pie, a piece of cake, a piece of apple dumpling.<br /> -What shall we send it in? In a golden saucer.<br /> -Who shall we send it by? By the king’s daughter.<br /> -D-o-w-n, down.”</p> - -<p class="p1">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:</p> - -<p class="pp6 p1">“J—— B—— so they say<br /> -Goes a courting night and day,<br /> -Sword and pistol by his side,<br /> -M—— L—— shall be his bride,<br /> -She has sparks, one, two, three,<br /> -I can tell you who they be,<br /> -Joel, Toel, half a day,<br /> -Exel, Toel, turn away.”</p> - -<p class="p1">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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c234b" - alt="" - title="" /> -</div> - -<p class="psh">MOTHER GOOSE.</p> - -<p><span class="smcap">This</span> 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,<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c235" - alt="" - title="" /> -</div> - -<p class="psh">“CLAP OUT AND CLAP IN.”</p> - -<p><span class="smcap">All</span> 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.</p> - -<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c236" - alt="" - title="" /> -</div> - -<p class="psh">FINGERS AND THUMBS.</p> - -<div class="figcenter"> - <img src="images/ill-236.jpg" width="400" height="237" - alt="" - title="" /> -</div> - -<p class="pe1 p1">Three [fingers, one thumb,] keep moving. Three, &c.</p> - -<p class="pe1">Four [fingers, one thumb,] keep moving. Four, &c.</p> - -<p class="pe1">Five [fingers, one thumb,] keep moving. Five, &c.</p> - -<p class="pe1">Six [fingers, one thumb,] keep moving. Six, &c.</p> - -<p class="pe1">Seven [fingers, one thumb,] keep moving. Seven, &c.</p> - -<p class="pe1">Eight [fingers, one thumb,] keep moving. Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs,] keep moving. Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs and one arm,] keep moving. Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs and two arms,] keep moving. Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs, two arms and one foot,] keep moving. -Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs, two arms, and two feet,] keep moving. -Eight, &c.</p> - -<p class="pe1">Eight [fingers, two thumbs, two arms, two feet, and your head,] -keep moving. Eight, &c.</p> - -<p class="p1">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<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c237" - alt="" - title="" /> -</div> - -<p class="psh">“YOU ARE NOTHING BUT A GOOSE.”</p> - -<p><span class="smcap">This</span> 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<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span> -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.”</p> - -<div class="figcenter"> - <img src="images/ill-238.jpg" width="400" height="170" - alt="" - title="" /> -</div> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c238" - alt="" - title="" /> -</div> - -<p class="psh">BUZZ.</p> - -<p><span class="smcap">Promptness</span> 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<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span> -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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c239" - alt="" - title="" /> -</div> - -<p class="psh">THE PUZZLE WALL.</p> - -<div class="floatleft"> - <img src="images/ill-239a.jpg" width="150" height="169" - alt="" - title="" /> - <div class="cf"><p class="pc">FIGURE ONE.</p> -</div></div> - -<div class="floatright"> - <img src="images/ill-239b.jpg" width="180" height="185" - alt="" - title="" /> - <div class="cf"><p class="pc">FIGURE TWO.</p> -</div></div> - -<p><span class="smcap">Suppose</span> 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:</p> - -<div class="figcenter"> - <img src="images/ill-239c.jpg" width="300" height="289" - alt="" - title="" /> -</div> - - -<p><span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c240" - alt="" - title="" /> -</div> - -<p class="psh">DOLLS.</p> - -<p><span class="smcap">Give</span> 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p> - -<p>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.</p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c241" - alt="" - title="" /> -</div> - -<p class="psh">BOYS.</p> - -<p><span class="smcap">If</span> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span></p> - -<p>The following simple directions for making a few useful -articles may be of service to boys who like to exercise their -mechanical ingenuity.</p> - -<p class="psh font1">Flower Frames.</p> - -<p>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.</p> - -<p class="psh font1">Boxes.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c243" - alt="" - title="" /> -</div> - -<p class="psh">PLAY-GROUND RHYMES.</p> - -<p><span class="smcap">These</span> are used by boys and girls in selecting the leaders of -their games, instead of drawing lots. The following rhymes -are in common use:</p> - -<p class="pp8 p1">One is all, two is all,</p> -<p class="pp9">Zick is all, zan;</p> -<p class="pp8">Bob-tail vinegar,</p> -<p class="pp9">Tickle ’em, tan.</p> -<p class="pp10">Harum-scarum,<br /> -Virginia Marum,</p> -<p class="pp9">Tee-taw-buck.</p> - -<p class="pp6 p1">Little boy driving cattle,<br /> -Don’t you hear his money rattle?</p> -<p class="pp7">One, two, three—out goes he.</p> - -<p class="pp7 p1">Aina, maina, ickery on<br /> -Feelsa, folsa, Nicholas John<br /> -Quever, quaver, English naver,<br /> -Stingum, stangum, jollo buck.</p> - -<p class="pp7 p1">Aina, maina, mona, mike,<br /> -Barcelona, bona, strike;<br /> -Airy, wairy, dina, snack,<br /> -Harico, barico, wee, wa, wack.</p> - -<p class="pp6 p1">One-ry, two-ry, dis-cum dary,<br /> -Hackibo, crackibo, Henry Lary;<br /> -Dis-cum dandy, American time,<br /> -Humelum, jumelum, twenty-nine.</p> - -<p class="pp6 p1">Hitum, titum, little Kitty,<br /> -Hop-um, skip-um, jumpey daily;<br /> -Roly, poly, dilly, dally,<br /> -He, hi, ho, diddle-dum buck.</p> - -<p class="pp6 p1">Lo-po, hi, do, de, ti, to, tu,<br /> -Hany, wany, zany zan, you’re the man.</p> - -<p><span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span></p> - -<div class="figcenter"> - <img src="images/a1.jpg" width="200" height="44" id="c244" - alt="" - title="" /> -</div> - -<p class="psh">FORFEITS.</p> - -<p><span class="smcap">A great</span> 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.</p> - -<p>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:</p> - -<p>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.</p> - -<p>Laugh first, sing next, then cry, and lastly whistle.</p> - -<p>Place your hands behind you and guess who touches them; -you are not to redeem your forfeit till you guess right.</p> - -<p>Stand with your heels and back close to the wall, then -stoop without moving your feet, and pick up the forfeit.</p> - -<p>Say “Quizzical, quiz, kiss me quick,” nine times without -a mistake.</p> - -<p>Ask the person who owns the forfeit, what musical instrument -he likes best; then require him to give an imitation of it.</p> - -<p><span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span></p> - -<p>Ask the person what animal he likes best; then require -him to imitate it, either by action or sound.</p> - -<p>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.)</p> - -<p>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.</p> - -<p>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.)</p> - -<p class="pp6 p1"> -It is said there is a person you have loved since a boy,<br /> -Whose hand you must kiss ere I give you this toy,<br /> -It is not your father, or mother, or sister,<br /> -Nor cousin, nor friend, take care not to miss, sir.</p> -<p class="pr4 reduct">[<i>Himself.</i>]</p> - -<p class="p1">Make a low courtesy to each one in the room: if it is a -gentleman, he must make a bow.</p> - -<p>Recite several of Mother Goose’s melodies.</p> - -<p>Make wry faces at every person in the room.</p> - -<p>Admire yourself in the mirror.</p> - -<p>Shiver and act the part of a person half frozen, or pretend -to be nearly suffocated with heat.</p> - -<p>Rush around the room and greet every one as if you had -just arrived from a long and dangerous voyage.</p> - -<p>If a gentleman, act the part of a village orator; if a lady, -act the strong-minded woman.</p> - -<p><span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span></p> - -<p>(A gentleman’s and lady’s forfeit can be given together in -many cases, making it more amusing as well as expeditious.)</p> - -<p>Sing a song or repeat some high-flown poetry.</p> - -<p>Perform the laughing gamut without a pause or mistake:</p> - -<table id="t14" summary="t14"> - - <tr> - <td colspan="7" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="7" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="6" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="6" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="5" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="3" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="5" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="4" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="5" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="4" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="3" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="7" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="3" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="2" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="9" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="2" class="tdc4"> </td> - </tr> - - <tr> - <td colspan="1" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="11" class="tdc4"> </td> - <td class="tdc4">ha!</td> - <td colspan="1" class="tdc4"> </td> - </tr> - - <tr> - <td class="tdc4">ha!</td> - <td colspan="13" class="tdc4"> </td> - <td class="tdc4">ha!</td> - </tr> - -</table> - -<p class="p1">Keep silence and preserve a sober face for several minutes, -without regard to what may be said or done.</p> - -<p>Kiss your shadow in every corner of the room without -laughing.</p> - -<p>Repeat, without mistake, any difficult sentence which the -judge appoints.</p> - -<p>Say to each person in the room, “You can’t say boo to a -goose.”</p> - -<p>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.</p> - -<p>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.)</p> - -<p>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<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span> -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.</p> - -<p>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.</p> - -<p>A number of children may redeem their forfeits together, in -this way:</p> - -<p class="pp6 p1">This is the way we wash our clothes,</p> -<p class="pp10">Wash our clothes,</p> -<p class="pp6">So early Monday morning;<br /> -This is the way we wash our clothes,<br /> -So early Monday morning.</p> - -<p class="p1 reduct">[<i>While singing this they must pretend to wash.</i>]</p> - -<p class="pp6 p1">This is the way we rinse our clothes,</p> -<p class="pp10">Rinse our clothes,</p> -<p class="pp6">So early Monday morning;<br /> -This is the way we rinse our clothes,<br /> -So early Monday morning.</p> - -<p class="p1 reduct">[<i>With this verse they imitate rinsing, and with each verse they act the -words they sing.</i>]</p> - -<p class="pp6 p1">This is the way we wring our clothes,</p> -<p class="pp10">Wring our clothes,</p> -<p class="pp6">So early Monday morning;<br /> -This is the way we wring our clothes,<br /> -So early Monday morning.</p> - -<p class="pp6 p1">This is the way we hang out our clothes,</p> -<p class="pp10">Hang out our clothes,</p> -<p class="pp6">So early Monday morning;<br /> -This is the way we hang out our clothes,<br /> -So early Monday morning.</p> - -<p><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p> - -<p class="pp6 p1">This is the way we sprinkle our clothes,</p> -<p class="pp10">Sprinkle our clothes,</p> -<p class="pp6">So early Monday evening;<br /> -This is the way we sprinkle our clothes,<br /> -So early Monday evening.</p> - -<p class="pp6 p1">This is the way we fold our clothes,</p> -<p class="pp10">Fold our clothes,</p> -<p class="pp6">So early Monday evening;<br /> -This is the way we fold our clothes,<br /> -So early Monday evening.</p> - -<p class="pp6 p1">This is the way we starch our clothes,</p> -<p class="pp10">Starch our clothes,</p> -<p class="pp6">So early Tuesday morning;<br /> -This is the way we starch our clothes,<br /> -So early Tuesday morning.</p> - -<p class="pp6 p1">This is the way we iron our clothes,</p> -<p class="pp10">Iron our clothes,</p> -<p class="pp6">So early Tuesday morning;<br /> -This is the way we iron our clothes,<br /> -So early Tuesday morning.</p> - -<p class="p1">This is a good game for young children.</p> - -<div class="figcenter"> - <img src="images/ill-248.jpg" width="300" height="242" - alt="" - title="" /> -</div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p> - -<p class="pc4 mid">CONDENSED LIST OF</p> - -<p class="pc large font1">Games and Popular Amusements,</p> - -<p class="pc reduct">Manufactured and Published by</p> - -<p class="pc mid"><i><b>MILTON BRADLEY & COMPANY,</b></i></p> - -<p class="pc"><b>247 Main Street, Springfield, Mass.</b></p> - -<div class="figadv"> - <img src="images/a3.jpg" width="150" height="20" - alt="" - title="" /> -</div> - -<p>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 <i>moral</i> and -amusing, and many of them very instructive in History, Literature, -Business, &c., &c.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Those games marked thus * will be sent by mail on receipt of -price. The rest cannot be safely sent by mail.</p> - -<div class="figadv"> - <img src="images/a3.jpg" width="150" height="20" - alt="" - title="" /> -</div> - -<p class="pc mid">The New England and National Games.</p> - -<p class="pe">CHECKERED GAME OF LIFE. Ages, 5 to 50. Price $1.00.</p> - -<p class="pe">CHECKERED GAME OF LIFE. <i>Extra</i>, with muslin board and -album box; elegant for a present; same game as above. $2.00.</p> - -<p class="pe">*MODERN HIEROGLYPHICS. Three series; 10 and over. -Each series 25 cents. No. 3 is new and interesting.</p> - -<p class="pe">*PATRIOT HEROES; or, WHO’S TRAITOR? Historical, -instructive, simple and amusing; 8 to 18. 60 cents.</p> - -<p class="pe">*AUTHORS IMPROVED. Instructive; 10 and over. 50 cents.</p> - -<p class="pe">*AUTHORS IMPROVED. <i>Extra, presentation edition</i>, in album -box, superior cards, same game as above. $1.00.</p> - -<p class="pe">*WHAT IS IT? <span class="smcap">OR</span>, THE WAY TO MAKE MONEY. -Lively and social; a Business Educator; 15 and over. 60 cents.</p> - -<p class="pe">*DOMINO CARDS. Linen ivory board; 8 to 15. 25 cents.</p> - -<p class="pe">*RUSSIAN DOMINOES. Five games; 8 and over. 50 cents.</p> - -<p class="pe">*CHINESE AND OLD SANTA CLAUS PUZZLES. 4 to 10. -20 cents.</p> - -<p class="pe">*ALPHABETS BEWITCHED. Instructive; 4 to 20. 25 cents.</p> - -<p class="pe">THE UNION GAME. Including Checkered Game, Chess, Checkers -and Backgammon; 5 and over. $1.00.</p> - -<p class="pe">MY GRANDFATHER’S GAMES. Standard; 5 to 15. 30 cents.</p> - -<p class="pe">*THE MYRIOPTICON. A Miniature Panorama, immensely -popular with the boys; 7 to 12. $1.25.</p> - -<p class="pe">*DISSECTED PICTURES. Three pictures—Darkey going to -mill, Minnie shaving her cat, Amy teaching her dog his letters; -5 to 12. 60 cents.</p> - -<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p> - -<p class="pe">DISSECTED PICTURES. Two pictures; 5 to 12. 50 cents.</p> - -<p class="pe">*CONTRABAND GYMNAST. Comical; 1 to 100. 20 cents.</p> - -<p>*ALPHABETICAL LOTTO. Instructive; 4 to 12. 25 cents.</p> - -<p class="pe">*CURIOUS BIBLE QUESTIONS. Sunday School Cards; -Reward Cards, Bible series; for Sunday Schools and the -family. Per package, 10 cents.</p> - -<p class="pe">AMERICAN SQUAILS. Very popular; 8 to 100. $2.00. <i>Our -American Squails have improved target</i>, 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.</p> - -<p class="pe">THE CENTRIPETON. For one or a dozen; 1 to 75. $2.50.</p> - -<p class="pe">PARLOR CROQUET. From $10 to $50.</p> - -<p class="pe">PARLOR BOWLS. For all ages. $1.50, $2.00, $2.75.</p> - -<p class="pe">THE ZOETROPE; <span class="smcap">OR</span>, WHEEL OF LIFE. Scientific; a big -thing for a whole household. Two styles. $4.00, $5.00.</p> - -<p class="pe">*CROQUET. Its Principles and Rules, for Lawn and Parlor. -Illustrated. The latest and standard rules. 25 cents.</p> - -<div class="figadv"> - <img src="images/a3.jpg" width="150" height="20" - alt="" - title="" /> -</div> - -<p class="pc mid"><i>PARLOR CROQUET TABLES.</i></p> - -<p>For <i>Parlor Croquet</i>, the <i>board</i> or <i>table</i> form is the only one that is -really practicable, as the floor game is too destructive to furniture -and finish.</p> - -<p>Examine <i>Bradley’s Patent Parlor Croquet</i>, with Indexical Balls, -Socket Bridges, and Rubber Cushion, before purchasing the game. -There are no others so good for the same price.</p> - - -<p class="pc1 mid"><i>PARLOR BOWLS.</i></p> - -<p>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.</p> - -<p class="pc1 mid"><i>THE ZOETROPE, OR WHEEL OF LIFE.</i></p> - -<p>No toy was ever invented that sold as rapidly, or afforded one-half -the amusement to young and old, as this.</p> - -<p>It is constructed on <span class="smcap">PURELY SCIENTIFIC PRINCIPLES</span>, and <i>the comical -and mirth-provoking effect is produced solely by</i> <span class="smcap">OPTICAL ILLUSION</span>.</p> - -<p><i>It needs only to be seen to be appreciated.</i></p> - - -<p class="pc1 lmid"><i>LAWN CROQUET.</i></p> - -<p class="pc reduct font2">BRADLEY’S PATENT CROQUETERIES.</p> - -<p>Our <span class="smcap">Lawn Croquet</span> has been acknowledged during the past season -to be the best in the market, either <span class="smcap">FOREIGN</span> or <span class="smcap">DOMESTIC</span>.</p> - -<p>We manufacture under three U. S. Patents, which secure to us -the exclusive right to manufacture Croquet sets with <i>Indexical Balls</i>, -<i>Plated Bridges</i>, or <i>Socket Bridges</i>, 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.</p> - -<p class="pc1 mid">Send for a Catalogue to</p> -<p class="pr4 large">MILTON BRADLEY & CO.,</p> -<p class="pr2"><i>Springfield, Mass.</i></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span></p> - -<p class="pc4 elarge">BEZIQUE.</p> - -<div class="figadv"> - <img src="images/a3.jpg" width="150" height="20" - alt="" - title="" /> -</div> - -<p class="pc mid">The Game of Bezique Complete,</p> - -<p class="pc reduct">PUBLISHED BY</p> - -<p class="pc large">OLNEY & PRATT,</p> - -<p class="pc reduct"><i>No. 41 John Street, New York</i>.</p> - -<div class="figadv"> - <img src="images/a3.jpg" width="150" height="20" - alt="" - title="" /> -</div> - -<p>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.</p> - -<table id="t15" summary="t15"> - - <tr> - <td class="tdl5">Put up in Rosewood and Satinwood Cases, beautifully inlaid, making -an elegant Holiday Present, retails at</td> - <td class="tdr5">$10 00</td> - </tr> - - <tr> - <td class="tdl5">In handsome Colored Cloth Boxes, retails at</td> - <td class="tdr5">5 00</td> - </tr> - - <tr> - <td class="tdl5">In Morocco Paper Boxes, gilt and very pretty, retails at</td> - <td class="tdr5">2 50</td> - </tr> - -</table> - -<p class="pc large font1">A Liberal Discount to the Trade.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span></p> - -<p class="pc4 elarge">OUR YOUNG FOLKS.</p> - - -<p>This Monthly, begun in January, 1865, has already won the reputation of -being “<b>the best Juvenile Magazine published in any land or language</b>.” -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.</p> - -<p>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:—</p> - -<p class="p1"><span class="smcap">The Leading Story</span> of the year will be contributed by <span class="smcap">Rev. Elijah Kellogg</span>, -author of the celebrated <i>Speech of Spartacus to the Gladiators</i>, 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.</p> - -<p><span class="smcap">Mrs. Harriet Beecher Stowe</span>, after completing <i>Little Pussy Willow</i>, will -continue her regular monthly contributions.</p> - -<p>“<span class="smcap">Round-the-World Joe</span>,” the popular contributor to the old “Schoolmate,” -has been engaged, and will furnish a series of articles of adventure and -observation in foreign countries.</p> - -<p><span class="smcap">Bayard Taylor’s</span> tales of distant lands will be continued.</p> - -<p><span class="smcap">Mrs. A. M. Diaz</span> has written several articles, of which one, <i>William Henry’s -Letters to his Grandmother</i>, will be found especially entertaining.</p> - -<p>“<span class="smcap">Aunt Fanny</span>” has supplied several stories which will be printed during -the year.</p> - -<p>P. H. C. will give several more of his favorite <i>Lessons in Magic</i>, some of -which will take up a different class of experiments from those that have -been previously explained.</p> - -<p><span class="smcap">Music.</span>—<i>Each number</i> of the next volume will contain a song, composed -expressly for “Our Young Folks.” These songs will be written by <span class="smcap">Emily -Huntington Miller</span>, and each will be especially adapted to the month in -which it appears.</p> - -<p>Contributions will also be occasionally furnished by</p> - -<p class="pi4 p1">H. W. Longfellow,<br /> -Capt. Mayne Reid,<br /> -Rose Terry,<br /> -E. Stuart Phelps,<br /> -C. D. Shanly,<br /> -J. H. A. Bone,<br /> -“Carleton,”<br /> -J. G. Whittier,<br /> -T. B. Aldrich,<br /> -Author of “Leslie Goldthwaite,”<br /> -Horatio Alger, Jr.,<br /> -Author of “Seven Little Sisters,”<br /> -Mary N. Prescot,<br /> -Louise C. Chollet,<br /> -J. Warren Newcomb, Jr.<br /> -Kate Putnam,<br /> -Jane R. Austin,<br /> -C. D. Gardette,<br /> -Julia C. R. Dorr,</p> - -<p class="pn1">and other well known and favorite writers.</p> - -<p>The department of <span class="smcap">Illustration</span> will remain under the supervision of -Mr. <span class="smcap">A. V. S. Anthony</span>, and the Publishers will spare neither trouble nor expense -in giving the best pictures which can be obtained. <i>Full-page Engravings</i> -from designs by Artists of the first estimation will be given regularly, -and <i>Colored Illustrations</i> will be frequently supplied.</p> - -<p class="p1"><b>Terms of Our Young Folks.</b>—<span class="smcap">Single Subscriptions.</span>—Two Dollars a year. -Single Numbers, Twenty Cents. <span class="smcap">Clubs.</span>—Three Copies for Five Dollars; -Five Copies for Eight Dollars; Ten Copies for Fifteen Dollars; Twenty -Copies for Thirty Dollars; and an extra copy <i>gratis</i> to the person forming -the Club of Twenty.</p> - -<p>Specimen Numbers sent to any address on receipt of Twenty Cents.</p> - -<p>All letters respecting the Magazine should be addressed to the Publishers,</p> - -<p class="pr4 p1 large">TICKNOR & FIELDS,</p> -<p class="pr2"><i><b>124 Tremont Street, Boston</b></i>.</p> -</div> - -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Popular Pastimes for Field and Fireside, by -Caroline L. Smith - -*** END OF THIS PROJECT GUTENBERG EBOOK POPULAR PASTIMES--FIELD, FIRESIDE *** - -***** This file should be named 51896-h.htm or 51896-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/8/9/51896/ - -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) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - -</body> -</html> - - diff --git a/old/51896-h/images/a1.jpg b/old/51896-h/images/a1.jpg Binary files differdeleted file mode 100644 index 3368e2a..0000000 --- a/old/51896-h/images/a1.jpg +++ /dev/null diff --git a/old/51896-h/images/a2.jpg b/old/51896-h/images/a2.jpg Binary files differdeleted file mode 100644 index 8202baa..0000000 --- a/old/51896-h/images/a2.jpg +++ /dev/null diff --git a/old/51896-h/images/a3.jpg b/old/51896-h/images/a3.jpg Binary files differdeleted file mode 100644 index 4ec00f5..0000000 --- a/old/51896-h/images/a3.jpg +++ /dev/null diff --git a/old/51896-h/images/cover.jpg b/old/51896-h/images/cover.jpg Binary files differdeleted file mode 100644 index 1316aef..0000000 --- a/old/51896-h/images/cover.jpg +++ /dev/null diff --git a/old/51896-h/images/da.jpg b/old/51896-h/images/da.jpg Binary files differdeleted file mode 100644 index 4f91cb4..0000000 --- a/old/51896-h/images/da.jpg +++ /dev/null diff --git a/old/51896-h/images/db.jpg b/old/51896-h/images/db.jpg Binary files differdeleted file mode 100644 index 65fa1c8..0000000 --- a/old/51896-h/images/db.jpg +++ /dev/null diff --git a/old/51896-h/images/dc.jpg b/old/51896-h/images/dc.jpg Binary files differdeleted file mode 100644 index 14efdd6..0000000 --- a/old/51896-h/images/dc.jpg +++ /dev/null diff --git a/old/51896-h/images/dd.jpg b/old/51896-h/images/dd.jpg Binary files differdeleted file mode 100644 index 08b5fac..0000000 --- a/old/51896-h/images/dd.jpg +++ /dev/null diff --git a/old/51896-h/images/df.jpg b/old/51896-h/images/df.jpg Binary files differdeleted file mode 100644 index 23d5092..0000000 --- a/old/51896-h/images/df.jpg +++ /dev/null diff --git a/old/51896-h/images/di.jpg b/old/51896-h/images/di.jpg Binary files differdeleted file mode 100644 index 77cbef6..0000000 --- a/old/51896-h/images/di.jpg +++ /dev/null diff --git a/old/51896-h/images/dp.jpg b/old/51896-h/images/dp.jpg Binary files differdeleted file mode 100644 index 6ecaa8b..0000000 --- a/old/51896-h/images/dp.jpg +++ /dev/null diff --git a/old/51896-h/images/ds.jpg b/old/51896-h/images/ds.jpg Binary files differdeleted file mode 100644 index 73dd62f..0000000 --- a/old/51896-h/images/ds.jpg +++ /dev/null diff --git a/old/51896-h/images/dt.jpg b/old/51896-h/images/dt.jpg Binary files differdeleted file mode 100644 index 36424ac..0000000 --- a/old/51896-h/images/dt.jpg +++ /dev/null diff --git a/old/51896-h/images/dw.jpg b/old/51896-h/images/dw.jpg Binary files differdeleted file mode 100644 index 0ba05da..0000000 --- a/old/51896-h/images/dw.jpg +++ /dev/null diff --git a/old/51896-h/images/fr.jpg b/old/51896-h/images/fr.jpg Binary files differdeleted file mode 100644 index 19248c0..0000000 --- a/old/51896-h/images/fr.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-015.jpg b/old/51896-h/images/ill-015.jpg Binary files differdeleted file mode 100644 index 8fd2286..0000000 --- a/old/51896-h/images/ill-015.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-016.jpg b/old/51896-h/images/ill-016.jpg Binary files differdeleted file mode 100644 index b6d023a..0000000 --- a/old/51896-h/images/ill-016.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-017.jpg b/old/51896-h/images/ill-017.jpg Binary files differdeleted file mode 100644 index 255cff5..0000000 --- a/old/51896-h/images/ill-017.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-019.jpg b/old/51896-h/images/ill-019.jpg Binary files differdeleted file mode 100644 index fca7c6e..0000000 --- a/old/51896-h/images/ill-019.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-023.jpg b/old/51896-h/images/ill-023.jpg Binary files differdeleted file mode 100644 index b471619..0000000 --- a/old/51896-h/images/ill-023.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-024.jpg b/old/51896-h/images/ill-024.jpg Binary files differdeleted file mode 100644 index 51f7815..0000000 --- a/old/51896-h/images/ill-024.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-025.jpg b/old/51896-h/images/ill-025.jpg Binary files differdeleted file mode 100644 index 760de9c..0000000 --- a/old/51896-h/images/ill-025.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-041.jpg b/old/51896-h/images/ill-041.jpg Binary files differdeleted file mode 100644 index 2d02fb5..0000000 --- a/old/51896-h/images/ill-041.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-043.jpg b/old/51896-h/images/ill-043.jpg Binary files differdeleted file mode 100644 index 9288519..0000000 --- a/old/51896-h/images/ill-043.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-055.jpg b/old/51896-h/images/ill-055.jpg Binary files differdeleted file mode 100644 index 4eda025..0000000 --- a/old/51896-h/images/ill-055.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-063.jpg b/old/51896-h/images/ill-063.jpg Binary files differdeleted file mode 100644 index 98d946e..0000000 --- a/old/51896-h/images/ill-063.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-066.jpg b/old/51896-h/images/ill-066.jpg Binary files differdeleted file mode 100644 index 51a9292..0000000 --- a/old/51896-h/images/ill-066.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-084.jpg b/old/51896-h/images/ill-084.jpg Binary files differdeleted file mode 100644 index cf55f9e..0000000 --- a/old/51896-h/images/ill-084.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-097.jpg b/old/51896-h/images/ill-097.jpg Binary files differdeleted file mode 100644 index 81627fb..0000000 --- a/old/51896-h/images/ill-097.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-115.jpg b/old/51896-h/images/ill-115.jpg Binary files differdeleted file mode 100644 index 30b8bff..0000000 --- a/old/51896-h/images/ill-115.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-116.jpg b/old/51896-h/images/ill-116.jpg Binary files differdeleted file mode 100644 index 600e6ef..0000000 --- a/old/51896-h/images/ill-116.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-121.jpg b/old/51896-h/images/ill-121.jpg Binary files differdeleted file mode 100644 index 563862f..0000000 --- a/old/51896-h/images/ill-121.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-122a.jpg b/old/51896-h/images/ill-122a.jpg Binary files differdeleted file mode 100644 index d8276ba..0000000 --- a/old/51896-h/images/ill-122a.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-122b.jpg b/old/51896-h/images/ill-122b.jpg Binary files differdeleted file mode 100644 index 9a2b2d0..0000000 --- a/old/51896-h/images/ill-122b.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-123.jpg b/old/51896-h/images/ill-123.jpg Binary files differdeleted file mode 100644 index 5d2d1c1..0000000 --- a/old/51896-h/images/ill-123.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-124.jpg b/old/51896-h/images/ill-124.jpg Binary files differdeleted file mode 100644 index 7761b03..0000000 --- a/old/51896-h/images/ill-124.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-127.jpg b/old/51896-h/images/ill-127.jpg Binary files differdeleted file mode 100644 index a75b341..0000000 --- a/old/51896-h/images/ill-127.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-132.jpg b/old/51896-h/images/ill-132.jpg Binary files differdeleted file mode 100644 index 4d7b4de..0000000 --- a/old/51896-h/images/ill-132.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-135.jpg b/old/51896-h/images/ill-135.jpg Binary files differdeleted file mode 100644 index a2549fc..0000000 --- a/old/51896-h/images/ill-135.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-137.jpg b/old/51896-h/images/ill-137.jpg Binary files differdeleted file mode 100644 index 933af01..0000000 --- a/old/51896-h/images/ill-137.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-143.jpg b/old/51896-h/images/ill-143.jpg Binary files differdeleted file mode 100644 index 373d0f6..0000000 --- a/old/51896-h/images/ill-143.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-155.jpg b/old/51896-h/images/ill-155.jpg Binary files differdeleted file mode 100644 index 8b100ff..0000000 --- a/old/51896-h/images/ill-155.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-157.jpg b/old/51896-h/images/ill-157.jpg Binary files differdeleted file mode 100644 index e163ba4..0000000 --- a/old/51896-h/images/ill-157.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-159.jpg b/old/51896-h/images/ill-159.jpg Binary files differdeleted file mode 100644 index 771ea62..0000000 --- a/old/51896-h/images/ill-159.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-168.jpg b/old/51896-h/images/ill-168.jpg Binary files differdeleted file mode 100644 index 8b528b8..0000000 --- a/old/51896-h/images/ill-168.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-169.jpg b/old/51896-h/images/ill-169.jpg Binary files differdeleted file mode 100644 index 57813f6..0000000 --- a/old/51896-h/images/ill-169.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-171.jpg b/old/51896-h/images/ill-171.jpg Binary files differdeleted file mode 100644 index 7389591..0000000 --- a/old/51896-h/images/ill-171.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-172a.jpg b/old/51896-h/images/ill-172a.jpg Binary files differdeleted file mode 100644 index 06cb8c4..0000000 --- a/old/51896-h/images/ill-172a.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-172b.jpg b/old/51896-h/images/ill-172b.jpg Binary files differdeleted file mode 100644 index ba4cf71..0000000 --- a/old/51896-h/images/ill-172b.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-172c.jpg b/old/51896-h/images/ill-172c.jpg Binary files differdeleted file mode 100644 index 68ae00c..0000000 --- a/old/51896-h/images/ill-172c.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-172d.jpg b/old/51896-h/images/ill-172d.jpg Binary files differdeleted file mode 100644 index 7e7019e..0000000 --- a/old/51896-h/images/ill-172d.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-179.jpg b/old/51896-h/images/ill-179.jpg Binary files differdeleted file mode 100644 index c2eab61..0000000 --- a/old/51896-h/images/ill-179.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-181.jpg b/old/51896-h/images/ill-181.jpg Binary files differdeleted file mode 100644 index a6c3655..0000000 --- a/old/51896-h/images/ill-181.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-191.jpg b/old/51896-h/images/ill-191.jpg Binary files differdeleted file mode 100644 index 945272e..0000000 --- a/old/51896-h/images/ill-191.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-215.jpg b/old/51896-h/images/ill-215.jpg Binary files differdeleted file mode 100644 index 9bef15e..0000000 --- a/old/51896-h/images/ill-215.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-217.jpg b/old/51896-h/images/ill-217.jpg Binary files differdeleted file mode 100644 index 989bb4f..0000000 --- a/old/51896-h/images/ill-217.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-221.jpg b/old/51896-h/images/ill-221.jpg Binary files differdeleted file mode 100644 index 8e0189a..0000000 --- a/old/51896-h/images/ill-221.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-223.jpg b/old/51896-h/images/ill-223.jpg Binary files differdeleted file mode 100644 index 590e521..0000000 --- a/old/51896-h/images/ill-223.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-226.jpg b/old/51896-h/images/ill-226.jpg Binary files differdeleted file mode 100644 index 9be21b0..0000000 --- a/old/51896-h/images/ill-226.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-230.jpg b/old/51896-h/images/ill-230.jpg Binary files differdeleted file mode 100644 index 38dc88e..0000000 --- a/old/51896-h/images/ill-230.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-232.jpg b/old/51896-h/images/ill-232.jpg Binary files differdeleted file mode 100644 index 600fd02..0000000 --- a/old/51896-h/images/ill-232.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-236.jpg b/old/51896-h/images/ill-236.jpg Binary files differdeleted file mode 100644 index 9bde1f0..0000000 --- a/old/51896-h/images/ill-236.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-238.jpg b/old/51896-h/images/ill-238.jpg Binary files differdeleted file mode 100644 index 8d41d9c..0000000 --- a/old/51896-h/images/ill-238.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-239a.jpg b/old/51896-h/images/ill-239a.jpg Binary files differdeleted file mode 100644 index 6828c67..0000000 --- a/old/51896-h/images/ill-239a.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-239b.jpg b/old/51896-h/images/ill-239b.jpg Binary files differdeleted file mode 100644 index 8b0d207..0000000 --- a/old/51896-h/images/ill-239b.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-239c.jpg b/old/51896-h/images/ill-239c.jpg Binary files differdeleted file mode 100644 index e1e365c..0000000 --- a/old/51896-h/images/ill-239c.jpg +++ /dev/null diff --git a/old/51896-h/images/ill-248.jpg b/old/51896-h/images/ill-248.jpg Binary files differdeleted file mode 100644 index f2be7ec..0000000 --- a/old/51896-h/images/ill-248.jpg +++ /dev/null diff --git a/old/51896-h/images/tb.jpg b/old/51896-h/images/tb.jpg Binary files differdeleted file mode 100644 index 5c20347..0000000 --- a/old/51896-h/images/tb.jpg +++ /dev/null |
