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:B^ Ibelen Campbell 
 
 I. THE AMERICAN GIRL'S HOME-BOOK 
 II. HOUSEHOLD ECONOMICS 
 
 G. P. Putnam's Sons, New York and London 
 
THE 
 
 AMERICAN GIRL'S HOME BOOK 
 
 WORK AND PLAY 
 
 HELEN CAMPBELL 
 
 AUTHOR or " UNDBR GRKBN APPLE-BOUGHS," " THE PROBLEM OF THE POOR," "PATTY 
 FBAXSON'S BOV," " THB AINSLBB SERIES," ETC. 
 
 NEW EDITION, REVISED AND ENLARGED 
 ILLUSTRATED 
 
 NEW YORK AND LONDON 
 
 G. P. PUTNAM'S SONS 
 
 %\t limcHtrbochtr $xe«i 
 
 U%% 
 
0^ 
 
 MAY 29 I9n 
 
 Copyright . 
 By G. »». PUTNAM'S SONS 
 
PREFACE 
 
 L(»fG ago, when the writer was young, she owned a little book, 
 consulted with never-flagging enthusiasm, and written by a woman 
 who did the first intelligent and sympathetic work for children ever 
 accomplished in this country. In Mrs. Lydia Maria Child's " Girl's 
 Own Book " such plays as tne more rigorous educational theories 
 of the time allowed, were set forth m order, and there were also 
 sundry small occupations for amusement ; the crystallized grasses, 
 alum-baskets, and various ornamental works still to be found in old 
 houses, testifying to the zeal with which her instructions were fol- 
 lowed. 
 
 The little book is now, in many points, as antiquated as if written 
 in the fifteenth, instead of the nineteenth, century ; and yet it em- 
 bodies a plan which has never since been carried out, — that of com- 
 bining all the occupations, as well as amusements, practicable in a 
 mixed family of all ages and tastes. As yet, though boys are pro- 
 vided for, girls have no book that will be a trustworthy guide, either 
 in work or play ; and it is hoped that the present one will fill that 
 "long unoccupied niche" which many authors have felt it their 
 mission to redeem fi*om emptiness, and become the trusted friend 
 and adviser of all the girls who are uncertain what is best in either 
 work or play. All directions have been made as plain and explicit 
 
 219364 
 
11 PREFACE, 
 
 as possible ; and the writer believes that every fact and figure may 
 be trusted as the real result of real work, and that, while the Loui- 
 siana girl may have to plan a shghtly diiferent course from her 
 Massachusetts sister, the same results are probable for both. 
 
 The author is indebted to Mrs. Hester M. Poole of Metuchen, 
 N.J., for the matter from Chaps. XI. to XX. inclusive of Part III. ; 
 her experience having been a practical one, and her facts most 
 carefully stated. The use of Mr. George B. Bartlett's work in 
 Chaps. V. and VI., in Part I., has been cordially given by both 
 author and publishers ; and the same is the case with Mrs. Charles 
 F. Femald's "Jack and the Beanstalk" in Part I. The matter 
 and drawings for part of the chapter on "Magic-Lanterns," in 
 Part I., was furnished by Mrs. May Cole Baker of Washington; 
 and the "Stage-Coach" story, by Miss Louise Stockton of Phila- 
 delphia. Every available authority has been consulted and sifted; 
 and it is hoped that the American girl will find the results, though 
 giving slight indication of the amount of labor expended, good 
 both for present and future. 
 
 HELEN CAMPBELL. 
 
 Philadblphia, August, i88> 
 
PREFACE TO REVISED EDITION. 
 
 Five years have passed since the first edition of the 
 " American Girls' Home Book of Work and Play ** was 
 prepared ; and though there are many points in which it 
 might be bettered, it has proved the safe and trusty com- 
 panion of a good many girls who have studied the third 
 part eagerly, and have found it, as they say, precisely the 
 help they needed. Two chapters are added to the present 
 edition : one on " Candy- Making," which has proved itself 
 a practical and profitable home occupation; the other on 
 **A New Home Industry," a new form of mosaic-work 
 both pretty and practical. 
 
 Naturally in five years countless games have been in- 
 vented, and have had their day, the old favorites calmly 
 holding their own, and returned to always with the sense 
 of satisfaction found in familiar and well-tested friends. 
 It would be quite possible to make many alterations and 
 additions, where this portion of the book is concerned, 
 but the gain would be but trifling, since the children of 
 each generation reproduce the games of the last, and are 
 all, in this direction, conservatives of the first water. And 
 so, having turned over the pages diligently, the author 
 leaves them as they stand, knowing that other books will 
 give the newest thing told in the newest way, but that 
 she may still count upon friends for the old, as well as 
 hope for new ones to come. 
 
 London, February, 1888. 
 
 m 
 
CONTENTS 
 
 PART FIRST. 
 CHAPTER I. 
 
 PAdB 
 
 Rainy-day Amusements and Home-made Toys for Younger Chil- 
 dren I 
 
 Coloring Pictures, 2 ; Making Scrap-books, 3 ; A Picture-puzzle, 4 ; 
 Paper Dolls and Furniture, 4 ; Reception-chair, 5 ; Paper Bed, 6; Paper 
 Sofa, 7 ; Rocking-chair and Ottomans, 8 ; Parlor Table, 9 ; Bureau, 
 10; Washstand, 1 1 ; Cork-work, 12 ; Paper Fly-boxes, 13; Paper Caps 
 or Cocked Hats, 14; Paper Boats, 15; Pricking Pictures, 16; Soap- 
 bubbles, 16; Keeping Store, 17; Home Newspapers, 20; Home Post- 
 offices, 20. 
 
 CHAPTER II. 
 
 A Children's Party and the Games they played .... 23 
 Stage-coach, 24; Bluff, 27; Magic Music, 28; How do you Like it? 
 When do you Like it? Where do you Like it? 28; Hunt-the-slipper, 
 30; Thus says the Grand Mufti, 31 ; The Emperor of Moscow, 31; 
 The German Dwarf, 32; The Kentucky Giant and the Kentucky 
 Giant's Wife, 34 ; The Elephant, 35 ; Magic-lantern, 35 ; The House 
 that Jack built, 36; Little Miss Muffet, 39. 
 
 CHAPTER III. 
 Fiftt Forfeits 41 
 
VI CONTENTS. 
 
 CHAPTER IV. 
 
 PAGE 
 
 Some Games they might have played 52 
 
 Shadow Buff, 52 ; The Reader, 53 ; The Elements, 55 ; The Secret 
 Word, 57 ; Many Words in One, 59; The Watchword, 61 ; The Mer- 
 chants, 62; Consequences, 63; How to guess any Number thought 
 of, 67 ; Here I Bake, and here I Brew, 67 ; You are Nothing but a 
 Goose, 67 ; The Puzzle Wall, 69 ; Girofle, Girofla, 70 ; Good-day, Ce- 
 cilia, 73; The New French Fashion, 76; Sowing Oats, 78; The Black 
 Art, 81 ; Galoo, 81 ; To put Three Children through the Keyhole, 82; 
 How Two Children may stand on a Handkerchief without touching 
 One Another, 82 ; French Blind Man's Buff, 82 ; Bachelor's Kitchen, 
 82; Easter Eggs, 83; Bonbons, 84; Balloons. 84; Grab-bag, 85; 
 Paper Bags, 85 ; Scissor Presents, 85. 
 
 CHAPTER V. 
 
 Hints for Parlor Plays 86 
 
 Simple Tableaux Vivants and Frame Pictures, 89; Plan for the 
 Frames, 91 ; Faith, Peace, and Glory, 93 ; Ignorance is Bliss, 93 ; Exe- 
 cution of Joan of Arc, 94 ; Living Statuary, 95 ; Monumental Group, 
 99; The Angel of Sleep, 99; Nydia, 100; The Christian Graces, 100; 
 Caractacus, 100; Justice, Mercy, and Peace, 100; Maud Muller, loi. 
 
 CHAPTER VI. 
 
 Ballads in Action 102 
 
 Auld Robin Gray, 102; The Mistletoe-bough, 104; Villikins and 
 his Dinah, 106; Lord Ullin's Daughter, 109. 
 
 CHAPTER VII. 
 The Twelve Miss Pelicoes 113 
 
 CHAPTER VIII. 
 
 Charades and Proverbs in Action 116 
 
 Patchwork, 116, Dramatic, 117; Childhood, 118; Proverbs in Tab- 
 leaux, ii8; A Stitch in Time saves Nine, 118; Hunger is the Best 
 Sauce, 119; Acting Charades, 120 ; Ringlet, 120; Petticoat, 121 ; Post- 
 man, 122; Post-chaise, 122; Bookcase, i22j Wedlock, 123; Mis 
 
CONTENTS. vii 
 
 PACK 
 
 chief, 123; Wardrobe, 124; Woodstock, 125; Mortality, 125; Help- 
 mate, 126; Incautious, 126; Illustrated Poems, 127; Jack and the 
 Beanstalk, 127. 
 
 CHAPTER IX. 
 
 Halloween and Other Amusements 144 
 
 Snapdragon, 144; Nut-burning, 144; Diving for Apples, 145; The 
 Wedding-ring Test, 145; The Needle Test, 145; Melting Lead, 145} 
 The Looking-glass Test, 146; Literary Enigmas, 147. 
 
 PART SECOND. 
 
 CHAPTER I. 
 Lawn Tennis and its Laws 151 
 
 Strokes, 160; Holding the Racket, 162; The Serve, 162; The Take 
 and the Return, 165 ; Volleys and Half-volleys, 169 ; Four-handed 
 Games, 171; Winter Tennis, 173; Seaside Tennis, 174. 
 
 CHAPTER II. 
 Archery and Other Games 175 
 
 The Bowstring, 177; The Arrow, 178; The Target, 179; How to 
 Shoot, 180; Rules for Target-shooting, 181; Croquet, 183; Croquet 
 Pool, 183; Badminton, 184; Lawn Billiards, 187; Ship-Coil, 187; 
 Rounders, 188. 
 
 CHAPTER III. 
 
 A Home Swimming-school 189 
 
 Swimming on the Chest, 191 ; Swimming on the Side, 193; Miscella- 
 neous Instructions, 194. 
 
 CHAPTER IV. 
 
 Boating for Girls 196 
 
 Parts of a Boat, 197 ; Short Rules for Rowing, 198 ; Towing, 202. 
 
 CHAPTER V. 
 
 Hints on making Small Collections 204 
 
 Butterflies and Moths, 205 ; Caterpillars, 206 ; Pins and Mounting, 212. 
 
Vlll CONTENTS. 
 
 CHAPTER VI. 
 
 PAGE 
 
 The Aquarium 215 
 
 Aquarium Cement, 215 ; A Marine Aquarium, 217 ; Shoi t Rules, 222. 
 
 CHAPTER VII. 
 
 Walking-Clubs and Camping Out 225 
 
 Dress, 227 ; Shoes, 227 ; Rest, 227 ; Camping, 228. 
 
 CHAPTER VIII. ♦ 
 Dress, 230; Rings, 231 j Wands, 232; Dumb-bells, 232. 
 
 Light Gymnastics 230 
 
 PART THIRD. 
 
 CHAPTER I. 
 
 Sewing and Doll's Dress-making 234 
 
 Straight Lines, 234 ; Outline Pictures, 234 ; Doll's Nightgown, 239 ; 
 Chemise, 239; Drawers, 239; Waist, 240; Apron, 242; Dresses for 
 China Dolls, 243; Boy's Knickerbockers, 244; Costume Dolls, 245; 
 Normandy Peasant, 245 ; Italian Peasant, 246 ; Spanish Dancer, 247 ; 
 Marquise Dress, 247. 
 
 CHAPTER II. 
 
 Fifty Christmas-Gifts for Small Fingers 248 
 
 Spectacle-wipers, 248; Baby-shoe Penwiper, 248; Leaf Penwiper, 249; 
 Shaving-paper Case, 250; Garters, 250; "Polly, put the Kettle on," 
 251 ; Turtle Cloves, 251 ; Another Gift with Cloves, 252 ; Pretty Scent- 
 cases, 252 ; English Walnut Scent-cases, 252 ; Walnut Boats, 253 ; Bureau 
 Covers, 253; Drawn-work, 253; Crocheted Mats, 257 ; Pansy Pincushion, 
 258; Parasol Penwipers, 258; Work-cases, 259; Birchbark Presents, 
 259; Straw Wall-baskets, 260 ; Feather Screens, 261 ; Spatter-work, 263 ; 
 Shadow-pictures, 264 ; Book-covers, 265 ; Scent-cases for Trunks, 265 ; 
 Cabin-bags, 266 ; Work-aprons, 266 ; Toothbrush-rack, 266 ; Sand bags 
 for Windows, 267 : Shoe-cases, 267 ; Bean-bags, 268 , A Hemlock 
 Pillow, 268 ; Sachet for Linen-closet, 268 ; Baby's Blanket, 268 ; Sum- 
 mer Blankets, 269; Napkin-bands, 269, Embroidered Linen, 269, Shawl- 
 
CONTENTS, ix 
 
 PAGE 
 
 bags, ^^f*{ Bird's-nest Penwiper, 270; Glove-box, 270; Plain Sewing, 
 271 ; What to do with Autumn Leaves, 271 ; Fern-work, 272 ; Barrel- 
 chair, 273; Decorated Candles, 273; A Christmas-pie, 273; A Broom 
 Penwiper, 274 ; Tea and Egg Coseys, 274. 
 
 CHAPTER III. 
 
 Doll's Houses and Make-believe Housekeeping .... 276 
 Tomato-can Box Houses, 276; Beds, 278; Chairs and Home-made 
 Furniture, 281. 
 
 CHAPTER IV. 
 
 What can be done with Tissue-Paper 283 
 
 Tools, 283; Patterns, 284; Lamp-shades, 288. 
 
 CHAPTER V. 
 
 Cardboard and its Uses ... 290 
 
 Cardboard Cottage, 290 ; Perforated Card, 292 ; Crosses, 293. 
 
 CHAPTER VI. 
 
 Preserving Autumn Leaves, Ferns, etc 294 
 
 Gathering Ferns, 294 ; Pressing Leaves, 295 ; Seaweeds, 295 ; Drying 
 Flowers, 296 ; Skeletonizing Leaves and Flowers, 297 ; Mounting, 298. 
 
 CHAPTER VII. 
 
 What may be Done with Leather 299 
 
 Materials, 299; Tools, 299; A Spray of Ivy-leaves, 300; Vine, 
 Leaf, and Stalk, 303 ; Convolvulus Flowers and Leaves, 304 ; Large 
 Garden-rose, 306; Mouldings, 307; The Redemption of the Tin Can, 
 308 ; Decorative Leather, 316. 
 
 CHAPTER VIII. 
 
 Wax Flowers 318 
 
 Wax, 318; Patterns, 319; Tools, 319; White Camellia, 320; Leaves, 
 322; White Jasmine, 324; White Pmk, 324; China Rose, 326; Tea- 
 rose, 329; Stephanotis and Hoya, 333 Wax Fruit, 334. 
 
X- CONTENTS, 
 
 CHAPTER IX. 
 
 Shells, Mosses, Pine-Cones, etc 335 
 
 Cement, 335; Brackets, 335 ; Shell Pincushions, 336; Mosses, 336; 
 Cones, 336 J Lawn Flower-box, 337. 
 
 CHAPTER X. 
 
 Wood-carving, and Light Carpentering 339 
 
 Manuals, 339 ; Tools, 345 ; Woods, 347 ; Sharpening, 352 ; Spray of 
 Ivy-leaves, 355 J Light, 359; Polishmg, 360. 
 
 CHAPTER XI. 
 
 Strawberry-Culture for Girls 561 
 
 Ground, 362 ; Plants, 362 ; Varieties, 363 ; Picking, 364 ; Returns, 365. 
 
 CHAPTER XIL 
 
 Small Fruits, Currants, Raspberries, and Blackberries . . 367 
 Land, 367 ; Pruning, 367 ; Raspberries, 368 ; Profits, 369. 
 
 CHAPTER XIH. 
 
 Canned Fruit, Jelly, and Preserves 371 
 
 Glass Cans, 37 1 ; Jelly, 372 ; Canning, 373 ; Preserves, 374 ; Profits, 375. 
 
 CHAPTER XIV. 
 
 The Rearing of Poultry 37^ 
 
 Hatching, 376; Coops, 377 ; Food, 377; Roosts, 378; Eggs in Win- 
 ter, 379; Profits, 379. 
 
 CHAPTER XV. 
 
 Canary-Birds, their Rearing and Training 380 
 
 Pairing, 380; Feeding, 381; Hatching, 382; Food, 382; Training, 
 382 ; Diseases, 383. 
 
CONTENTS, M 
 
 CHAPTER XVI. 
 
 FAGB 
 
 The Honey-Bee 384 
 
 Hives, 384; Queen-bees, 384 ; Eggs, 385; Queen-rearing, 385 ; Honey- 
 making, 386; Swarming, 387 ; Italian Bees, 388 ; Profitsr389. 
 
 CHAPTER XVII. 
 
 Silk-Culture 390 
 
 Mulberry-planting, 390; Eggs, 390; Hatching, 391; Feeding, 391; 
 Cocoons, 392; Profits, 392; Shrubs, 397. 
 
 CHAPTER XVIII. 
 
 Floriculture 394 
 
 Dress, 394 ; Preparing Ground, 394 ; Plants, 395 ; Seeds, 395. 
 
 CHAPTER XIX. 
 
 Parlor-Gardening . 399 
 
 Compost, 399; Flowers and Cuttings, 400; Boxes, 400; Bulbs, 401 ; 
 Hanging-baskets, 402. 
 
 CHAPTER XX. 
 
 Drawing and Designing 403 
 
 Paper, 403; Pencils, 403; Geometrical Drawing, 404; Sketching, 405; 
 Art Manuals, 406. 
 
 CHAPTER XXI. 
 H0ME.MADE Candy . 407 
 
 CHAPTER XXII. 
 A New Home Industry 414 
 
 CHAPTER XXin. 
 
 Cooking^lubs and Work in General 4So 
 
 Cooking-clubs, 420 ; Bread, 421 ; Home-made Things, 421 ; Village 
 Improvement Society, 422 ; Village Library, 423 ; Amusements, 423. 
 
LIST OF ILLUSTRATIONS. 
 
 Poll's Furniture: — pagb 
 
 Reception and Rocking Chair ....•••• 5 
 
 Paper Bed O 
 
 Paper Sofa 7 
 
 Ottoman 8 
 
 Rocking-chair 8 
 
 Parlor Table 9 
 
 Mirror ...lO 
 
 Bureau 10 
 
 Washstand ...... 11 
 
 Paper Fly-boxes 13 
 
 Paper Caps and Cocked Hats 14 
 
 Paper Boats 115 
 
 Home Store-keeping 17 
 
 The German Dwarf 33 
 
 The Kentucky Giant 34 
 
 The Elephant 35 
 
 The House that Jack built 36, 37, 38 
 
 Little Miss Muffet 39 
 
 Name in Letter 45 
 
 Goose Puzzle 68 
 
 Puzzle Wall 69 
 
 Plan for Tableau Stage yi 
 
 Monumental Group 99 
 
 Lawn Tennis: — 
 
 Plan of Ground ij;^ 
 
 Movement of Ball 163 
 
 Position of Players 164 
 
 xiii 
 
XIV LIST OF ILLUSTRATIONS, 
 
 hAVf 19 TEums, continued:- page 
 
 Fall of Ball .165 
 
 Fore Overhand Stroke 167 
 
 Back Overhand Stroke 167 
 
 Forward Play 168 
 
 Forward Play Underhand 169 
 
 Back Stroke 169 
 
 Target-shooting, Scoring-card . . 181 
 
 Plan for Badminton 185 
 
 Swimming on the Chest 191 
 
 Swimming on the Side 193 
 
 View of Aquarium 219 
 
 Sectional View of Slope-back Tank 220 
 
 Doll's Dress-making Patterns 237-246 
 
 Baby-shoe Penwiper 249 
 
 "Polly put the Kettle on" Holder 251 
 
 Turtle Cloves . . 251 
 
 Drawn-work 254, 255 
 
 Pansy Pincushion . . 258 
 
 Feather Screens 261, 262 
 
 Broom Penwiper 274 
 
 Doll's Bed • . 280 
 
 Doll's Bed Canopy 280 
 
 PiLi^Box Chair 281 
 
 Tissue-paper Flowers 285, 286, 287 
 
 Card-board House 291 
 
 Leather-work Leaves 301, 302, 303, 304, 306 
 
 Leather-work Mouldings • • 307 
 
 Tin Can with Wooden or Leather Handle and Base ... 309 
 
 Tin Can decorated 31c 
 
 Tin Can doubled and ornamented 311 
 
 Tools for ornamenting the Leather 312 
 
 Tin Can with Basket Handle 3^3 
 
 Tin Biscuit or Cracker Box 3M 
 
 Wax Flowers .... 320, 321, 324, 325, 326, 329, 331, 332, 333 
 
 Lawn Flower-box 337 
 
 Tools for Wood-carving 34S» 35' 
 
 Spray of Ivy-leaf (wood-carving) 35S 
 
THE AMERICAN GIRL'S HOME BOOK. 
 
 Part First. 
 INDOOR PLAYS. 
 
 CHAPTER I. 
 
 RAINY-DAY AMUSEMENTS AND HOME-MADE TOYS FOR YOUNGER 
 
 CHILDREN. 
 
 To begin with, some room where work or play can go on 
 without interfering with the elder people ought to be set 
 aside in every family. No matter how small, such a room — 
 with long, low shelves on one side, and a long, narrow table 
 on the other — will give space for the keeping of all the 
 countless odds and ends that have their value, however worth- 
 less they seem to others. Supposing there are four children : 
 one or two of these shelves may be divided into compart- 
 ments, where the special property of each can be kept ; 
 while the full length of another may be reserved for boxes 
 of all shapes and sizes, holding the materials to be used, — 
 in one, scraps of silk and lace and ribbon, for dolls' dress- 
 making; in another, cardboard and needles, for pricking 
 pictures ; in another, pictures for scrap-books ; and so on 
 through the long list of articles that will be found necessary 
 
2 RAINY-DA V AMUSEMENTS. 
 
 both for work and play. One corner should be given to the 
 blunt scissors, the pot of nicely prepared paste (which can 
 now be bought very cheaply, but may also be made at 
 home), the little glue-pot, which will often be needed, and 
 all the brushes and other small things required. Let it be 
 a rule to put every thing back in its place as soon as 
 used. Wash all paint or paste brushes, so that they may 
 not be found hard and sticky when wanted again, and pick 
 up all litter of every sort. In this way there will never be 
 any trouble in knowing just where things are ; and, whether 
 the day is rainy or pleasant, here will be a place always 
 ready for work. If it is impossible to give up a whole 
 room to such purposes, a closet may be arranged to hold all 
 the small properties ; but even one end of a room is better 
 than none, and, if desired, can be curtained off, and hidden 
 from general view. Such a room will often take the place 
 of school, in part at least ; for invention is stimulated, and 
 a child finds out what can be done without depending upon 
 others. In any case, it saves worry and vexation. The 
 older people are not troubled by litter in unexpected places ; 
 and the younger ones know that here is a spot where they 
 have full right, and may arrange as seems good to them. 
 
 COLORING PICTURES. 
 
 It is always easier to color a picture before it has been 
 cut from the paper. Let it lie smoothly before you on the 
 table. Have every thing ready beforehand, with the cup of 
 water for wetting the brushes, two or more of which will be 
 necessary for nice work. The " Kate Greenaway " paint- 
 boxes are of tin, and made with hollow spaces opposite the 
 colors for mixing different shades ; as red and blue to make 
 purple, or yellow and blue for different shades of green. 
 There are books, also, in which a colored picture is on one 
 
MAKING SCRAP-BOOKS. . 3 
 
 page, and one in black and white, to be colored like it, on 
 the other. These are very expensive; and there is just as 
 much pleasure to be had with an old " Harper's Weekly," or 
 any good illustrated paper. Think what the colors ought to 
 be before you put them on. Be very careful not to run over 
 the edges, and make a thing look swollen or jagged ; and 
 often you can paint a picture so that it will be quite pretty 
 enough to paste on a card and give away, or to put in a 
 scrap-book for a sick child, either at home or in a hospital. 
 
 MAKING SCRAP-BOOKS. 
 
 These are of two sorts. Where they are to be turned 
 over and over by little fingers, it is well to have the leaves 
 made of strong, thick cotton cloth ; and after they are filled 
 a bright cover can be made, and the whole sewed together. 
 Colored cambric leaves with pinked edges are also used. 
 But it is best to begin with a common paper book, an old 
 copy-book being quite as good as a new one. Cut the 
 pictures out very carefully, and plan how to arrange them 
 before you begin work. Sometimes one is large enough to 
 cover a page ; and sometimes one can be put in the middle, 
 with smaller ones at each corner. To paste neatly you want 
 smooth paste, a small but broad brush, and a soft clean 
 cloth. Lay the picture on its face, on a paper spread on 
 the table. Take only a little paste on the brush at once, 
 and cover the back of the picture thoroughly ; then lift it 
 carefully and lay in its place, dabbing it smooth with the 
 small cloth, pressing it down, and wiping away any particle 
 of paste about the edges. Paste but one side at a time, and, 
 when nearly dry, iron smooth with a warm iron, when the 
 other side can be filled if you want both covered. A book 
 of animals can be made the pictures colored before or after 
 pasting ; and it is very easy, now that pictures are so plenty, 
 
4 ^ RAINY-DAY AMUSEMENTS. 
 
 to have them on special subjects. A nice rainy-day game 
 is to take one of these scrap-books, and make up stories 
 about the pictures ; the best time for this being the twilight, 
 when you cannot see any longer to work comfortably. 
 
 A PICTURE-PUZZLE. 
 
 Take a picture which has a good many figures in it, and 
 color it, or leave it plain (though coloring will be best) ; or a 
 small bright chromo can be used. Paste it carefully on a 
 piece of stiff pasteboard the same size : an old box-lid will 
 often answer perfectly well. Let it get thoroughly dry, then 
 cut it into pieces not over two inches long or wide, and in 
 any shapes you choose. Mix the pieces all together, and 
 then try to put them in such order as to make the picture 
 again. A map can be treated in the same way, and you 
 will have just as amusing and interesting a "dissected " map 
 or picture as can be bought in the toy-stores. ** Sliced let- 
 ters" may be made on the same plan. Cut large letters 
 from advertising-bills or newspaper-headings until you have 
 enough, then paste carefully, and, when dry, first cut out, 
 and then cut each one in two or three pieces. To put them 
 together is a game for little children who have just learned 
 their letters. 
 
 PAPER DOLLS AND FURNITURE. 
 
 These are sold in every toy-store ; the dresses and furni- 
 ture being printed on thick paper, which will bear a good 
 deal of handling, ready for cutting out. In the country, 
 where it may not be easy to buy them ready-made, a doll 
 can be cut from the fashion-plate of a magazine, and a pat- 
 tern made, from which the dresses and hats may be cut. If 
 you have only plain white paper, it can be colored from the 
 paints in your color-box ; and it is really more interesting to 
 plan a doll's wardrobe in this way than to have it all ready- 
 
PAPER DOLLS AND FURNITURE. 5 
 
 made. Diagrams for bed, chair, table, and sofa, are given 
 below ; and the furniture can be cut from bristol-board, and 
 colored, or from thin, smooth pasteboard. 
 
 In cutting out this furniture, patterns of it may first be 
 taken by laying a piece of thin paper over each diagram, 
 and carefully copying every line. These can be laid on the 
 
8 
 
 RAINY-DAY AMUSEMENTS. 
 
 cardboard, and a pencil-line drawn around them. There are 
 three sorts of lines, each one meaning different treatment, 
 as you will see in the description of how to cut out the 
 
 rocking-chair. If you have only white cardboard to use, you 
 will have to paint your furniture, — either dark-brown, like 
 walnut ; or in colors, like the enamelled sets. 
 
PAPER DOLLS AND FURNITURE, 9 
 
 First af all, cut round the outside of the rocking-chair ; 
 and, if you begin by cutting off the greater part of the waste 
 cardboard, you can turn your scissors more easily. Now lay 
 it down ; take a flat ruler, or something with a straight edge, 
 
 Pks. 7. — Parlor Table. 
 
 and mark over all the parts which are to be turned dowuy 
 with the point of your scissors, or with a penknife, but not 
 deep enough to cut through : these parts are indicated in 
 
 little dots ; thus, (as seen in the lines from A to 
 
 A). Now the lines marked thus are to be 
 
 marked in the same manner ; but, as those parts are to 
 be turned up^ you must mark them on the reverse side. 
 
PAPER DOLLS AND FURNITURE. 
 
 II 
 
12 - RAINY-DAY AMUSEMENTS, 
 
 As there are no lines on that side, make a little hole with 
 the point of a pin at the extreme end of these lines (B and 
 B), to show you where to draw your knife when the rocking- 
 chair is turned over. Next you must cut through the lines 
 
 marked thus (as seen in lines from C to C) : 
 
 now bend the parts up or down, as the lines direct. You 
 will find, when you have cut out and bent your furniture as 
 directed, little tabs, that are to go underneath, to gum or sew 
 the other parts to. 
 
 CORK-WORK. 
 
 Every bit of gay-colored yarn or worsted works into pretty 
 little mats, though it is well to have a good deal of either 
 black or some dark color as contrast. A patent spool with 
 wires set in it, and a catch at one side for holding the 
 worsted, is now sold ; but a common spool answers just as 
 well. A large one is necessary ; and into it four stout pins 
 are set, around the hole in the middle, and close to the edge. 
 Then wind the worsted once around each pin, letting it be 
 drawn rather tightly, and letting the end at which you begin 
 be long enough to drop down through the hole in the spool, 
 and be used to gradually pull the work through. Now, hold- 
 ing the spool and the worsted in the left hand, wind the 
 worsted round so as to begin another row. Then take up 
 the loop on the first pin, with a long pin or needle, and pull 
 it out toward you till long enough to lift over the top of the 
 pin that holds it. It will make a loop like a crochet-stitch, 
 which must be pulled tightly enough to fasten the worsted 
 firmly : keep on with this, and, as the work grows, pull it 
 down through the hole in the spool. When you want to 
 fasten on another color, put one end inside the spool-hole, 
 and hold the worsted against the pin, till you have fastened 
 it by a fresh loop. The work makes a hollow worsted tube ; 
 and, when all the colors are used, it is to be coiled round and 
 
PAPER FLY-BOXES. 
 
 13 
 
 round, sewing it together on the wrong side, as yo^i go, till 
 you have a round mat, which can be lined or not as you like, 
 and is pretty for bureau or for baby-house. 
 
 PAPER FLY-BOXES. 
 
 Cut a piece of stiff paper six inches square. Fold paper 
 from A D, then from B C, making creases. Place points 
 A, B, D, C, successively, to centre O, making creases da^ etc. 
 Fold points A, B, D, and C respectively, to /, g^ h, and ^, 
 making creases op, ij\ Ik, and mn. Make creases ni,pl, 
 jfUt and k 0. Cut out small triangles, indicated by creases 
 whose bases are ia, ap, lb, bj, mc, ck, o d, dn. Cut slits 
 
 Fig. II. — Box Square creased for cutting. Fig. 12. — Box Square ready for folding. 
 
 in middle of lines pi,jm. Cut slits from points k, o, n, 
 and i, towards^ and x. Cut lines op, Ik, to m, r, s, t. 
 
 The paper now appears as in Fig. 1 2. Fold rs, st, t u, 
 u r, with a sharp crease, so as to make a right angle. The 
 square r s t u forms the bottom of the box. Fold ab, be, 
 cd, da, in same manner. The loose squares formed in cut- 
 ting paper to r, s, t, and u, fold to the inside of box. The 
 points A and C are folded, and stuck through slits at mj 
 and p /, and the box is complete. 
 
M 
 
 RAINY-DA Y AMUSEMENTS. 
 
 PAPER CAPS OR COCKED HATS. 
 
 For a small cocked hat, take a piece of firm paper seven 
 inches by five, and fold as in diagram. 
 
 FxG. 13. — Hat before folding. 
 
 I. Fold along the line A B, doubling the paper. 
 II. Fold along the lines C D and C E. 
 
 III. Fold along the line D E. 
 
 IV. Fold the corners O along the lines O P. 
 Newspaper or brown wrapping-paper can be used for 
 
 larger hats ; and, if the corners are sewed or pinned, they will 
 keep in shape much longer. A bright feather is a great 
 addition. 
 
 Fig. 14. — Cocked Hat as folded. 
 
PAPER BOATS. 
 
 15 
 
 PAPER BOATS. 
 
 To make a paper boat, make first the cocked hat, and then 
 continue folding according to following directions : — 
 
 I. The lines C D, C E, D E, and O P, having been folded, 
 fold along the line C F, and open out the creases C D and 
 
 C E, thus forming a square C D F G ; the corner opposite 
 F being lettered G. 
 
 II. Fold back the corners D and E until they touch the 
 corner C, making a triangle CFG. 
 
 III. Flatten the creases C F and C G, bringing the corners 
 F and G together, forming a new square. The corners D 
 and E still touch the corner C ; draw them out laterally, and 
 the paper assumes the shape of a boat. A match may be 
 
 Fig. 16. — Paper Boat as folded 
 
 put in the centre fold for mast, first running it through a 
 bit of paper for sail ; and a fleet of these little boats filled 
 with paper sailors can be navigated either in wash bowP or 
 bath-tub. 
 
l6 kAlNV-DA Y AMUSEMENTS. 
 
 PRICKING PICTURES. 
 
 Where kindergarten materials are kept in bookstores, 
 cards on which outlines of animals, flowers, or geometrical 
 patterns, are drawn, are used for the pricking ; and needles 
 for the purpose come with them. Just as good a result may 
 be had at home by tracing a pattern on stiff paper. Lay 
 the pattern to be copied against the window-pane, and the 
 paper over it, and draw the outlines very carefully. A 
 coarse needle, or a large black-headed pin, is best for the 
 pricking, which must be very closely done, the pricks almost 
 touching one another. Very pretty lamp-shades are made 
 in this way, in from tour to eight pieces ; a flower or some 
 other design being pricked on each piece, which is lined 
 with colored paper, bound, and fastened at top and bottom 
 with small bows of ribbon. For little children, the simple 
 pricking out a house or animal is always an amusement. 
 
 SOAP-BUBBLES. 
 
 The coarser the soap, the brighter and bigger the bubble 
 will be. A set of common clay pipes can have place on one 
 of the shelves, long ones giving better bubbles than those 
 with short handles. Dissolve the soap in warm water till 
 it is a mass of suds, and, if you want your bubble to last, 
 never throw it off on a bare floor or table, but always on 
 carpet, or something of rough woollen. Often you can have 
 a whole flock of the lovely balls dancing about as if alive ; 
 and the big people are very likely to want to borrow a pipe 
 "just for a moment." If no pipe is to be had, a very large 
 single bubble can be blown by covering the hands with 
 soapsuds and putting them together so as to make a cup 
 open a little at the bottom. Hold your mouth about a foot 
 from your hands, and blow steadily and strongly. A bubble 
 
KEEPING STORE. 
 
 17 
 
 twit*4 AS big as your head can often be made, but it bursts 
 the moment it touches the floor. Mr. Beard describes 
 smoke-bubbles, which every Southern child knows all about. 
 In the old plantation days the old negroes who sat in the 
 sun or by the fire smoked corn-cob pipes. The children 
 would come with a bowl of soapsuds, start a bubble, and 
 then hand the pipe to ''Uncle Cassius," who had, in the 
 mean time, taken a long pull at his corn-cob, and filled his 
 mouth with smoke. Some of them, as the smoke is slowly 
 blown into them, will look like lovely opals. Others will 
 seem like balls of milk-white china, and will roll slowly 
 over the floor as if heavy, like china. If " the dog chases 
 and catches one of these bubbles, how the children laugh to 
 see the astonished and injured Jook upon his face ! and what 
 fun it is to see him sneeze, and rub his nose with his paw ! 
 Still better fun is to have two or three lively kittens in the 
 room. They will jump after them, roll over and over, and 
 never stop being surprised at not finding them in their paws." 
 
 KEEPING STORE. 
 
 In the large toy-stores, tin stores, fitted up with counter, 
 scales, and boxes, are sold ; but quite as good ones can be 
 made at home. An older brother who can use tools, or a 
 carpenter, must be called upon in the beginning, who, from 
 a smooth and well-finished box such as canned fruits come 
 in, can make a back for the store. Half of the top and sides 
 should be taken off, so that the shelves can be easily reached, 
 leaving the bottom for floor. Supposing the box to be ten 
 or twelve inches high and wide, and eighteen inches long : 
 after half of the top and sides are taken away, three shelves 
 are to be made at the back ; the lower one five inches from 
 the floor, and about five inches wide, the other two not over 
 three inches wide, and some two inches apart. It is best to 
 
1 8 RAINY-DAY AMUSEMENTS. 
 
 plan for a country store, where all sorts of things are kept ; 
 and then, with a division in the middle of each shelf, dry- 
 goods and fancy articles can be on one side, and groceries 
 on the other. The pieces which come off the box will make 
 shelves, and a counter ten inches long, five inches high, 
 and four inches broad, which must be fastened to the side 
 of the box, and closed in front. Some bits of cigar-box or 
 thin shingle can be used to make a little drawer for change. 
 When all is finished, the nail-holes can be filled with putty, 
 and the store either painted or stained a dark brown. It is 
 easy to fit up the dry-goods side with miniature pieces of 
 calico, flannel, and silk, little rolls of ribbon, ruffles, and all 
 sorts of penny toys, and bits of china. For the grocery side, 
 more trouble is needed. Little tea-chests can be covered 
 with paper saved from larger ones, and small spice-tins do 
 duty for coffee-cans and canned goods, or pill-boxes answer 
 almost as well. Tiny tin or earthen pans can hold samples 
 of peas, beans, etc. ; and miniature coffee-sacks, etc., can be 
 made of coarse bagging. There is no limit to what can be 
 done toward making it seem a real store. 
 
 A supply of paper money must be made, and this may be 
 the work of an older brother or sister. Thin pasteboard 
 must be cut in circles, or visiting-cards or old postal-cards 
 can be used, cut in the sizes of a five, ten, and twenty-five 
 cent piece, and silver paper pasted on neatly. When dry, 
 they may be merely marked plainly, 5 cents, 10 cents, etc., 
 or may be lettered as nearly in imitation of the real pieces 
 as possible. Bills may be cut from tinted linen paper, and 
 colored to imitate real ones. Where the thin gold or silver 
 paper is used, it soon tears, unless pasted on a stiff back ; 
 but a little box of well-made money will last a generation of 
 children if always put away after using. Toy scales can be 
 made where the expense of buying druggist's scales seems 
 too great. 
 
KEEPING STORE, 
 
 19 
 
20 RAINY-DA Y AMUSEMENTS. 
 
 There is no more delightful way of taking in some of the 
 mysteries of arithmetic than in making change ; and I have 
 known one case where French and German and English 
 money was also used, and the exercise stimulated by real 
 candy, nuts, etc., in the small jars. There must be a little 
 flour-barrel, sugar-boxes, etc. ; and, if a pair of druggist's 
 or any very small scales can be had, this will prove one of 
 the surest of amusements for both pleasant and rainy days. 
 
 HOME NEWSPAPERS. 
 
 Those who doubt if there can be any fun in this are 
 referred to '* Little Women," and the newspaper edited and 
 owned by Jo and Beth and the rest. If the boys, or girls 
 either, own a home printing-press, it can come out in real 
 newspaper shape ; and hundreds are now printed in this way. 
 But there is, perhaps, as much pleasure in the one which 
 depends altogether on the pen, a large sheet of congress 
 paper being divided into three columns to the page, with 
 news and a story, and paragraphs of all sorts ; each variety 
 having its own special writer. Nobody's feelings are hurt 
 by rejected articles ; for whatever is written has its place, 
 and it may be made as large or as small as seems best. 
 
 HOME POST-OFFICES. 
 
 I wonder if any child takes the delight in these that I 
 shared in my own childhood with the cronies who spent long 
 Saturday afternoons writing the letters. Sometimes I was 
 Robinson Crusoe, and the letters were from my friends, who 
 advised me what to do. Sometimes it was fairies who wrote, 
 sometimes giants ; and often we were all grown up, and wrote 
 about our families, and all our difficulties in bringing them 
 up. A letter-box can be fastened in one corner of the work- 
 room, and opened on any day selected. A real postman's 
 
HOME NEWSPAPERS. 
 
 21 
 
 The Weekly Budget. 
 
 "Infinite Riches in a Little Room." 
 
 Poetrs, 
 
 f^0me Utemg. 
 
 iF0rei'jD(n, 
 
 ODE. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 T.K. 
 
 
 
 STelegrapfjic. 
 
 
 
 
 
 
 
 
 
 • • 
 
 
 
 
 
 
 .* 
 
 
 
 
 
 
 
 
 
 
 
 -^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
22 RAINY-DAY AMUSEMENTS. 
 
 bag can be made, and " one of the boys " chosen to deliver 
 them all. Save the stamps from old letters, and cut them 
 down. And old envelopes can also be turned, and cut into 
 smaller ones, if you have not the little boxes of little sta- 
 tionery sold now for children. I know of one family where 
 one child went to Italy, and another to Norway, — make- 
 believe, of course, — and each wrote to the other all the 
 things she saw. No matter what you choose to write about, 
 there is always excitement in opening the letters, for some- 
 times the big people drop in one ; and it may be a little 
 scolding, which can be more easily borne in this way, or 
 perhaps an invitation or a plan for something pleasant. 
 
 In a chapter of this nature not much more than hints and 
 suggestions can be given. There are countless quiet games 
 for a rainy day or home evenings. Jack-straws are old-fash- 
 ioned, but always interesting. Mrs. Mary Mapes Dodge has 
 an excellent set of games, published by Charles Scribner's 
 Sons ; and there are consequences, and the game of authors, 
 and word-games with letters, to say nothing of dominos and 
 checkers, loto, fox-and-geese, solitaire, and the whole host of 
 puzzles and games in general. Only do not have too many ; 
 for, though names multiply, many are simply old acquaint- 
 ances in new dress. Your own invention can often plan 
 some new form ; and, in the chapters that follow, you will 
 find many which can be altered to suit circumstances. 
 
A CHILDREN'S PARTY AND THE GAMES PLAYED. 23 
 
 CHAPTER II. 
 
 A CHILDREN'S PARTY AND THE GAMES THEY PLAYED. 
 
 It was a sensible party ; and that, you see, made it at once 
 different from all every-day parties. The children did not 
 come from eight in the evening to midnight, dressed in silk 
 and lace, and jewelry even, like their grown-up sisters. Nor 
 did they think that dancing, and a band, and a great supper, 
 were a necessary part of the invitation, which read " From 
 4 to 8 P.M.," and had in one corner, "Old-fashioned plays." 
 
 As you grow older, you will often hear two sentences used 
 by everybody ; some knowing just what they mean, and 
 many, not at all. But they are used all the same, and are, 
 "the law of natural selection," and "the survival of the 
 fittest;" applying just as much to plays as to people, and 
 meaning for us that boys and girls, almost from the very 
 beginning of the world, have had sense enough to make 
 plays that were pleasant, and suitable for the place they 
 were to be played in, and that, where there were too many, 
 they were weeded out, and only those lived that were good 
 and pleasant everywhere. All the boys the world has ever 
 held have played ball and marbles, and flown kites, and 
 had "buzzers " and "bull-roarers," or something that would 
 make a dreadful noise ; and all the girls have had dolls, and 
 played house, and all the other girl's games. And so with 
 "forfeits " and "stage-coach " and "button," and many other 
 games under one name and another. They are sure to amuse 
 if well done. We are far too fond of endless variety ; and 
 
24 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
 there is more real pleasure in a few well-understood and 
 well-played games than in dozens of new ones, which are 
 really often only changes rung on the old. So if you have 
 been spoiled in this way, and think no game should ever be 
 played twice in the same way, you must look in some of the 
 many books of " home amusements," and make your choice 
 there. The children at this party began with "stage-coach," 
 because seven of the twenty were strangers, and this game 
 gave them a chance to look at one another, and get ac- 
 quainted, first slowly, then all at once as a great rush came. 
 Curiously enough, perhaps because it is so old, it is given in 
 but one of many books of plays I have examined. 
 
 STAGE-COACH. 
 
 This is sometimes called "The Family Coach." The 
 players sit as nearly in a row as possible, and each one re- 
 ceives the name of something connected with the coach, as 
 in the form given, in which a story is told, introducing all 
 the different characters ; as, for instance, — 
 
 Tke Driver. 
 
 Whip. 
 
 Right Wheel. 
 
 Two Horses y — one Grayy one Black, 
 
 Miss Stacy s Box, 
 
 The Old Woman, 
 
 The Parrot (this ought to be the youngest child). 
 
 The Old Woman's Basket. 
 
 The Man with a Long Beard, 
 
 The Girl with a Red Hat. 
 
 The Stage-coach. 
 
 Other parts of the coach, such as axle, or door, or other 
 passengers, can be added if they are needed, and the story 
 altered so as to bring them in. 
 
STAGE-COACH. 
 
 25 
 
 The characters who are Italicized get up and turn around 
 as their names are mentioned ; and, as has been said, at 
 " Stage-coach^'' every one gets up at the same time, and turns 
 around once, until it upsets, and they all rush to change seats. 
 
 ** One day I wanted to go from Albany to New York in 
 the Stage-coach. It always started very early in the morning, 
 but every thing made me late. I overslept myself; breakfast 
 was not ready ; my boots were stiff, and hard to put on ; all 
 seven of the children had to be hunted up and kissed good- 
 by ; my wife had fifty jast directions ; and at the last moment, 
 as I rushed off, out came Miss Stacy, the milliner, with 
 a Box she wanted me to carry to her mother. I hadn't a 
 moment to spare, and I rushed down the street as if I was 
 crazy; but to my delight, when I reached the inn, there stood 
 the Driver snapping his Whip^ and now and then patting 
 the Gray Horse. 
 
 " * My goodness ! ' I cried : * I expected the Stage had 
 gone.' 
 
 " * Gone ! ' said the Driver. * Not much, if an Old Woman 
 can hinder you.' 
 
 " * Go without her,' called a Man with a Long Beardy put- 
 ting his head out of the Door. 
 
 " * Here she comes,' said the Driver; and he snapped his 
 Whip again, and got up on his box. 
 
 "The Old Woman was pretty stout; but she came steadily 
 along, carrying a Basket in both hands, with her bonnet 
 swinging on the back of her head. 
 
 " * I was half afraid I might be late,' the Old Woman §aid. 
 
 ** * Come, get in, get in ! ' cried the Man with a Long 
 Beard. And he flung open the Door^ and the Old Woman 
 climbed in, and I after her ; and the Mart zvith a Long Beard 
 banged the Door fast, the Driver snapped his Whip, and 
 the Gray Horse gave a pull, and that wakened up the Black 
 
26 A CHILDREN'S PARTY AND THE GAMES PL A YED. 
 
 one ; and so the Stage-coach started off. In front of the Old 
 Woman sat a young Girl with a Red Hat, who was forever 
 putting her head out of the window to watch the Right 
 Wheely which she said she knew would break down. She 
 had noticed it as she got in the Door. 
 
 " I put my Box on the floor, and the Old Woman put her 
 Basket by it, and then the Man with a Long Beard began to 
 talk of robbers. 
 
 "'It was only last week,' he said, 'that a Stage-coach 
 going to Rochester was stopped by ,two men in masks, 
 who * — 
 
 " ' You'd better believe it ! ' said a strange voice. 
 
 " The Man with a Long Beard looked at the Girl with a 
 Red Hat, and she put her head out of the window as if the 
 Right Wheel had spoken. 
 
 " ' Who,' continued the Man with a Long Beard, * pulled 
 out pistols, and ' — 
 
 " ' Stuff ! ' said the voice. 
 
 " Then the Man with a Long Beard looked at me, and 
 I looked at the Girl with a Red Hat, and she looked at the 
 Old Woman, who looked at my Box. This made me mad. 
 
 " ' There's nothing in that Box that isn't right,' I said. 
 
 " *Nor in my Basket^ said the Old Woman ; *and, if that 
 Black Horse don't run away, I'll be surprised.' 
 
 " * I'll eat him with a grain of salt,' said the voice ; and the 
 Girl with a Red Hat screamed ; and the Driver pulled up 
 both of his Horses^ and dropped his Whip under the Right 
 Wheel ; and the Man with a Long Beard flung open the 
 Door, put his foot in my ^^;r, upset the Old Woman s Basket ; 
 and out jumped a great green Parrot, screaming, *Fire! 
 Fire ! ' and this frightened the Horses, and over went the 
 Stage-coach down the hill." 
 
 If any one forgets to answer to the name given, a forfeit is 
 
BUFF. 27 
 
 paid. These forfeits were not redeemed till various other 
 forfeit-games had been played, each pledge being put on a 
 little table in the corner. Before any one had begun to be 
 tired of "stage-coach," "buff" was started; and this is the 
 way they played it. 
 
 BUFF. 
 
 This, like many of the games is only a way of collecting 
 forfeits. One of the players comes forward with a poker, 
 and knocks on the floor three times. " Whence come you .-^ " 
 one of the company asks. " I come from poor Buff, full of 
 sorrow and care." — " And what did Buff say to you ? '* 
 
 "Buff said, *Bu£E!' 
 And he gave me this staff, 
 And he bade me not laugh 
 Till I came to Buff's house again.'* 
 
 With this the poker is handed to the questioner. But before 
 this is done all have been trying to make the poker-bearer 
 laugh. If there is even the faintest smile, a forfeit is paid. 
 Sometimes the rhyme is like this : — 
 
 " Buff says ' Buff ' to all his men, 
 And I say ' Buff ' to you again. 
 Buff he neither laughs nor smiles, 
 In spite of all your cunning wiles, 
 But keeps his face with a very good grace. 
 And carries his staff to the very next place." 
 
 The poker is handed from one to another till each has said 
 the rhyme, and it must pass from hand to hand as rapidly 
 as possible. Only seven of the twenty kept a perfectly 
 sober face ; and they were not the seven strangers, who by 
 this time were not strangers at all, and who, when all the 
 fr rfeits had been redeemed, were ready for 
 
28 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
 MAGIC MUSIC. 
 
 In this game one child is sent out of the room, and any 
 one who can play the piano tolerably takes a place there. 
 A pair of gloves, or any small object, must be hidden, and 
 the banished one called in ; and the business of the player 
 is to indicate by the music when the seeker comes near the 
 hiding-place. When at the greatest distance, the music is 
 very low, and as mournful as possible ; as it is more nearly 
 approached, the tones are louder and louder ; and, when found, 
 there should be a triumphal march or a gay reel. The game 
 is varied by choosing something the player is to do, and 
 letting the music show what it is. This is a game for chil- 
 dren from eight to twelve, though I have seen older ones 
 enjoy it. 
 
 Then came an old-fashioned guessing game : — 
 
 HOW DO TOU LIKE IT.? WHEN DO YOU LIKE IT.? AND 
 WHERE DO • YOU LIKE IT } 
 
 In this, one of the company is sent out, and the rest 
 choose some article or object with several different mean- 
 ings, which she, on her return, must endeavor to discover 
 by asking the three questions, " How do you like it } "' 
 "When do you like it.?" and "Where do you like it.?" 
 The one whose reply betrays the secret pays a forfeit, and 
 changes places with the questioner. 
 
 Example. 
 Fanny leaves the room : her companions, having in her 
 absence decided on the word "box," recall her. 
 Fanny. Jane, how do you like it .? 
 Jane. Of Chinese workmanship. 
 Fanny. And you, Clara .? 
 
now DO YOU LIKE IT? 29 
 
 Clara. Not too crowded. 
 
 Fanny. Mary ? 
 
 Mary. Lined with crimson velvet. 
 
 Fanny. Now, Agnes. 
 
 Agnes. Filled with pleasant people 
 
 Fanny. Martha, it is your turn. 
 
 Martha. Green and flourishing. 
 
 Fanny. Constance } 
 
 Constance. Well cushioned. 
 
 Fanny. And Ellen 1 
 
 Ellen. Inlaid with silver. 
 
 Fanny. Annie } 
 
 Annie. Not too hard. 
 
 Fanny. Come, Emily. 
 
 Emily. Large and handsome. 
 
 Fanny. And when do you like it } 
 
 Jane. When I'm at work. 
 
 Clara. In the evening, after nine o'clock. 
 
 Mary. At any time. 
 
 Agnes. Some day next week. 
 
 Martha. At all seasons of the year. 
 
 Constance. Whenever I can get it given me. 
 
 Ellen. On my next birthday. 
 
 Annie. When I have neglected my music-lesson. 
 
 Emily. Next time I go a journey. 
 
 Fanny. And now where do you like it } 
 
 Jane. On my table. 
 
 Clara. At the opera. 
 
 Mary. On my toilet. 
 
 Agnes. At the theatre. 
 
 Martha. In my garden. 
 
 Constance. In the best circle. 
 
 Ellen. Where it can be seen and admired. 
 
30 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
 Annie. On my ear. 
 
 Emily. In my dressing-room. 
 
 If Fanny is still unable to guess the word, she pays a 
 forfeit, and again leaves the room : if not, the one from whom 
 she guesses it changes places with her. 
 
 There was not time for more than two more games before 
 supper ; and, as the children were tired of sitting still, one 
 of the older ones proposed 
 
 HUNT-THE-SLIPPER. 
 
 All the players but one are placed in a circle : that one 
 remains inside to hunt the slipper, which is passed from 
 hand to hand very rapidly in the circle. The hunter can- 
 not judge where it is, because all the players keep their 
 hands moving all the time, as if they were passing it. The 
 one in whose hand it is caught becomes the hunter, and 
 pays a forfeit. Usually little girls play sitting side by side, 
 very close to each other, on low stools, or resting upon their 
 feet. If the company be sufficiently numerous, it is better 
 to have two circles, one within another, sitting face to face, 
 resting on their feet, with their knees bent forward so as to 
 meet each other : in this way a sort of concealed arch is 
 formed, through which the slipper may be passed unper- 
 ceived. There should be two slight openings in the circle, 
 one on one side, and the other opposite. When the slipper 
 is passing through these openings, the player who passes it 
 should tap it on the floor to let the hunter know where it 
 is. She springs to seize ii ; but it is flying round so rapidly, 
 and all hands are moving so fast, that she loses it, and in 
 less than an instant, perhaps, she hears it tapping on the 
 other side. This game may be played rudely, and it may 
 be played in a ladylike manner. If little girls are rude, they 
 are in great danger of knocking each other down in trying 
 
THE EMPEROR OF MOROCCO. 3 1 
 
 to catch the slipper ; for cowering upon their feet, as they 
 do in this game, they easily lose their balance. It is best 
 for the hunter never to try to catch the slipper, except at 
 the two openings in the circle : then there is no danger of 
 tumbling each other down. Some prefer playing this game 
 with a thimble or a marble, because it is not so likely to be 
 seen as a slipper. If any one happens to drop the slipper 
 in passing it, she must pay a forfeit. 
 
 Then came, when they were quite out of breath with 
 laughing over the slipper : — 
 
 THUS SAYS THE GRAND MUFTI. 
 
 This is a favorite game among children. One stands up 
 in a chair, who is called the Grand Mufti. He makes what- 
 ever motion he pleases ; such as putting his hand on his 
 heart, stretching out his arm, smiting his forehead, making 
 up a sorrowful face, etc. At each motion he says, " Thus 
 says the Grand Mufti," or "So says the Grand Mufti." 
 When he says, " Thus says the Grand Mufti," every one 
 must make just such a motion as he does ; but when he says, 
 " So says the Grand Mufti," every one must keep still. A 
 forfeit for a mistake. A game very much like this is called, 
 
 THE EMPEROR OF MOROCCO. 
 
 In this game two of the players must walk solemnly 
 toward one another, bow ceremoniously without a smile, and 
 look steadily at one another while they repeat the following 
 dialogue : — 
 
 First Player. The Emperor of Morocco is dead. 
 
 Second Player. I'm very sorry for it. 
 
 First Player. He died of the gout in his left great toe 
 
 Second Player. I'm very sorry for it. 
 
32 A CHILDREN'S PARTY AND THE GAMES PLAYED, 
 
 First Player. And all the court are to go in mourning, 
 and wear black rings through their noses. 
 
 Second Player. I'm very sorry for it. 
 
 They then bow again, and retire to their places, while 
 another pair comes forward to go through the same impres- 
 sive dialogue ; and so on, till the game has gone all round 
 the circle ; a forfeit being the penalty for the slightest 
 approach to a giggle. By the time almcvst every one had 
 giggled, and the stand in the corner was covered again 
 with forfeits, supper was ready, it being exactly half -past six ; 
 and every one was so hungry, that the piled-up table very 
 soon showed empty dishes, and more sandwiches had to be 
 brought in. The supper was as sensible as the hours, — 
 plenty of delicious sandwiches, three sorts, made from tongue, 
 ham, and chicken ; light, delicate cake, but no heavy, rich 
 fruit-cake ; custards in pretty cups ; plenty of ice-cream and 
 fruit, but no candy, save that to be found in the piles 
 of "crackers," which they pulled after supper, each child 
 putting on the caps they held. 
 
 When they entered the parlors again, the curtains across 
 the deep bay-window were drawn ; the chairs were in rows 
 as if ready for a lecture, and a table stood half hidden by 
 the curtains, on which, as soon as all were in their places, 
 suddenly appeared what was announced to be 
 
 THE GERMAN DWARF. 
 
 For this entertainment two people are needed, and there 
 must be a loose and very gorgeous jacket with large sleeves. 
 This may be made from turkey-red covered with gilt 
 spangles, or from some bright chintz. The one who is to do 
 the speaking dresses his arms to represent legs, and puts his 
 hands into a pair of high shoes, though patent-leather boots 
 are much better. A cap or hat with many plumes finishes 
 
THE GERMAN DWARF. 
 
 33 
 
 the costume. Behind him stands the acting player, who 
 thrusts his arms under the make-believe legs of the speaker, 
 and fits them into the sleeves of the jacket. Then the 
 speaker puts his hands on the table, and a third person 
 draws and pins the curtain, so that no one can see the per- 
 formers. The dwarf looks amiably about, and then begins a 
 speech. He may be an Irish or French dwarf, but must use 
 
 Fig. i8. — The German Dwarf. 
 
 a good many phrases from whatever language is his own. 
 In the mean time, the actor uses his arms in making extraor- 
 dinary gestures. Then the dwarf dances his national dance, 
 somebody playing the music for him, and the hands do 
 what they please ; the whole being so real, that every child 
 will insist that it is truly a dwarf. 
 The curtains were drawn suddenly while he was still 
 
34 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
 dancing. There was a little rustle and moving about, and 
 then they parted suddenly, and out came 
 
 THE KENTUCKY GIANT AND THE KENTUCKY GIANT's WIFE. 
 
 For this two very long cloaks must be made of black cam- 
 bric. Two tall boys are necessary to play the giant's part, 
 as in the cut given, where one is perched on the shoulders 
 of the other, and wears a high hat with a feather in it. 
 
 This is one way ; but a simpler one is to make the giant on 
 the same plan as the giant's wife. In this case a long cane 
 is taken, and a piece of lath eighteen inches 
 long is fastened about five inches from the 
 top. The person who is to play the part of 
 the giantess first puts on a long skirt. An 
 old bonnet is tied firmly on the end of the 
 cane, and the black cloak just below it ; 
 the piece of lath holding it out, and rep- 
 resenting the shoulders. A large blanket- 
 shawl can be used instead of the cloak, the 
 ends of either hiding perfectly the head of 
 the player. The cane must be held firmly ; 
 and the giantess, as she walks in to the room, 
 can look for a nail in the wall ; then stoop 
 down to the keyhole in the door, at the 
 same time lowering the cane ; then rise very 
 gradually, standing finally on tiptoe, and slowly raising the 
 cane, till the bonnet is as near the ceiling as possible. The 
 giant's hat can be managed in the same way, and this one 
 made a little speech, telling where he and his wife were born, 
 and how they happened to grow so tall, all the time short- 
 ening or lengthening, so that the children screamed with 
 laughter. Then in a minute both had gone behind the cur- 
 tains. There was another little rustle, and then out walked 
 
 Fig. 19. 
 
THE &LEPHANT. 
 
 35 
 
 Fig 20. 
 
 THE ELEPHANT. 
 
 For this, two boys are needed, who must stand as shown 
 in the cut, one boy representing the hind, and the other the 
 fore legs. A thick quilt or comfortable must be doubled 
 three or four times, and laid on their backs. Over this throw 
 a very large gray blanket 
 or travelling-shawl, twisting 
 one end to imitate the trunk, 
 and the other more tightly 
 for the tail. Two black but- 
 tons may be pinned on for 
 eyes, and two long paper 
 cones for tusks. A third 
 person must lead in the ele- 
 phant, and must lecture on its wonderful intelligence and 
 its great gentleness, proving the latter quality by lying 
 down, and letting the elephant walk over him. This can 
 be made very funny by bright players. Many other ani- 
 mals are possible, a rhinoceros and hippopotamus among 
 them, their skins being well imitated by the gray blanket or 
 shawl. As the elephant was led out, the children sat won- 
 dering what it could be, till suddenly one of them remem- 
 bered the forfeits. There was no time to redeem many ; but 
 there was great laughing over some of them, and I have put 
 them, with many others which could have been used, in a 
 chapter by themselves. 
 
 And now came something they had not expected, — a 
 magic-lantern exhibition, very simple, because all the pic- 
 tures had been made at home. A large sheet was pinned 
 against the curtains of the deep window, and the lantern put 
 on a high table in the back of the room. The gas was low- 
 ered to just a point ; and one of the children who gave the 
 
36 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
 party came forward with a pointer in her hand, and took 
 charge of the little exhibition. 
 
 First came the House that Jack Built, as shown on the 
 slides below ; her little sister standing in the shadow, and 
 
 Fig. 21. 
 
 Fig. 22. 
 
 repeating, as the figures appeared upon the sheet " This is 
 Jack," "This is the House that Jack Built;" and so on to 
 the end. Then it was the little brother's turn, and he 
 shouted " Little Miss Muffet ! " in great glee. How they all 
 
 laughed when the big 
 spider appeared, and 
 little Miss Muffet ran 
 away ! Now I will tell 
 you just how to make 
 these slides for your- 
 selves. Get from a 
 glazier strips of clear 
 glass sixteen inches 
 long, and of a proper 
 width for the lantern 
 in which they are to be used. Place the glass in the lantern, 
 with the lamp lighted ; mark the top, bottom, and sides of 
 the glass at the outer line that will appear upon the round 
 
 Fig. 23. 
 
MAGIC-LANTERN EXHIBITION. 
 
 37 
 
38 A CHILDREN'S PARTY AND THE GAMES PLAYED. 
 
MAGIC-LANTERN EXHIBITION. 
 
 39 
 
 Fig. 34. 
 
 field of light cast upon the wall : this is for a guide to the 
 size of picture that can be used. Cut from old picture-books, 
 or from tracings made upon ordi- 
 nary plain paper, the picture 
 desired. In the pictures given 
 here, the lines are to be followed 
 in cutting, and care must be 
 taken not to cut across the pa- 
 per farther than the lines ex- 
 tend. Paste the pictures upon 
 the glass at the same level, fa- 
 cing toward the front outer edge 
 of the slide, and fill in the 
 ground, grass, etc., with a brush 
 dipped in varnish mixed with 
 black paint. 
 
 If a movable scene is desired, 
 the object to be moved must be 
 placed upon a separate slide, 
 from the one used for the sta- 
 tionary object. This is shown in 
 ''Little Miss Muffet," who ap- 
 pears upon one end of the slide, 
 eating her curds and whey : upon 
 the other end, ready to be shown 
 as soon as the spider hangs be- 
 fore her, she is ''running away." 
 Upon a second and narrower slide 
 is the spider, who, by drawing in 
 the second slide, can be made 
 to appear while Miss Muffet is seen sitting still. These 
 paper figures of course appear as black shadows upon the 
 light field, entirely without color. (See cuts given.) 
 
 Fig. 35 
 
40 A CHILDREN'S PARTY AND THE GAMES FLAYED, 
 
 To produce, instead, outline figures in light upon a dark 
 ground, the glass can be covered with a coating of parafiine, 
 so thin as to be transparent, the glass laid over the figure it 
 is desired to trace, and the parafifine removed in the outline 
 by means of any smooth point. If the paraffine be found 
 too thin to obstruct the light sufficiently, give the glass a 
 second thin coating, through which the lines traced will 
 show, and remove it in these lines. 
 
 If you can draw the figures yourself, a simpler method 
 still is to cover the glass with white castile-soap, and draw 
 through it with a smooth point. Common asphalt-varnish 
 laid on in two thin coats, with a brush three-quarters of an 
 inch broad, and traced through in the same way, gives the 
 most satisfactory results, as the lines will be smooth, and 
 give a perfect outline. 
 
 For home pictures it is decidedly best not to try to color 
 the slides, as it is very difficult work, and colored slides are 
 not at all expensive ; though, for home amusement, black or 
 white answers almost as well. Dolbear's book on magic- 
 lanterns, to be had of any bookseller, gives full directions 
 for every variety of slide. 
 
FIFTY FORFEITS. 41 
 
 CHAPTER III. 
 
 FIFTY FORFEITS. 
 
 When a sufficient number of forfeits, or pawns, have been 
 collected during the play, it is time to sell them. For this 
 purpose, one of the girls is seated on a chair in the middle 
 of the room, and blindfolded. Another stands behind her 
 with the basket containing the forfeits ; and, taking out one 
 at a time, she holds it up, asking, " What is to be done to 
 the owner of this } " She that' is blindfolded inquires, " Is 
 it fine, or superfine } " meaning, does it belong to a young 
 gentleman, or to a young lady } For the latter the reply 
 must be, " It is superfine." Then the seller of the forfeits 
 (still remaining blindfolded) must decide what the owner 
 must do before the pawn can be restored to her. 
 
 It is extremely difficult to find such forfeits as are neither 
 dangerous nor unlady-like ; the fifty given, however, being 
 the best selection that can be made for young players. 
 
 Examples. 
 
 First. The first may be what is called performing a 
 statue. 
 
 The owner of the forfeit is to stand on a chair in the 
 middle of the room ; and every one, in turn, is to put her in 
 a different position. One is to make her raise her hands 
 above her head, and clasp them together ; another is to place 
 her arms behind her, grasping her elbows with her hands ; 
 a third makes the statue clasp her hands on her breast ; a 
 
 N 
 
42 FIFTY FORFEITS. 
 
 fourth requires her to hold out her dress, as if she were just 
 going to dance ; a fifth desires her to cover her eyes with 
 her hands ; and so on, till each has placed the statue in 
 a different attitude ; after which, she descends from her 
 pedestal, and the forfeit is restored to her. 
 
 Second. The owner of the forfeit is to be fed with water 
 till she guesses who is feeding her. For this purpose she is 
 blindfolded, and seated on a chair. A glass of water with a 
 teaspoon in it is prepared, and each girl, in turn, puts part 
 of a spoonful of water into the mouth of her blindfolded com- 
 panion, who must endeavor to guess who is doing it. When- 
 ever she guesses rightly, the bandage is removed, and the 
 forfeit is restored to her. 
 
 Third. To perform the laughing gamut, without pause 
 
 or mistake, thus : — 
 
 ha 
 
 ha ha 
 
 ha ha 
 
 ha ha 
 
 ha ha 
 
 ha ha 
 
 ha ha 
 
 ha ha 
 
 Fourth. She must repeat a verse of poetry, which had 
 better be something diverting or humorous. 
 
 Fifth. She must keep silent, and preserve a serious face, 
 for five minutes, without either smiling or frowning, let the 
 company do as they will. 
 
 Sixth. She must repeat five times rapidly, without mispro- 
 nouncing a letter, " Willy Wite and his wife went a voyage 
 to Winsor and West Wickham one Witsun Wednesday." 
 
 Seventh. Laugh in one corner of the room, cry in 
 another, yawn in the third corner, and dance in the fourth. 
 
 Eighth. Rub one hand on your forehead, at the same 
 
FIFTY FORFEITS. 
 
 43 
 
 Or, 
 
 time striking the other on your heart, without changing the 
 motion of either for an instant. 
 
 Ninth. Repeat as follows three times successively, with- 
 out a pause or blunder : — 
 
 " Peter Piper picked a peck of pickle-peppers, 
 A peck of pickle-peppers Peter Piper picked : 
 If Peter Piper picked a peck of pickle-peppers, 
 Where's the peck of pickle-peppers Peter Piper picked?" 
 Or, 
 
 " A peacock picked a peck of pepper ; 
 Did he pick a peck of pepper ? 
 Yes, he picked a peck of pepper : 
 Pick pepper peacock." 
 
 " One old ox opening oysters. 
 Two tea-totally tired toads trying to trot to Teaberry. 
 Three thick, thumping tigers tickling trout. 
 Four fat friars fanning fainting flies. 
 
 Five frivolously foolish females flying to France for fashions. 
 Six sentimental spoonies sedulously sipping sarsaparilla. 
 Seven seasick sailors sanctimoniously singing psalms." 
 
 Tenth. Say this correctly, without stopping : — 
 
 " Bandy-legged Borachio Mustachio Whiskerifusticus, the bald and 
 brave Bombardino of Bagdad, helped Abomilique, Blue-Beard Bashaw of 
 Babelmandeb, to beat down an abominable bumble-bee at Balsora. ' 
 
 Eleventh. To stand in the middle of the room, and first 
 make up a very woful face, then a very merry one : if it be 
 in the evening, a lamp must be held in the hand. 
 
 Twelfth. Answer five questions while another taps you 
 under the chin. 
 
 Thirteenth. Ask a question of one of the company 
 which they can only answer by saying " Yes." The question 
 is, "What does YES spell ? " 
 
44 FIFTY FORFEITS. 
 
 Fourteenth. Quote a line of poetry to bring in any 
 easy word that may be given you ; such as " bird," or " flower," 
 or the like. 
 
 Fifteenth. Imitate, without laughing, such animals as 
 your companions name. 
 
 Sixteenth. Ask a riddle or conundrum. 
 
 Seventeenth. Hop on one foot four times round the 
 room. 
 
 Eighteenth. Make a nosegay with any six letters of the 
 alphabet that are given you. Thus, suppose the letters were 
 L, W, G, F, T, N, you might fill them in with lily, wood- 
 bine, geranium, foxglove, tulip, and nasturtium. Should 
 the company wish to tax your ingenuity, they would choose 
 more difficult letters, such as X or Z ; but flowers may be 
 found even for these by taking a little trouble. 
 
 Nineteenth. Count twenty backwards. 
 
 Twentieth. Stand up in a chair, and make whatever 
 motions or grimaces you are ordered,, without laughing. 
 Young ladies should be very particular never to exact any 
 thing awkward or improper. 
 
 Twenty-first. Pay a compliment, and undo it after, to 
 every one present. 
 
 Twenty-second. Sing a short song. 
 
 Twenty-third. Dance a pas-seul, or hornpipe. 
 
 Twenty-fourth. Put yourself, through the keyhole. 
 This is done by writing the word "yourself " on a small slip 
 of paper, rolling it up, and putting it through the keyhole. 
 Or, push some one's head through the handle of the teapot. 
 This is done by putting your finger through the handle, and 
 then pushing the person's head. 
 
 Twenty-fifth. Repeat these four lines rapidly, without 
 a pause or a mistake : — 
 
FIFTY FORFEITS. 45 
 
 " As I went in the garden, I saw five brave maids, 
 Sitting on five broad beds, braiding broad braids. 
 I said to these five brave maids, sitting on five broad beds, 
 Braiding broad braids, ' Braid broad braids, brave maids.' " 
 
 Twenty-sixth. Kiss yourself in the looking-glass. 
 
 Twenty-seventh. Guess a riddle or conundrum. 
 
 Twenty-eighth. Spell new door in one word. This is 
 done by writing on a slate or piece of paper one word. 
 It will be seen that " new door " and " one word " contain 
 exactly the same letters, though differently arranged. 
 
 Twenty-ninth. Repeat the "twine-twister." 
 
 " When the twister a twisting would twist him a twist, 
 For the twisting his twine he three times doth intwist ; 
 But if one of the twists of the twist doth intwine, 
 The twine that intwisteth untwisteth the twine." 
 
 Thirtieth. Immediately after the "twine-twister" has 
 been said, the next forfeit may be redeemed by desiring the 
 owner to spell all ^this in seven letters ; which is done by 
 spelling ALL THIS. 
 
 Thirty-first. Write your name in one letter. This is 
 done by writing on a slate, or on paper with a 
 lead-pencil, one very large letter, introducing in 
 it your own name, written small, thus : — 
 
 Thirty-second. Decipher two lines, addressed by a boy 
 to his schoolmaster. The following lines must be written 
 by some one who knows how, and the owner of the pawn 
 must write under them the explanation : — 
 
 2 
 
 + 
 
 u 
 
 r 
 
 2 
 
 + 
 
 u b; 
 
 I 
 
 c 
 
 u 
 
 r 
 
 2 
 
 + 
 
 for me. 
 
 The explanation is : 
 
 Too cross you are, too cross you be ; 
 I see you are too cross for me. 
 
46 FIFTY FORFEITS. 
 
 Thirty-third. Decipher the schoolmaster's answer to 
 
 the boy : — 
 
 2yyur2yyub; 
 I c u r 2 yy for me. 
 
 This is the explanation : — 
 
 Too wise you are, too wise you be ; 
 I see you are too wise for me. 
 
 Thirty-fourth. Say five flattering things to the one 
 who sits next you, without making use of the letter L. 
 Thirty-fifth. Perform the dumb orator. 
 Thirty-sixth. Repeat the list of 
 
 WONDERFUL SIGHTS. 
 
 I saw a peacock with a fiery tail. 
 
 I saw a blazing comet pour down hail. 
 
 I saw a cloud all wrapped with ivy round. 
 
 I saw a lofty oak creep on the ground. 
 
 I saw a beetle swallow up a whale. 
 
 I saw the foaming sea brimful of ale. 
 
 I saw a chma mug fifteen feet deep. 
 
 I saw a well full of men's tears that weep. 
 
 I saw wet eyes all of a flaming fire. 
 
 I saw a house high as the moon, and higher. 
 
 I saw the sun even in the dark midnight. 
 
 I saw the man that saw these awful sights. 
 
 Or this: — 
 
 MORE WONDERS. 
 
 I saw a pack of cards gnawing a bone. 
 
 I saw a dog seated on Britain's throne. 
 
 I saw King George shut up within a box. 
 
 I saw a shilling driving a fat ox. 
 
 I saw a man lying in a muff all night. 
 
 I saw a glove reading news by candlelight. 
 
FIFTY FORFEITS. 47 
 
 I saw a woman not a twelvemonth old. 
 
 I saw a greatcoat all of solid gold. 
 
 I saw two buttons telling of their dreams. 
 
 I heard my friends, who wished I'd quit these themes. 
 
 Thirty-seventh. Repeat the "Wonderful Sights," so 
 as to make them no wonders at all. This is done by alter- 
 ing the punctuation ; thus : — 
 
 I saw a peacock. With a fiery tail 
 
 I saw a comet. Pour down hail 
 
 I saw a cloud. Wrapped with ivy round 
 
 I saw a lofty oak. Creep on the ground 
 
 I saw a beetle. Swallow up a whale 
 
 I saw the foaming sea. Brimful of ale 
 
 I saw a china mug. Fifteen feet deep 
 
 I saw a well. Full of men's tears that weep 
 
 I saw wet eyes. All of a flaming fire 
 
 I saw a house. High as the moon, and higher, 
 
 I saw the sun. Even in the dark midnight 
 
 I saw the man that saw these awful sights. 
 
 MORE WONDERS EXPLAINED. 
 
 I saw a pack of cards. Gnawing a bone 
 
 I saw a dog. Seated on Britain's throne 
 
 I saw King George. Shut up within a box 
 
 I saw a shilling. Driving a fat ox 
 
 I saw a man. Lying in a muff all night 
 
 I saw a glove. Reading news by candlelight 
 
 I saw a woman. Not a twelvemonth old 
 
 I saw a greatcoat. All of solid gold 
 
 I saw two buttons. Telling of their dreams 
 
 I heard my friends, who wished I'd quit these themes. 
 
 Thirty-eighth. Get a sixpence off your forehead with- 
 out putting your hands to it. This is done as follows : 
 The mistress of the play takes a sixpence or fourpenny- 
 piece, and, wetting it with her tongue, pretends to stick it 
 
48 FIFTY FORFEITS, 
 
 very fast on the forehead of the owner of the forfeit. In 
 reality she withdraws it immediately, and conceals it in her 
 own hand, but makes the owner of the forfeit believe that it 
 is all the time on her forehead. And she is easily deceived, 
 as she is not permitted to put up her hand to feel ; and all 
 the company humor the joke, and pretend that the sixpence 
 is actually sticking there. She shakes her head, and tries 
 every means (except the interdicted) to make the sixpence 
 drop off, wondering she does not see it fall, and amazed that 
 it sticks so fast, supposing it to be really on her forehead. 
 No one must undeceive her. Whenever she discovers the 
 trick, and finds that in reality there is nothing on her fore- 
 head, her forfeit may be restored to her. If she puts up 
 her hand to feel for the sixpence, she must pay another 
 forfeit. 
 
 Thirty-ninth. Stand in the corner till some one pre- 
 vails on you to come out, though all your answers must be 
 " No." The dialogue that ought to take place is as follows, 
 or something to this effect ; but it may be varied, according 
 to the ingenuity of the questioner : — 
 
 *' Do you wish to remain in the corner } " — " No.'* 
 " Is it very irksome to you } " — ** No." 
 " Shall I lead you out in half an hour t " — " No." 
 " Are you willing to stay here all night 1 " — " No." 
 " Shall I go away and leave you here } " — " No." 
 " Will you remain in the corner another moment } " — 
 " No." 
 
 The answer to this last question implies a consent to quit 
 the corner immediately : therefore you must be led out. 
 
 Fortieth. Walk three times round the room with a 
 boy's hat on your head, and bow to the company as you take 
 it off. 
 
 Forty-first. Spell Constantinople. When this is done, 
 
FIFTY FORFEITS. 
 
 4^ 
 
 after the speller has gone through the three first syllables, 
 Con-stan-ti, the other girls must call out, " No, no ! " mean- 
 ing the next syllable. 
 
 If the speller is not aware of the trick, she will suppose 
 that they wish her to believe she is spelling the word wrongly, 
 and she will stop to vindicate herself ; in which case she is 
 liable to another forfeit. If she knows the trick, she is con- 
 vinced that she is right, and will have sufficient presence of 
 mind to persist in spelling the word, notwithstanding the 
 interruption. If she gets through it without stopping, the 
 forfeit is restored to her. 
 
 Forty-second. Take a penny out of a plate of meal, 
 without flouring your hands. A penny covered up in meal 
 is brought to you. You take the plate, and blow all the 
 flour off the penny ; after which you can easily take it up 
 in your thumb and finger, without getting your hands 
 dusted. 
 
 Forty-third. Shoot the robin. This is done by blind- 
 folding the owner of the forfeit, and leading her to a part of 
 the room where a sheet of paper or a handkerchief has been 
 pinned to the wall. She is directed then to shoot the robin, 
 which she must do by starting forwards, extending her right 
 arm, and pointing her finger so as to touch the sheet of 
 paper. Whenever she succeeds in doing so, her forfeit is 
 restored. Her finger had better be blackened with a coal, 
 or burnt cork, or something that will leave a mark on the 
 paper. 
 
 Forty-fourth. Walk round the room, and kiss your 
 shadow in each corner, without laughing. 
 
 Forty-fifth. The one who is to pay a forfeit stands 
 with her face to the wall. One behind her makes signs suita- 
 ble to a kiss, a pinch, and a box on the ear, and asks her 
 whether she chooses the first, the second, or the third; 
 
50 FIFTY FORFEITS. 
 
 whichever it happens to be is given to her. The blows and 
 pinches must not be too hard. 
 
 Forty-sixth. Two forfeits may be redeemed at once, 
 by the persons to whom they belong lamenting the death 
 of the King of Bohemia. They must go to opposite ends of 
 the room, and then turn round and advance, so as to meet 
 in the centre. One must walk very slowly, with her hand- 
 kerchief to her face, and say to the other in a melancholy 
 tone, "The King of Bohemia is dead!" The hearer must 
 then pretend to burst into tears, and say, ** Is it possible ! 
 Sad news, sad news ! " but must then exclaim, " Let us cry 
 for the King of Bohemia ! " 
 
 All this must be performed in a lamentable voice and 
 with disconsolate faces. If they laugh, the forfeits must be 
 redeemed over again. 
 
 Forty-seventh. When a line is given out to you, 
 answer it with another that will rhyme with it. 
 
 Forty-eighth. Sit down on the carpet, close to the door 
 (which must be shut), and say, — 
 
 " Here will I take a seat under the latch, 
 Till somebody comes a kiss to snatch." 
 
 The forfeit is redeemed as soon as one of your playmates 
 kisses you. 
 
 Forty-ninth. A number of forfeits may be redeemed 
 together, by the owners all sitting in a row, and playing 
 Mrs. M'Tavish ; which is performed by the following dia- 
 logue going round : — 
 
 **Mrs. MTavish has fainted away.** 
 
 ** Is it possible } How did she faint } '* 
 
 *'Just so." 
 
 The speaker then throws herself back, and looks as if she 
 were fainting. The one next to her then, in turn, announces 
 
FIFTY FORFEITS, 5 1 
 
 the fainting of Mrs. MTavish. Thus the play goes on, till 
 all engaged in it have performed the fainting, and this 
 redeems the forfeits. The whole must be done without 
 laughing. The modes of fainting should all be as different 
 as possible, and may be made very diverting. 
 
 Fiftieth. After a number of pawns have been sold, 
 those that are left on hand may be redeemed all at once, 
 by the whole company performing a cats' concert. That 
 is, they must all sing together, as if in chorus ; but each 
 must sing a different song and tune. One verse will be 
 sufficient. 
 
52 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 CHAPTER IV. 
 
 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 Blind Man's Buff is an old favorite, so well known as to 
 need no description, but, unless a large and almost unfur- 
 nished room can be had, is too noisy for a large party. 
 Almost as much amusement may be had from 
 
 SHADOW BUFF, OR PORTRAITS A LA SILHOUETTE. 
 
 Buff, or, as she is more elegantly called by the French, 
 " Colin Maillard," has not her eyes bandaged : on the con- 
 trary, she has need of all her penetration. A sheet is hung 
 from the ceiling, as though for the performance of a magic- 
 lantern, before which " Colin Maillard " takes her seat on a 
 low footstool, so that her shadow does not fall upon the 
 cloth. All the lights are extinguished, with the exception 
 of a single candle placed on a small stand at some little dis- 
 tance behind her. When these preparations are completed, 
 the other players form a sort of procession, and pass, one 
 after another, between their seated companion (who is 
 strictly forbidden to turn her head) and the table on which 
 the lighted candle is placed. The light being thus inter- 
 cepted by each of the persons passing before it, a series of 
 shadows, distinctly enough defined, are naturally cast upon 
 the white cloth ; and these, as they file slowly before her, 
 " Colin Maillard *' is obliged to identify, the errors she may 
 fall into being received with shouts of laughter. It is 
 scarcely necessary to say that each performer, when passing 
 
THE READER. 
 
 53 
 
 before the light, endeavors to change as much as possible 
 her general appearance, figure, and gait, so as to be less 
 easily recognized. It is not customary to exact forfeits at 
 this game, but a great many might be obtained by making 
 each correct guess claim one from the person whose identity 
 is thus detected. 
 
 THE READER. 
 
 This is a most laughable game, and, though very simple, 
 rarely fails to excite great mirth. One of the party assumes 
 the post of ** reader;" whilst her companions each choose a 
 trade or profession, being careful not to fix on those too 
 closely resembling each other. The reader then com- 
 mences reading aloud some short article from a newspaper 
 or book (something of the narrative kind being most effec- 
 tive), every now and then pausing, and glancing at one of 
 the other players, who, without a moment's hesitation, must 
 substitute for the word about to be pronounced some one 
 relating to her trade or profession ; the reader afterwards 
 going on as though no interruption had taken place. 
 
 We give an example : — 
 
 Julia. I will be reader; you, Mary, shall be a butcher; Con- 
 stance, a milliner ; Jane, a baker ; Fanny, a grocer ; Clara, a hard- 
 ware-merchant ; Ellen, a fruiterer ; Annie, a dry-goods-merchant ; and 
 Kate, a market-woman. 
 
 Now to begin. 
 
 JuLU. Boiling with indignation at Louis' insulting defiance, Ro- 
 nald returned to his {looks at Mary) — 
 
 Mary. Sirloin — 
 
 Julia. In the {looks at Constance) — 
 
 Constance. Show-room. 
 
 Julia. Determined at daybreak to summon him forth to {looks 
 at Jane) — 
 
54 SOME GAMES THEY MIGHT HAVE PLAYED, 
 
 Jane. Hot rolls — 
 
 Julia. Or {looks at Fanny) — 
 
 Fanny. Best Mocha coffee. 
 
 Julia. He often repeated the words " her " {looks «/ Clara) — 
 
 Clara. Flatirons — 
 
 Julia. Have never wandered from you. Ah, if this should indeed 
 be the case ! and that Alice loved {looks at Ellen) — 
 
 Ellen. Fresh raspberries — 
 
 Julia. After all ! But from Louis his honor demanded {looks 
 at Annie) — 
 
 Annie. A pair of lamb's- wool stockings — 
 
 Julia. And {looks at Kate) — 
 
 Kate. The finest Stilton, thirty cents per pound — 
 
 Julia. Either of which he feared the proud {looks at Mary) — 
 
 Mary. Calfs head — 
 
 Julia. Would never stoop to grant. Yet to level a {looks at 
 Constance) — 
 
 Constance. Spool of cotton — 
 
 Julia. Against the brother of Alice, against him to whom he had 
 been a constant friend and companion in {looks at Jane) — 
 
 Jane. Sally Lunns — 
 
 Julia. And {looks at Fanny) — 
 
 Fanny. Turkey figs — 
 
 Julia. And perhaps by a single {looks at Clara) — 
 
 Clara. Coal-scuttle — 
 
 Julia. To destroy him, the {looks at Ellen) — 
 
 Ellen. Crab- apples — 
 
 Julia. And {looks at Annie) — 
 
 Annie. Doeskin driving-gloves — 
 
 Julia. Of his amiable {looks at Kate) — 
 
 Kate. Pats of fresh butter — 
 
 Julia. And {looks at Mary) — 
 
 Mary. Mutton-chops — 
 
 Julia. He felt that, should this happen, he could never forgive 
 himself. But there was no {looks at Constance) — 
 
THE ELEMENTS. 55 
 
 Constance. Blonde veil and orange-blossom — 
 
 Julia. It was {looks at Jane) — 
 
 Jane. Crusty loaves — 
 
 Julia. And {looks at Fanny) — 
 
 Fanny. Brown sugar, etc. 
 
 The paragraph, from Grant's " Romance of War," which 
 Julia has been reading, stands, without the interpolations, 
 thus : — 
 
 "Boiling with rage at Louis' insulting defiance, Ronald 
 returned to his quarters in the Alcanzar, determined at day- 
 break to summon him forth to fight or to apologize. He 
 often repeated the words, * Her heart has never wandered 
 from you.' Ah, if this should indeed be the case, and that 
 Alice loved him, after all ! But from Louis his honor de- 
 manded a full explanation and ample apology, either of which 
 he feared the proud spirit of the other would never stoop to 
 grant. Yet to level a deadly weapon against the brother of 
 Alice, against him to whom he had been a constant friend 
 and companion in childhood and maturer youth, and per- 
 haps by a single shot to destroy him, the hopes and the 
 peace of his amiable father and sister, — he felt, that, should 
 this happen, he could never forgive himself. But there was 
 no alternative : it was death or dishonor." 
 
 THE ELEMENTS. 
 
 A handkerchief is rolled up into the shape of a round ball. 
 The little girls sit in a circle. She that is to begin the play 
 takes the ball, and throws it to one of her companions, call- 
 ing out either "Earth!" "Air!" or "Water!" fire being 
 omitted, as that element has no inhabitants. Should any 
 player, however, call out, " Fire ! " every one must keep 
 silence. The little girl to whom the ball is directed must, 
 
56 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 on catching it, reply by giving the name of an animal proper 
 to the element that has just been mentioned. If the word 
 is ''air,'* the answer must be "eagle," "vulture," "hawk," or 
 any other bird. If the word is " water," the reply may be 
 "whale," "shark," "porpoise." If the element is "earth," 
 the answer must be the name of a beast ; as " lion," " tiger," 
 "bear," etc. If she that is addressed does not reply 
 promptly, or makes a mistake, and names a bird when she 
 should have mentioned a beast, she is to pay a forfeit. Any 
 one who mentions the same animal twice is likewise liable 
 to a forfeit. The one that receives the ball then throws 
 it to another, calling out one of the elements ; and so the 
 play goes round. 
 
 Example, 
 
 Maria {throwing the ball to Helen) . Earth ! 
 
 Helen. Panther. {She throws the ball to Louisa.) Air ! 
 
 Louisa. Woodpecker. {She throws it to Julia.) Water ! 
 
 Julia. Barbel. {Throws it to '^vn\k.^ Water! 
 
 Sophia {starting) . Oh ! what am I thinking of ? Turkey — tur- 
 key. 
 
 Maria. Ha, ha, ha ! Do turkeys live in the water? 
 
 Sophia. Oh, no ! I meant turtle. However, I see I am too late. 
 Here is this pencil as a forfeit. {She throws the ball to Maria.) 
 Earth ! 
 
 Maria. Buffalo {throwing the ball to Harriet) . Air ! 
 
 Harriet. Mocking-bird. {Throws the ball to Ymiin .) Water! 
 
 Emily. Salmon {throwing the ball to Charlotte) . Air ! 
 
 Charlotte. Duck. 
 
 Helen. Now, Charlotte, that does not seem exactly right. A 
 duck is a bird, to be sure ; but does it ever fly in the air? Earth is 
 its proper abode. 
 
 Charlotte. You are very particular. Do not wild ducks fly in 
 the air? and very high too, and in large flocks. 
 
 Helen. Then, you should have said " wild duck." 
 
THE SECRET WORD. '57 
 
 Emily. And ducks also swim in the water. 
 
 Maria. Well, I believe we must admit the word "duck" as a 
 sufficiently good answer, whether the word be earth, air, or water ; 
 ducks being found in all those three elements. 
 
 Helen. But always say " wild duck," if the word is "air." 
 
 THE SECRET WORD. 
 
 One of the company leaves the room, and the others fix 
 on a word ; such as "like," "care," "sight," "leave," "hear," 
 etc., which is to be introduced into all their answers to the 
 questions she must put to them on her return. When the 
 word is decided on, she is called in, and asks a question of 
 each, in turn. In replying, every one must contrive to use 
 the secret word, without laying any emphasis, or making it 
 conspicuous. If the questioner remarks the frequent recur- 
 rence of the same word in the answers, she will easily be 
 able to guess what it is. The one from whose reply she 
 has made the final discovery, then, in her turn, leaves the 
 room while the next word is fixed on, and, on her return, 
 becomes the questioner. 
 
 Example, 
 
 Maria. Do you go out, Emily. (Emily leaves the room.) Now, 
 what shall be the word? 
 
 Helen. " Fear," or " love." 
 
 Julia. Will not those words be too conspicuous? Let us try 
 "like." 
 
 All. " Like," " like." Let it be " like." Come in, Emily. 
 
 Emily {returning), Maria, do you not think the weather is very 
 warm this evening? 
 
 Maria. Not warmer than I like it. 
 
 Emily. Julia, are you fond of watermelon? 
 
 Julia. No. I like pine-apple better. 
 
58 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 Emily. Helen, have you read Mrs. Howitt's " Sowing and Reap- 
 ing"? 
 
 Helen. Yes; and I do not like it so well as her "Love and 
 Money." 
 
 Emily. Matilda, were you up early this morning? 
 
 Matilda. Very early. I always like to rise with the lark. 
 
 Emily. Harriet, did you make that bag yourself ? 
 
 Harriet. I did. I like to make bags, pincushions, needlebooks, 
 emery-bags, and every thing of the sort. 
 
 Emily. " Like." I have guessed it. " Like " is the word. 
 
 Harriet. So it is. Now I will go out. {She goes,) 
 
 Charlotte. " Saw." Let " saw " be the word. 
 
 Maria. Very well. Come in, Harriet. (Harriet comes in,) 
 
 Harriet. Maria, when did you see Clara Simmons ? 
 
 Maria. I saw her the day before yesterday, when I was walking 
 with Julia. 
 
 Harriet. Julia, was Clara Simmons quite well ? 
 
 Julia. Quite. I never saw her look better. 
 
 Harriet. Louisa, are you not very much pleased with your hand- 
 some drawing-box? 
 
 Louisa. Very much. But I saw one in a shop yesterday that was 
 still more complete than mine. 
 
 Harriet. Charlotte, are you acquainted with Laura Morton? 
 
 Charlotte. I saw her once at a private ball, but have no acquaint- 
 ance with her. 
 
 Harriet. Emily, do not you think the new table in your honey- 
 suckle arbor is too high ? 
 
 Emily. Yes ; but the carpenter is coming to-morrow to saw off a 
 piece from each leg, and then it will be a proper height. 
 
 Harriet. " Saw," " saw," is the word. 
 
 Maria. Ha, ha, ha ! Emily, you had better not have used the 
 word " saw " in that sense. You see, Harriet guessed it immediately. 
 
 Emily. No matter. J have not the least objection to going out 
 again. 
 
MANY WORDS IN ONE. 59 
 
 MANY WORDS IN ONE. 
 
 One of the company having left the room, the others fix 
 on a word for her to guess. The word may be "cake." 
 She is called in, and stops before the first one in the row, 
 who says, " Cap." She goes to the next, who says, "Apple ; " 
 the third says, "Kettle;" and the fourth says, "Egg;" each 
 taking care to mention a word whose first letter is one that 
 is found in the word "cake," and to say them in regular 
 order. The guesser, having heard all these words, pauses 
 to think over their initial letters, and finds, that, when 
 put together, they are CAKE, and compose the word 
 " cake," which she immediately pronounces. And it is then 
 the turn of the one at the head of the row to go out while a 
 word is proposed. If most of the company are unacquainted 
 with the play, the one at the head need not explain at first 
 the manner in which the word is guessed. But she had 
 better tell her companions beforehand what words they are 
 to say when the guesser comes in ; and then they will all 
 be surprised at her guessing, not thinking that it is from 
 putting together the initial letters. 
 
 Example. 
 
 Maria. Julia, you know this play : so you had better be the first 
 to go out. (Julia leaves the room.) Now we will fix on the word 
 " rainbow " for Julia to guess. Are any of you acquainted with the 
 play? 
 
 All. I am not ; I am not. 
 
 Maria. Very well, then I will tell you what words to say when 
 Julia presents herself before you. If you all knew the play, you 
 might choose your own words. I myself will say, " rose." Sophia, 
 tlo you say, " arrow." Emily, your word iriay be " ice." Caroline's 
 may be "nutmeg." Louisa's may be "bonnet." Charlotte's may 
 be " orange ; " and Harriet may say, " wafer." Come in, Julia. 
 
6o SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 Now be sure to remember your words. (Julia returns^ Well, 
 Julia, my word is "rose." 
 
 (Julia goes all along the row^ and, as she stops before each, they 
 say the word allotted to them.) 
 
 Sophia. Arrow. 
 
 Emily. Ice. 
 
 Caroline. Nutmeg. 
 
 Louisa. Bonnet. 
 
 Charlotte. Orange. 
 
 Harriet. Wafer. 
 
 (Julia pauses a moment, and finds that the initial letters of aH 
 these words make rainbow.) 
 
 Julia. Rainbow ; the word is rainbow. 
 
 All. So it is. 
 
 Caroline. I cannot imagine how you could find it out. 
 
 Emily. I think I can guess how it was done. However, I will 
 not tell. 
 
 Harriet. I believe I can guess it too. But I also will not tell. 
 
 Charlotte. Well, it is a mystery to me. 
 
 Julia. It will not be, when the play has gone on a little longer. 
 You will find it out by practice. Come, Maria, you are to be the 
 next guesser. 
 
 THE WATCHWORD. 
 
 One of the company must leave the room, while another 
 touches some article in her absence, which she must en- 
 deavor to guess on her return. Before her departure, the 
 mistress of the play takes her aside, and whispers to her 
 the watchword, meaning that when she hears her ask, " Is it 
 this.?" she may be sure that she points to the object which 
 has been actually touched • but, on the other hand, the ques- 
 tion, "Is it that?'' refers to things that have not been 
 touched. 
 
THE WATCHWORD. 6t 
 
 Example. 
 
 Maria. Louisa, do you go out ) but first let me say something to 
 you in private. {She takes Louisa aside, and whispers to her, say- 
 ing), Julia will touch something while you are gone; and when, on 
 your return, I point to different things, and ask, "Is it that?" you 
 may be sure I am not directing you to the right object, and you must 
 say, "No." But when I ask, "Is it this?" you may say, "Yes:" 
 for you may be sure that I mean the thing that Julia has actually 
 touched. Go now. Remember that the watchword is " this" and 
 reply accordingly. (Louisa goes out.) Come, Julia, what will you 
 touch? 
 
 JuuA. There, I touch the work-basket. Come in, Louisa. 
 (Louisa returns.) 
 
 Maria {pointing to a book). Is it that? 
 
 Louisa. No. 
 
 Maria {showing a pincushion) . Is it that? 
 
 Louisa. No. 
 
 Maria {pointing to a newspaper). Is it that? 
 
 Louisa. No. 
 
 Maria {showing a work-box). Is it that? 
 
 Louisa. No. 
 
 Maria {pointing to a basket) . Is it this ? 
 
 Louisa. Yes. {The other girls, being unacquainted with the play ^ 
 look surprised.) 
 
 Charlotte. Well, it really was the basket that Julia touched. 
 
 Helen. How could Louisa possibly know? 
 
 Harriet. How could she be sure that Julia had not touched any 
 of the other things that were mentioned ? 
 
 Maria. Well, Harriet, you shall go out next. So first come aside 
 with me, and I will let you into the secret. 
 
 (By the by, it must be remembered, that, in this play, no one goes 
 out twice.) 
 
 {She takes Harriet to the other end of the room, and whispers 
 to her that the watchword will now be "that." Harriet 
 goes out, and, while she is away, Charlotte touches the lamp; 
 
62 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 and on her return Maria questions her for a while by askings 
 " Is it this / " to which, of course, Harriet answers, " No.^' 
 But when Maria inquires, "Is //that? " as she points to the 
 lamp, Harriet knows that she may say, " Kfj.") 
 
 THE MERCHANTS. 
 
 Each of the company, in turn, calls herself a merchant, and 
 mentions an article that she has for sale. The one next to 
 her must say whether that article is animal, vegetable, or 
 mineral. If she makes a mistake, she loses her turn. If she 
 answers rightly, she becomes the next merchant, and pro- 
 poses something for sale, asking, also, if it be animal, vegeta- 
 ble, or mineral. And in this manner the play goes round. 
 
 Example. 
 
 Maria. I am a china-merchant, and have a tea-service to sell. 
 Is it animal, vegetable, or mineral? 
 
 Louisa. Mineral. China is made of clay and flint, and things 
 belonging to earth. Now it is my turn. I am a dry-goods merchant, 
 and have a piece of gingham to sell. Is it animal, vegetable, or 
 mineral ? 
 
 Helen. Vegetable ; gingham being made of cotton. I keep a 
 grocery, and have a box of candles to sell. Are they animal, 
 vegetable, or mineral ? 
 
 Charlotte. Animal. Candles are made either of tallow, sperma- 
 ceti, or wax, all of which are animal substances. 1 keep a cabinet 
 warehouse, and have a dining-table for sale. Is it animal, vegetable, 
 or mineral ? 
 
 Harriet. Vegetable ; being made of the wood of the mahogany- 
 tree. I am a silk-merchant, and have a piece of satin for sale. Is it 
 animal, mineral, or vegetable ? 
 
 Caroline. Vegetable. 
 
 Harriet. What ! satin vegetable ? Is it not made of silk thread, 
 produced by the silkworm ? Therefore it must be animal. Caroline, 
 
CONSEQUENCES. 63 
 
 you have lost your turn, and can sell nothing this time. — Come, 
 Emily, you are merchant now. 
 
 Emily. I am a stationer, and have a quire of letter-paper for sale. 
 Is it animal, vegetable, or mineral ? 
 
 Julia. Vegetable ; white paper being made of linen or cotton 
 rags. I am a druggist, and have some opium to sell. Is it animal, 
 mineral, or vegetable ? 
 
 Matilda. Mineral. 
 
 Maria. Oh, no, no ! Opium is vegetable : it is the condensed 
 juice of the poppy. You have lost your turn of being merchant, 
 Matilda, and it has now come to me again. 
 
 Matilda. I thought almost all medicines were minerals. 
 
 Maria. A great many of them are ; but a very great number of 
 drugs are made from plants, and therefore vegetable. 
 
 CONSEQUENCES. 
 
 This is best played by three persons, though four or two 
 may engage in it. First prepare some white pasteboard or 
 some blank cards by cutting them into small slips, all of one 
 size. There should at least be four dozen slips ; but eight 
 dozen will be better still, as the game will then be longer, 
 and more varied. We will, however, suppose that there are 
 four dozen slips of card. First take twenty-four of these 
 slips, and write upon each, as handsomely and legibly as you 
 can, the name of one of your acquaintances. Then take 
 twelve more cards, and write on each the name of a place, 
 as "In the street," "In church," "In the garden," "In the 
 orchard," "At a ball," "At school," etc. Lastly, on the 
 remaining dozen of cards write the consequences, or what 
 happened to the young ladies. You may say, for instance, 
 "They lost their shoes," "They tore their gloves," "They 
 took offence," or something similar. The consequences 
 should be so contrived that none of them will appear absurd 
 and unmeaning with reference to the places. 
 
64 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 When the cards are all ready (and, when once made, they 
 will last a long time), the play may begin by Julia taking 
 the two dozen that have the names (two names being read 
 together), Sophia taking the dozen that designate the 
 places, and Harriet taking charge of the consequences. 
 Each had better put her cards into a small basket, from 
 which they are to be drawn out as they chance to come 
 uppermost. Or they may be well shuffled, and laid in a pile 
 before each of the players, with the blank sides upwards. 
 They must be shuffled every game. 
 
 Example. 
 
 Julia, Sophia, Harriet. 
 
 Julia. Well, are we all ready ? Come, then, let us begin, (^-^^f 
 takes up two cards, and reads them,) " Louisa Hartley and Helen 
 WalUs" — 
 
 Sophia {reading a card) . Were together " in a phaeton." 
 
 Harriet {reading). The consequence was, "they caught cold." 
 
 JuuA. " Emily Campbell and Clara Nelson " — 
 
 Sophia. Were both " at a ball." 
 
 Harriet. The consequence was, "they were taken with fevers " 
 
 Julia. " Maria Walden and Charlotte Rosewell " — 
 
 Sophia. Were together " in the street." 
 
 Harriet. The consequence was, " they got their feet wet." 
 
 Julia. " Fanny Milford and Ellen Graves " — 
 
 Sophia. Were both " at a party." 
 
 Harriet. The consequence was, " their noses bled." 
 
 Julia. " Amelia Temple and Caroline Douglas " — 
 
 Sophia. Were together " at the museum." 
 
 Harriet. The consequence was, " they were highly delighted." 
 
 Julia. " Sophia Seymour and Harriet Hartland " — 
 
 Sophia. Ah, Harriet, your name and mine ! {reading) "were both 
 in the kitchen." 
 
 Harriet. The consequence was, " they did nothing at all." 
 
CONSEQUENCES. 65 
 
 Julia. " Matilda Granby and Eliza Ross " — 
 
 Sophia. Were together " in the orchard." 
 
 Harriet. The consequence was, " they quarrelled and parted." 
 
 Julia. "Marianne Morley and Julia Gordon " (that is myself) — 
 
 Sophia. Were both " in church." 
 
 Harriet. The consequence was, " they did not speak a word." 
 
 Julia. "Adelaide Elmer and Juliet Fanning" — 
 
 Sophia. Were both " at the theatre." 
 
 Harriet. The consequence was, " they were laughing all the time." 
 
 Julia. " Georgiana Bruce and Eleanor Oakley " — 
 
 Sophia. Were " on the top of the house." 
 
 Harriet. The consequence was, " they sprained their ankles." 
 
 Julia. " Emmeline Stanley and Laura Lear " — 
 
 Sophia. Were both " at school." 
 
 Harriet. The consequence was, " they spoiled their bonnets." 
 
 Julia. " Margaret Ashwood and Lydia Barclay " — 
 
 Sophia. Were together " on a visit." 
 
 Harriet. The consequence was, " they were glad to get home." 
 
 Julia. There now, we have gone through all the cards : so let 
 us shuffle them, and begin another game. This time, Sophia may 
 take the names, Harriet the places, and I the consequences. I hope 
 the answers this time also will be somewhat appropriate. 
 
 If you cannot conveniently procure white pasteboard or 
 blank cards, slips of thick white paper will do nearly as well. 
 When not in use, they should be kept in a box. 
 
 Remember, that, as two names are always read together, 
 the number of names should be double that of the places 
 and consequences. 
 
 Four persons may play this game by dividing the names 
 between two, each of which will read one name. If played 
 by two persons only, one must take all the names, the other 
 must read both the places and consequences. This way is 
 best for younger girls. For older ones, the better plan is to 
 furnish slips of paper to the company. 
 
66 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 At the top of the paper each writes a quality of a gentle- 
 man. "The fickle," for instance, or *'The insinuating," or 
 "The handsome," "The ugly," or any epithet, in fact, that 
 may occur to the mind at the moment. But nobody may see 
 what the neighbors to the right and left have written. The 
 top of each paper is then folded down so as to hide what 
 has been written, and each one passes his paper to his 
 neighbor on the right, so that every player has now a new 
 paper before him. On this he writes a gentleman's name ; 
 if that of one of the gentlemen in the company, so much 
 the better. Again the papers are passed to the right after 
 being folded over ; the beauty of the game being that no 
 one may write two consecutive sentences on the same paper. 
 The quality of a lady is now written (fold, and pass the 
 paper), the ladys name, then where they mety what he said 
 to heVy what she said to hint, the consequence, and what 
 the world said. The papers are now unfolded in succes- 
 sion, and the contents read, and the queerest cross ques- 
 tions and crooked answers are almost sure to result. For 
 instance, the following will be a specimen : " The conceited 
 Mr. Jones (one of the company) and the accomplished Miss 
 Smith met on the top of an omnibus. He said to her, 'Will 
 you love me then as now } ' She said to him, * How very 
 kind you are ! ' The consequence was, * they separated for 
 ever;' and the world said, 'Serve them right.'" Another 
 strip, on being unfolded, may produce some such legend as 
 this: "The amiable Artemus Ward and the objectionable 
 Mrs. Grundy met on the mall at the Central Park. He said 
 to her, ' How do I look .? * She said to him, * Do it.' The 
 consequence was ' a secret marriage ; ' and the world said, 
 * We knew how it would be. ' " 
 
yOl/ ARE NOTHING BUT A GOOSE. 6^ 
 
 HOW TO GUESS ANY NUMBER THOUGHT OF. 
 
 Desire one of the company to think of any number she 
 chooses, provided it be even. Tell her to triple it, halve 
 the product, triple this half, and then tell you hov^r many 
 times nine will go into it. Multiply this by two, and it will 
 be the number thought of. Thus, suppose 4 to be the num- 
 ber ; you triple it, making 12 ; halve this product, leaving 6 ; 
 again triple this, making 18, in which 9 will go twice : this 
 " twice " multiplied by 2 gives you 4, the number thought 
 of. Or, to give another example, suppose 6 to be the 
 number; triple it, 18; halve it, 9; triple it again, 27. You 
 ask how many times 9 will go in it, and, being told 3 times, 
 multiply it by 2, and the answer is 6. 
 
 HERE I BAKE, AND HERE I BREW. 
 
 A circle of little girls hold each other firmly by the hand. 
 One in the centre touches one pair of hands, saying, " Here 
 I bake ;" another, saying, "Here I brew;" another, saying, 
 ** Here I make my wedding-cake ; " another, saying, " Here 
 I mean to break through." As she says the last phrase, she 
 pushes hard to separate their hands. If she succeed, the 
 one whose hand gave way takes her place : if not, she keeps 
 going the rounds till she can break through. Sometimes 
 they exact a forfeit from any one who tries three times with- 
 out success, but it is usually played without forfeits. 
 
 YOU ARE NOTHING BUT A GOOSE. 
 
 This play consists in telling a stoi*y, and at the same 
 time making marks to illustrate what you are telling. For 
 instance, " An old man and his wife lived in a little round 
 cabin. I v^rill sketch it for you with my pencil, so that you 
 may know it. Here it is : o This cabin had a window in 
 
68 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 the middle, which I shall make thus : ° On one side was a 
 projecting door, which I shall make opposite the window, 
 thus : = From the side opposite the door branched out a 
 road, bordered on one side by a hedge. Here is a print of 
 
 it : -^^ This road terminated in a large pond. Here it 
 
 is : ^^ J^ Herbs grew round it, which I mark thus : 
 
 ^^ One night some robbers came to the farther end of 
 
 this pond. I will mark them thus ; ^^^.^^ The old woman 
 heard them, and persuaded her husband to get up and see 
 what was the matter. The old people travelled along, down 
 to about the middle of the pond, and there they stopped. I 
 shall represent them thus : || || Each one held out a hand 
 to keep silence, which movement I shall mark thus : 
 
 " But they did not hear any thing ; for the robbers had 
 taken fright, and run away. After standing out in the cold 
 some time for nothing, the old man said to his wife, * Go 
 back to the house : you are nothing but a goose.' " As you 
 say these words, hold up the sheet of 
 paper on which you have been drawing, 
 and the company will see the print of a 
 goose rudely sketched, thus : 
 
 While making your marks, you must 
 be careful that those who are watching you see the print 
 sideways or upside down : otherwise they will be apt to sus- 
 pect your design before you finish it. 
 
 THE PUZZLE WALL. 
 
 Suppose there were a pond, round which four poor men 
 built their houses, thus : 
 
THE PUZZLE WALL. 
 
 69 
 
 o 
 
 Suppose four wicked rich men afterwards built houses around 
 the poor people, thus : 
 
 O 
 
 o 
 
 O O 
 
 d? 
 
 O O 
 
 o 
 
 O 
 
 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. 
 
 RONDOS AND MUSIC. 
 
 French children are especially fond of these graceful 
 games, and several are given here. The songs, of course, 
 require memorizing, and some one who plays the piano will 
 add much to the enjoyment, though this is not essential. 
 
70 
 
 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 GIROFLE, GIROFLA ! 
 
 
 . fie, 
 
 g» 
 
 ro - fla! 
 
 Some 
 
 in curls, and some 
 
 ^ 
 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 fe 
 
 -v-^ 
 
 >. K- 
 
 •y— V- 
 
 :=M4 
 
 iPI] 
 
 in braids, Gi • ro . lie, gi - ro - fla! • fl^, gi - ro - fla! 
 
 The players range themselves in a line, holding each 
 other's hands, the tallest taking her station in the middle, 
 and leading the song. One of the number, who, instead of 
 
GIROFLE, GIROFLA! *J\ 
 
 joining her companions, has been left standing apart, then 
 dances up to them, singing the first verse, "Here's a band 
 of pretty maids," etc., returning to her place when she has 
 finished it. The other players then advance and retire in 
 the same manner, singing their answering verse. This in 
 repeated until they come to the question — 
 
 " What if, after all, you should — ' 
 
 Girofl^, girofla ! 
 Meet the old witch in the wood ? 
 Girofl^, girofla ! " 
 
 To which the person addressed must reply by crooking her 
 fingers to represent claws, and assuming as terrible a voice 
 and appearance as possible, as she sings, " I would frighten 
 her — this way," etc.; her companions meanwhile joining 
 hands, and dancing round her ; after which the game finishes. 
 
 FIRST VERSE. — SOLO. 
 
 Here's a band of pretty maids, 
 
 Girofld, girofla ! 
 Some in curls, and some in braids, 
 
 Girofld, girofla ! 
 
 CHORUS. 
 
 They are fair as well as good, 
 
 Girofle, girofla ! 
 And behave as maidens should, 
 
 Girofld, girofla ! " 
 
 SOLO. 
 
 Give me one of them, I pray : 
 
 Girofld, girofla ! 
 Do not take them all away, 
 
 Girofld, girofla ! 
 
 CHORUS. 
 
 No, indeed ! I could not spare — 
 
 Girofla, girofla ! 
 Even one bright curl of hair, 
 
 Girofld, girofla ! 
 
72 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 SOLO. 
 
 I must seek the wood alone, 
 
 Girofld, girofla ! 
 Since you will not give me one, 
 
 Girofld, girofla ! 
 
 CHORUS. 
 
 , . In the dark and lonely wood, 
 
 Girofld, girofla ! 
 You can have no purpose good, 
 Girofld, girofla! 
 
 SOLO. 
 
 Violets, both white and blue, 
 
 Girofla, girofla ! 
 There I find, and cowslips too, 
 
 Girofld, girofla ! 
 
 CHORUS. 
 
 What if you should meet the king — 
 
 Girofle, girofla ! 
 Whilst your flowers gathering ? 
 
 Girofld, girofla ! 
 
 SOLO. 
 
 I would make him courtesies three, 
 
 Girofle, girofla ! 
 Say, " Long live your Majesty ! " 
 
 Girofld, girofla ! 
 
 CHORUS. 
 
 What if you should meet the queen ? 
 
 Girofld, girofla ! 
 That would startle you, I ween, 
 
 Girofld, girofla ! 
 
 SOLO. 
 
 I would offer her my flowers, 
 
 Girofld, girofla ! 
 To perfume her royal bowers, 
 Girofld, girofla ! 
 
GOOD-DAY, CECILIA I 
 
 n 
 
 CHORUS. 
 
 What if, after all, you should — 
 
 Girofld, girofla ! 
 Meet the old witch in the wood ? 
 
 Girofla, girofla ! 
 
 SOLO. 
 
 I would frighten her — this way, 
 
 Girofld, girofla ! 
 Till she dared no longer stay, 
 , Girofla, girofla! 
 
 GOOD-DAY, CECILIA ! 
 
 'mm^ 
 
 ther had 
 
 child 
 
 but 
 
 ^^ 
 
 l-M-4 
 
74 
 
 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 pret . ty Ce - ci - li . a, Ah ! Ah ! Ce - ci - li - a ! 
 
 
 ^i 
 
 S 
 
 -#-v- 
 
 *Ti: 
 
 feCT^JJ^a 
 
 One of the players is blindfolded, and a long wand or stick 
 given her. Her companions then join hands, and dance 
 round her, singing the first verse of the rondo. When this 
 is finished, they pause, and the blindfolded person, extend- 
 ing her wand, touches one of them, saying, " Good-day, 
 Cecilia ! " to which she must immediately respond by taking 
 hold of the end of the wand, and repeating the same words. 
 The other one then resumes, " Ah, ah, Cecilia ! " which 
 having been duly echoed by her companion, if she does not 
 then succeed in discovering her identity, she lowers her 
 wand, and the other players resume their dance and song, 
 again pausing at the end of the second verse. The person 
 touched is, of course, allowed to disguise her voice to the 
 best of her ability. 
 
GOOD-DAY, CECILIA! 75 
 
 My father had no child but me, 
 He banished me across the sea : 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 He banished me across the sea : 
 The boatman gay then said to me, — 
 
 " Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! " 
 
 The boatman gay then said to me, 
 " What will you give me for my fee ? " 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 " What will I give you for your fee ? 
 Pve but these golden guineas three." 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 " You've but these golden guineas three ? 
 Then sing instead a song to me." 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 " I'll sing instead a song to thee. 
 The same the bird sings on the tree." 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 " The same the bird sings on the tree; 
 And this is what the song shall be : 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 " And this is what the song shall be : 
 When you guess right, we'll set you free." 
 
 Good-day, my pretty Cecilia ; 
 
 Ah, ah, Cecilia ! 
 
 When the blindfolded person makes a correct guess, she 
 changes places with the one v^^hose identity she has dis- 
 covered. 
 
^6 SOME GAMES THEY MIGHT HAVE PLAYED, 
 
 THE NEW FRENCH FASHION. 
 
 K^Tl—!-^ 
 
 ^ 
 
 Do you know how now they dance, Do 
 
 w ^==^m 
 
 
 -* — T 
 
 I 
 
 ^ 
 
 i 
 
 #-> — f- 
 
 ;■ ; I J' n ;' i ^ 
 
 -4 — #- 
 
 you know how now they dance, Do you know how now 
 
 i».rj t Hf -N^^^i^M 
 
 they dance. In the new French fash 
 
 ion? 
 
 The leader of the game is called the captain, and his 
 movements must be imitated by all the other players. 
 
THE NEW FRENCH FASHION 77 
 
 Captain and men dance round, joining hands, and sing- 
 ing, — 
 
 Do you know how now they dance \bis. - 
 
 In the new French fashion ? 
 
 until the air has been once gone through. They then pause ; 
 and the captain says, " Attention to the word of command ! 
 Right hand ! Left hand ! " at the same time stretching out 
 one hand after another ; his companions doing the same. 
 They dance round again, singing, — 
 
 This is the way now we dance 
 In the new French fashion ! 
 
 SECOND. 
 
 Let us go on with this dance \bis. 
 
 In the new French fashion ! 
 
 Captain. Attention to the word of command! Right 
 hand ! Left hand ! Right foot ! Left foot 1 and — - 
 
 This is the way now we dance 
 In the new French fashion ! 
 
 THIRD. 
 
 Let us try again this dance \his* 
 
 In the new French fashion ! 
 
 Captain. Attention to the word of command ! Right 
 hand! Left hand! Right foot! Left foot I Right side! 
 {embracing the next player) diXid — 
 
 This is the way now we dance 
 In the new French fashion I 
 
 FOURTH. 
 
 Let us now conclude this dance 
 In the new French fashion ! 
 
78 
 
 SOME GAMES THE Y MIGHT HA VE PL A YED. 
 
 Captain. Attention to the word of command ! Right 
 hand ! Left hand ! Right foot ! Left foot ! Right side ! 
 Left side ! (embracing the players on both sides of him) and — 
 
 This is the way now we dance 
 In the new French fashion ! 
 
 The captain's movements must be imitated by all the 
 other players, and he himself must be careful to execute 
 »ach movement as he names it. 
 
 SOWING OATS. 
 
 i 
 
 M 
 
 ^ 
 
 d d 
 
 p^^? 
 
 I 
 
 y 
 
 This is the way my fa - ther sows, This is the way my 
 
 ■ I N_ 
 
 f^ 
 
 :ir=^ 
 
 h=^ 
 
 J^^ 
 
 - > ^ ^ 
 
 1^1^ 
 
 
 ^ 
 
 tf 
 
 % 
 
 \ 
 
 ^ 
 
 fa - ther sows His 
 
 as through his fields he goes. His 
 
 f\i t 
 
 t t ^ 
 
 f— i-f— r 
 
 ^g 
 
 ^ 
 
SOWING OATS. 
 
 79 
 
 e 
 
 t* 
 
 :p=p: 
 
 Xr- 
 
 M 
 
 oats as through his fields he goes; And when the grain spring 
 
 *: 
 
 ^^S 
 
 IFt^ 
 
 s 
 
 ill 
 
 ^ 
 
 f-^ 7 f? 7 
 
 * 3 
 
 I 
 
 Ifc 
 
 Ps — V 
 
 ^^^ 
 
 from the ground, He folds his arms, and gaz - ing round, says, 
 
 
 a^ 
 
 • u-?- 7 r "^ =^ 
 
 f=t ^ "T ^ ^ '^-j— 1^ "^ ^ ! f^=^ 
 
 tf 
 
 NT:t=l: 
 
 Jl 
 
 ;^ 
 
 g 
 
 -^-^ 
 
 ■.trust 
 
 " Soft rain, fall, and bright sun, shine. And make my oat - crop fine ! ' 
 
 I 
 
 ^ : ; ^ J ^ ^ 
 
 p 
 
 :S 
 
 -T -r 
 
 -# — #- 
 
 f — r^ 
 
 » I C I r 
 
 ^ y — L^ 
 
 u P7 
 
 i=^ 
 
 3PS 
 
 The players then range themselves in a circle, and dance 
 round without singing, whilst the air is played once. The 
 •ong then commences thus : — 
 
So SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 I. 
 
 This is the way my father sows \bis. 
 
 His oats, as through his fields he goes ; \bis. 
 
 {Here the players imitate the action of sowing) 
 
 And, when the grain springs from the ground, 
 He folds his arms, and, gazing round, 
 {Here they all fold their arms, pirouette round, and return to their 
 places) 
 
 Says, " Soft rain fall, and bright sun shine, 
 And make my oat-crop fine ! " 
 
 II. 
 
 This is the way my father reaps \lns. 
 
 His oats ; and when they lie in he^s,-^ \bis* 
 
 {Here they imitate the -action of reaping 
 
 In yellow heaps, upon the ground, 
 
 He folds his arms, and, gazing round, 
 {Same movements as in preceding verse) 
 
 Says, " Rain keep off, and bright sun shine, 
 
 And make my oat-crop fine ! " 
 
 III. 
 
 This is the way my father binds \bis. 
 
 His oats in sheaves ; and, when he finds \bis. 
 
 {Each player here passes her right arm round her companion's waist) 
 
 No more remaining on the ground, 
 
 He folds his arms, and, gazing round, 
 {Same movements as before) 
 
 Says, " Thanks to rain and bright sunshine, 
 
 My oat-crop has been fine." 
 
 IV. 
 
 This is the way my father's oats \bis. 
 
 Are made to lose their husky coats ; \bis. 
 
 {Here each player imitates on her companion's shoulder the action of 
 threshing 
 
GALOO. 8l 
 
 And when the flail rings on the ground, 
 He folds his arms, and, gazing round, 
 {Same movements as before) 
 
 Says, " Come what will, come rain or shine, 
 My crop is housed in time." 
 
 THE BLACK ART. 
 
 This is a very simple trick, which may cause much mysti- 
 fication. There must be two initiated ones. The magician 
 sends his partner out of the room, and announces that any 
 one of the company may choose an object in the room, which 
 his partner will recognize as soon as asked. Suppose a book 
 on the table is chosen. The partner is called in. Magician 
 points with his wand to a variety of objects, and finally to 
 his shoe, a black ribbon, or any other black thing, immedi- 
 ately before indicating the chosen book. The magician may 
 make his list of questions long or short, as he thinks best. 
 If the tests are repeated many times, it varies the game to 
 substitute the white or red art, wherein the object mentioned 
 last before the right one is white or red, instead of black. 
 
 GALOO. 
 
 Of much the same order of trick is "galoo," which seems 
 quite as mysterious as the "black art.'* One leaves the room, 
 the partner remaining in it, and selecting a person to be 
 guessed. She then points to one and another, at each per- 
 son saying, "Galoo.^" and the child in the hall answering 
 " No," till the right one is reached. The secret lies in the 
 fact that the one who spoke last before the room was left is 
 the one chosen. If no one speaks, the partner is the one. 
 
82 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 TO PUT THREE CHILDREN THROUGH THE KEYHOLE. 
 
 This is done by choosing three children, with a great deal 
 of ceremony, and arranging them by the door, with orders 
 to stand perfectly still till their turn comes. Then write 
 their names, each on a separate slip of paper, and roll them 
 up, so that they easily pass through the keyhole. 
 
 HOW TWO CHILDREN MAY STAND ON A HANDKERCHIEF WITH- 
 OUT TOUCHING ONE ANOTHER. 
 
 Lay a handkerchief across the sill of a door, close the 
 door carefully, and have a child stand on each side of it, on 
 the bit of handkerchief which will extend beyond it. 
 
 FRENCH BLIND MAN's BUFF. 
 
 Children form in circle. One is in the centre, olindfolded, 
 and furnished with a stick. The children dance round in 
 the circle to music, if possible, until the blindfolded person 
 knocks the stick on the floor. They then stop instantly. 
 The blindfolded lifts the stick to some one in the circle, and 
 asks a question. The one addressed answers in a disguised 
 voice, holding his end of the stick close to his mouth to help 
 in disguising the voice. As soon as the blindfolded guesses 
 any one by means of the voice, he changes places with that 
 person. 
 
 bachelor's kitchen. 
 
 All the children sit in a row or a circle. Any number can 
 play. One is named "the old bachelor." He goes to each 
 child, in turn, and says, " Have you any thing for a poor old 
 bachelor like me .^ " 
 
 Each player makes some answer, offering the " bachelor *' 
 any thing, from a crying doll to an elephant. The bachelor 
 then questions the giver about the article. The giver is onlv 
 
EASTER EGGS. 83 
 
 allowed to respond to the questions by repeating the name 
 of his article. If he speaks an unnecessary word, or laughs, 
 he must pay a forfeit. If a player has failed, or cannot by 
 any device be made to fail, the bachelor passes on to the 
 next player. 
 
 EASTER EGGS. 
 
 If a party is given on Easter Monday, or in Easter week, 
 these may be made a very pretty and attractive feature. 
 
 Decorated Easter eggs can, of course, be bought at con- 
 fectioners', from simple painted eggs to gorgeous egg-shaped 
 boxes filled with confectionery ; but pretty home-made ones 
 can be easily prepared. 
 
 First the eggs must be blown, or boiled hard. If boiled, 
 they are less fragile, but, of course, cannot be kept very 
 long. If blown, the hole can be covered with a little picture, 
 or bit of ribbon, no matter what ornamentation is used for 
 the rest of the egg-shell. 
 
 For coloring the shell, Paas Dyes are effective, and easily 
 used. They can be bought at any fancy-store. Directions 
 for use are given with every package. 
 
 An old-fashioned way of coloring the boiled eggs is 
 to wrap a piece of bright silk, or cheap calico, around the 
 eggs before putting them into water. The water must be 
 cold when put on the stove, and must be allowed to boil at 
 least twenty minutes. This method may make the shells 
 very pretty, but it is not always sure of success. 
 
 A third manner of decoration is to paste little decalco- 
 manie pictures over the white shell. The pictures can be 
 bought in sheets very cheaply. If the weather is warm at 
 Easter time, the eggs can be hidden out of doors, undet 
 bushes, or in low trees. Ingenuity can be exercised in mak- 
 ing pretty little nests of dried moss or twigs, decorated with 
 ribbons, which serve as resting-places for the eggs. The 
 
84 SOME GAMES THEY MIGHT HAVE PLAYED. 
 
 children are told to hunt for them, and of course are allowed 
 to keep all that they find. Prizes can be offered to the most 
 successful hunter and to those who find none. If the weather 
 is not suitable, the eggs can be hidden in the house. 
 
 Another pretty device for giving the Easter eggs is to 
 have a candy or cotton-wool hen sitting upon an egg-filled 
 nest on the tea-table. If she is made of candy, she can be 
 broken up, after the distribution of the eggs, and form part 
 of the feast. 
 
 Or the eggs can be served in a dish called " the ostrich- 
 nest," or "a dessert pie." This is a large tin pan filled 
 with sand, in which the eggs are placed. It can be brought 
 to the children at the close of their tea, and introduced with 
 a little story of how Chinese eat birds' nests, and that the 
 host has determined to let the children try whether they like 
 it or not. Each child is given a saucer full of pie, and finds 
 an Q,^'g. If there are only a few children, they could dig in 
 the sand for the eggs which the ostrich has put there. 
 
 For a party at a season of the year when Easter eggs are 
 not suitable, it is pretty to give the children some little 
 present. This may be done in a variety of ways. 
 
 BONBONS. 
 
 Paper caps and other articles of paper attire are done up 
 in snapping bonbons, which may be bought at any confec- 
 tioner's. 
 
 BALLOONS. 
 
 Get as many red balloons as there are children. Let them 
 float in a room, with strings attached. Open the doors, and 
 let the children rush in, and try to catch the strings. In 
 New York white balloons with children's names in red 
 letters can be made to order. 
 
SC/SSO/^ PRESENTS. 85 
 
 GRAB-BAG. 
 
 Put a number of little presents in a bag, and let the chil- 
 dren grab for them. 
 
 PAPER BAGS. 
 
 Fill a large paper bag with candy, suspend it to chandelier, 
 blindfold the children, and let each, in turn, try to break the 
 bag with a stick. When it breaks, all scramble for the candy. 
 A clean sheet should be spread under the bag. 
 
 SCISSOR PRESENTS. 
 
 Tie the present to the chandelier with a string; lead 
 child in turn to end of room ; blindfold him, turn him round, 
 and let him march to chandelier, and cut down the present 
 with scissors. 
 
86 HINTS FOR PARLOR PLAYS, 
 
 CHAPTER V. 
 
 HINTS FOR PARLOR PLAYS. 
 
 In all entertainments at home, whether tableaux, living 
 statuary, charades, or short plays, it is well to have ready 
 certain " properties," as they are called, that add greatly to 
 the effect, yet need not be expensive. There are various 
 books giving full directions for building a stage, and arran- 
 ging every thing connected with it, often at great cost and 
 trouble. With such work this book does not meddle, pre- 
 ferring to give only what is possible anywhere, and need 
 cost but a very small sum. But there are certain directions 
 which apply to the simplest as well as to the most elaborate 
 entertainment, and will help in "the arrangement of stage 
 scenery, furniture, curtains, background, costumes, and 
 light." 
 
 A stage raised from the floor is of course most desirable ; 
 but, where this cannot be, a parlor with folding-doors is next 
 best. Where tableaux or living statuary are to be attempted, 
 one person should be chosen as stage-manager, who has a 
 good eye for color and grouping. A frame is the first essen- 
 tial, and must be made to fit the front of the stage, whether 
 this is a raised platform or merely a back-parlor. 
 
 "Four* pieces of wood an inch thick, and about one foot in 
 
 * The directions which follow are taken from a very carefully prepared little book 
 entitled Parlor Exhibitions, edited by Mr George W. Bartlett, a name familiar to all the 
 readers of St. Nicholas and Wide Awake, and published by Dick & Fitzgerald, New 
 Y«rk. 
 
HINTS FOR PARLOR PLAYS. 8y 
 
 width, are neatly joined at the corners ; and over the entire 
 open space is fastened a coarse black lace, through which 
 all the pictures are to be seen. The wooden frame must 
 now be covered with glazed cambric, bright yellow in color, 
 which is drawn tightly over the wood, and fastened securely, 
 being neatly drawn over the edges. At regular intervals 
 fasten large full rosettes of the cambric. It is a great im- 
 provement, though not necessary, to mix black with the 
 rosettes, and carry a narrow strip of black all round the 
 inner and outer edges of the frame. Upon the inside of 
 the frame fasten several curtains of colored gauze, — blue 
 for ghostly scenes, and rose-color for fairy scenes. Arrange 
 these so that they can be lowered or raised easily when 
 required. The frame is now ready to put up. 
 
 "If you have a pair of full, handsome crimson curtains, 
 they are very effective placed upon a bar inside the frame, 
 about one foot from it, and looped at the sides high enough 
 to clear the heads of the performers. The drop-curtain (to 
 be raised and lowered) should be hung about two feet from 
 the frame, on the inside. 
 
 " When your frame is up, fasten, at the sides and top, rods 
 with gas-jets ; or, if gas is not available, lamps should be 
 located at regular intervals to light the tableaux. 
 
 "The frame now being ready, stretch across the sides of 
 the stage and background dark gray or brown muslin, or 
 woollen cloth, so as to shut out all objects behind the 
 frames. 
 
 " The best arrangement for a background is to stretch a 
 strong wire down each side of the stage, and another one 
 across the back, from which the dark muslin or woollen cur- 
 tains hang down, forming a complete enclosure behind the 
 frame. The wires should be placed so as to leave free pas- 
 sage on each side of and behind the enclosure, and furnish 
 
88 HINTS FOR PARLOR PLAYS, 
 
 a space, out of sight of the audience, for putting away 
 furniture and properties, etc., when not in use. 
 
 " If the parlor is used as a stage, the floor should also be 
 covered with plain dark cloth, that can be removed when 
 the scene requires a parlor carpet. 
 
 " It must be remembered that carpet and background must 
 be of woollen material, or unglazed cotton. Any material 
 that will shine in a strong light will ruin the effect of a 
 tableau. Woollen is by far the best, as it completely ab- 
 sorbs the light, and hangs in uniform folds. 
 
 "In grouping, the colors must be very carefully selected to 
 prevent either glaring or gloomy effect. Often a piece of 
 gay drapery thrown over a chair will enliven a picture where 
 all the figures are in the dark evening-dress of a gentleman 
 of the present day ; but, where ladies are grouped, their own 
 dress is usually sufficiently bright. 
 
 "Never bring two bright colors against each other. If 
 they are necessary in the same group, introduce between 
 them some white, black, or neutral-tinted drapery. If they 
 are light as well as bright, use gray or brown to harmon- 
 ize them. 
 
 "White should always be sparingly and judiciously used in 
 tableaux, and should be of either very glossy fabric or very 
 thin material ; as tulle, book-muslin, or lace. Thick white 
 material, like lawn, marseilles, or pique, is not effective in 
 vtableaux. 
 
 " The arrangement of color in tableaux must be governed 
 by the same rule as in painted pictures ; and it must be 
 borne in mind, that not only the personages who are grouped 
 for the picture are to be considered, but the accessories and 
 background will also strike the eye of the spectator at the 
 same time." 
 
SIMPLE TABLEAUX VIVANTS. 89 
 
 SIMPLE TABLEAUX VIVANTS, AND FRAME PICTURES. 
 
 " We will now give a few plain directions by which effec- 
 tive scenes can be arranged in any room, with but little 
 trouble or expense. 
 
 " Necessary Materials. — Ten wooden boxes of various 
 sizes. 
 
 " Two half-length picture-frames. 
 
 '* Twenty feet of annealed wire. 
 
 "Two dozen curtain-rings. 
 
 " Twelve large lamps, or a gas-rod twelve feet long, with 
 fifteen five-foot burners inserted at regular intervals upon it. 
 
 " Six yards black tarlatan-muslin. 
 
 " Some narrow pine boards. 
 
 " The Stage and Frames. — If the room has no foldings 
 doors, a thick curtain or bed-quilt must be contrived to draw 
 across the room at one end, leaving a space about fifteen 
 feet deep for the stage. This space is draped with curtains 
 of maroon or dark-colored stuff by stretching wire across 
 the sides and back of the stage near the ceiling, and hang- 
 ing them by means of rings firmly sewed upon the upper 
 edge of the cloth. This will form a square room, draped all 
 around except in front. Then procure four upright pieces 
 of narrow board, just the height of the room, for posts. 
 Screw two of the posts, one on each side, on the back of 
 each frame, so that, when each frame is raised upright upon 
 its supporting posts, the bottom of both frames will be four 
 feet and a half from the floor. Set the posts, with the 
 frames upon them, upright, two feet and a half in front of 
 the back-wall, and secure them, leaving a distance of four 
 feet between the frames. Then nail four strips of board 
 five inches wide, to form a larger frame, between the two 
 smaller ones. The dimensions of the large frame are six 
 
go HINTS FOR PARLOR PLAYS. 
 
 feet and a half in height between the top and bottom 
 strips which form the frame ; the width, four feet, the same 
 as the distance between the two smaller frames ; and the 
 bottom strip two feet and a half above the floor." 
 
 When this is completed, it will present the appearance of 
 a large frame between two smaller ones. 
 
 Cover all the space above and below the frames with clotli 
 of the same color as that upon the back-wall, so that the 
 frames will appear to be hanging upon the wall. 
 
 Behind the frames, erect a platform two feet and a half 
 above the floor, upon which the performers are to stand. 
 
 If gas is available, fasten a rod, with burners upon it, over 
 the top of the curtain or folding-doors. The best way is to 
 make for it a shelf supported upon two posts about eight 
 feet high. Over the burners, and behind them, tack sheets 
 of common tin, bent so as to throw the light down. If you 
 cannot get the tin conveniently, fasten behind the burners 
 a white sheet, which will serve the purpose very well. If 
 the curtain does not come to the ceiling, a shawl or thick 
 cloth must be put above it, so that the light cannot show 
 over the curtain into the darkened room where the audience 
 sit. When gas cannot be had, and kerosene-lamps are used, 
 holes must be made in the board to fasten them firmly in 
 their places. 
 
 Next make a veil of black tarlatan-mushn large enough 
 to cover the space before the folding-doors or posts which 
 support the curtain. 
 
 The construction of the frames will be clearly understood 
 by examining the diagram on the next page, in which all 
 the details of measurements, and the relative positions of 
 the frames, are very plainly exhibited in skeleton form, 
 previous to applying the covering, which hides all of the 
 construction except the three picture-frames. 
 
PLAN FOR THE FRAMES. 
 
 9< 
 
 A 
 
 B 
 
 B 
 
 A 
 
 B 
 
 * 
 A^ 
 
 \ / 
 
 4 FEET. 
 
 b< 
 
 \ 
 
 / 
 
 V y 
 
 
 3 FEET. 
 
 g 
 
 3 FEET. 
 
 i 
 
 iR 
 
 / 
 
 \ 
 
 / S 
 
 A 
 
 c 
 
 C 
 
 B 
 
 S A 
 
 ■>«■ 
 
 / A 
 
 B ^ A 
 
 as; 
 
 1 
 
 Fig. 36. 
 
 PLAN FOR THE FRAMES. 
 
 A A A A, four posts set upright from floor to ceiling, two 
 feet and a half from back of stage, and at distances apart 
 marked on diagram. 
 
92 HINTS FOR PARLOR PLAYS. 
 
 Spaces marked B to be filled in with material to match 
 the drapery back of the stage. 
 
 Dotted line C is the raised platform behind the three 
 frames, upon which the performers stand. 
 
 Scenery is more easily managed than one would suppose. 
 For the home of the drunkard, or of the starving seamstress, 
 a small pine table holding a candle stuck in a porter bottle, 
 and a broken chair, will be all that is needed. 
 
 Flower-pots or a box of plants suggest a garden-scene. 
 
 For a nursery, a cradle and some toys. 
 
 For a prison-scene, an iron bedstead and a small table, 
 no chairs. 
 
 For a moonlight-scene, the light in front must be very 
 dim. Cut a round hole in the background curtain, and 
 cover it with silver lace, or white tarlatan with tinsel threads 
 in it. A gold-fish globe full of water, and two candles or 
 a lamp burning behind it, will give a good imitation of 
 moonlight. 
 
 Cambric, or highly glazed paper-muslin, will pass for satin 
 in a dim light, and cotton velvet answers every purpose for 
 richer dresses ; tissue and gold and silver paper making lace 
 and ornaments of all sorts. 
 
 A well can be imitated by sawing a barrel in two, cover- 
 ing it with gray cloth tightly tacked on, and tacking white 
 tape irregularly up and down to indicate the mortar which 
 joins the stones. Nail on three laths for uprights and a 
 cross-piece ; make a windlass from other pieces, and hang on 
 a bucket and chain, and you have a well which can be used 
 for a generation in historical or scriptural tableaux, and in 
 country scenes. 
 
 These arrangements are for tableaux on rather a large 
 scale, or for living statuary. Two or three tableaux are 
 given, illustrative of what may be done in this way. 
 
IGNORANCE IS BLISS. 
 
 93 
 
 FAITH, PEACE, AND GLORY. 
 
 Construct a cross of board, six inches wide, and about 
 seven feet high, the cross-bar being two feet six inches long. 
 Cover the cross with white paper or muslin, and nail the 
 foot of the cross against the back of a box to serve for a 
 pedestal, and also covered with white. The box and cross 
 are placed in the back centre, with another box of the same 
 size behind it ; so that the foot of the cross will appear to 
 be inserted in the centre of the pedestal. 
 
 Faith stands upon the pedestal, her right hand resting on 
 the bar of the cross, and her left hand around the staff, or 
 upright portion of the cross. 
 
 Peace lies at the foot of the cross, holding a white dove 
 in the right hand. The drapery of Peace and Faith can be 
 made of cotton sheets. 
 
 Fame stands in the foreground, on the floor, holding a 
 large trumpet. Her dress is made of turkey-red, plaited in 
 front, and falling in plain folds to the feet. For this scene 
 a chant may be sung. 
 
 When the audience have seen enough of this, lower the 
 curtain. The assistants rapidly clear the stage ; draw away 
 the curtain which hides the picture, and in one minute the 
 audience behold, to their astonishment, a set of tableaux. 
 In one frame, 
 
 IGNORANCE IS BLISS (iN THREE SCENES). 
 
 Scene First. — At the left of the stage an old lady is 
 asleep in a high chair. She is dressed in black, or in any 
 plain dress ; wears a white apron ; and has a white shawl 
 folded across her shoulders ; also a high cap and spectacles, 
 which have fallen upon her nose. At the right, a girl sits 
 at the spinning-wheel. She has on a bright, short skirt, 
 
94 HINTS FOR PARLOR PLAYS. 
 
 white waist, red or black bodice ; on her head a cap of lace 
 gathered in a rosette, with very long ribbons streaming from 
 it ; on her arms she has three ribbons, — one at two inches 
 above the wrist, the next below the elbow, the third near the 
 shoulder. A youth is kneeling at her feet, holding her left 
 hand. She looks archly at him, regardless of the uncon- 
 scious grandmother. The youth has ribbons upon his arms, 
 like the girl. He has no coat on, but bright suspenders 
 joined in front with two bars. 
 
 Scene Second. — The lovers remain as before, except that 
 the grandmother has wakened, and is just raising her broom, 
 with the intention of waking the young man also. 
 
 Scene Third. — The grandmother holds the lovers apart 
 at arm's-length, by grasping one ear of each. The girl is 
 crying at the left side ; and the youth, at the right of grand- 
 mother, looks sheepishly down, with his finger in his mouth. 
 Next, draw away the back curtain again, and show more pic- 
 tures, which the assistant has had time enough to prepare. 
 
 In the centre frame stands a gleaner. In one small frame, 
 a child with a red cape over her head, and a little basket in 
 her hand, personates Red Riding-Hood ; and in the other, 
 a marchioness. 
 
 the execution of JOAN OF ARC. 
 
 Have no furniture upon the stage. In the centre place a 
 wooden stool about six or eight inches high, and behind this 
 have a tall, rough stick about nine feet long : a young tree 
 stripped of branches is the best. Around these pile fire- 
 wood, with the bark on, some four feet high, in a loose, 
 irregular pile. The Joan of Arc selected should have long 
 dark hair, and dark eyes, and her face well powdered, with 
 lines of India-ink under the eyes and in the cheeks, to give 
 it a ghastly, emaciated look. The hair must be parted be- 
 
LIVING STATUARY. 
 
 95 
 
 hind, and drawn forward to hang loosely over each shoulder 
 in front. The dress, of white woollen or linen, must hang in 
 long, full folds from the throat, below the feet, as like a 
 shroud as possible, and ungirdled. 
 
 The figure must stand upon the stool, the dress falling to 
 cover it ; and a rough rope must be knotted around the waist 
 and the tall wood behind, as if tying the Joan to the stake. 
 
 The hands should be crossed over the breast, holding a 
 rosary and cross, and the head thrown slightly back, the eyes 
 lifted, the lips a little apart, as if in prayer. 
 
 Very slow music adds to the effect, and the light should 
 be very dim. 
 
 This is a very good scene, as only one performer is re- 
 quired, the arrangement is easy, and there is no furniture 
 used. 
 
 Living statuary is the most troublesome and difficult of all 
 parlor entertainments, yet one of the most beautiful and 
 satisfactory ; and the directions given here are from one 
 who has made hundreds of experiments, and foun<l out how 
 to do the work in the most comfortable as well as most effec- 
 tive way. If the American girl has learned a little light 
 carpentering, she will have no difficulty in preparing her 
 stage ; but, as she is more than likely to know nothing about 
 it, the American boy must hold himself ready with hammer 
 and nails to do all the rough work required. 
 
 "All who take part in living statuary must have fine 
 figures, large arms, and as classic features as our American 
 type allows ; and they must also know how to stand per 
 fectly still, which is the hardest part of the work. 
 
 '' To whiten the face is the first thing ; and nothing is 
 so good for this as the round balls of ' velvet chalk,' which 
 must be rubbed on dry. Flour can be used, but is by nc 
 
96 HINTS FOR PARLOR PLAYS, 
 
 means as good. This chalk is sometimes mixed with glycer- 
 ine ; but rubbing on dry is the only successful method of 
 whitening smoothly, completely, and comfortably. After 
 using, this must be rubbed off when dry, and the face must 
 not be wet, but must have a good coat of gelatine or vaseline, 
 and no inconvenience or roughness need follow. 
 
 " For most performances the best cast consists of two very 
 tall ladies, one a little shorter, and one of medium height, 
 one large, muscular man, and one girl about ten years old. 
 These performers can personate all the parts, as they re- 
 semble each other so closely when whitened, that little is 
 gained by changing the performers in the various groups. 
 The man may wear a suit of cotton tights, or a white, close- 
 fitting, merino, woven shirt, with cotton gloves sewed into 
 the sleeves. He wears around the waist a kilted skirt reach- 
 ing to the knee, made of white sheeting, and a close-fitting 
 cap made of canton flannel. He will need two cotton sheets 
 to be draped from the shoulder in various ways. 
 
 " For a Roman costume make a slit ten inches long in the 
 middle of the sheet, through which the head is placed. The 
 sheet is then drawn around until the corner is in front ; 
 the two sides are then looped up to each shoulder, and 
 fastened with a round piece of pasteboard by tapes. 
 
 "The child wears a short frock or night-dress thrown over 
 a tape around the waist, long white cotton stockings, cotton 
 gloves sewed into the sleeves of the frock, and a tight cap of 
 cotton flannel. 
 
 ** The ladies wear white plain tight-fitting waists very high 
 in the neck, fastened behind, the sleeves of which are made 
 of the legs of white cotton stockings, to which white cotton 
 gloves are firmly sewed after they have been adjusted to the 
 arms by sewing on the under side. No other method of 
 whitening the arms is of use, and it was by this discovery 
 
LIVING STATUARY, 97 
 
 that the success was first insured, for these sleeves show the 
 muscles to great advantage, and still preserve the needed 
 whiteness when in tension. 
 
 " The caps are made of canton flannel, large enough to 
 cover the hair, which is drawn into a bunch at the back of the 
 head, like the knot of Diana. Braids, bands, and waves are 
 made of cotton wadding, to put on with pins, when it is de- 
 sirable to alter the coiffure. They wear white stockings and 
 white slippers, or sandals made of a cork sole, and scant skirts. 
 In draping, the first sheet is tied around the waist with tape, 
 so that the end which has the hem touches the ground, the 
 rest of the sheet hanging over in front. The lower portion of 
 this sheet thus forms a close skirt, and is drawn close behind, 
 and fastened. The left-hand corner of the front part of the 
 sheet is taken to the right shoulder, and fastened ; and the 
 right-hand corner of the sheet is brought to the waist, and 
 fastened there. Beautiful folds will result, which can be 
 much improved by stroking them down with the hand. A 
 large knot is then tied in the corner of another sheet, which 
 is pinned on the right shoulder ; and the sheet is then drawn 
 around the knees, and fastened to the waist behind, thus 
 surrounding the figure, and forming long, graceful, straight 
 folds, like those on the ancient Greek statues. A little study 
 of drapery, and careful attempts to imitate that of statues, will 
 soon enable persons of taste to arrange beautiful groups, as, 
 when the figures take their positions, the drapery assumes 
 new and graceful folds of itself ; which is another reason why 
 the same persons can so successfully fill so many varied 
 roles. 
 
 " Statuary is very effective in all performances as a grand 
 contrast to the glittering scenes which it should follow ; and 
 it is also useful in connection with other pieces, as it may be 
 used for the ornaments in court-scenes, as well as in the 
 
98 HINTS FOR PARLOR PLAYS. 
 
 studios, and may be utilized for the adjuncts to thrones, as 
 well as for objects of interest in the garden-scenes. Abun- 
 dance of good subjects may be found in any book of plates 
 of statuary : so it will be only needful to give a few examples 
 here of various styles, prefaced by some general directions." 
 
 The Pedestal. — Two tables four feet long stanc in centre 
 of the stage, with another table of the same size placed upon 
 them in the centre : a box two feet and a half long stands on 
 top of this table, and another box stands on the floor, in front 
 and in the centre of the two tables which stand together. 
 The pedestals thus formed, draped with cotton sheets, serve 
 for all groups. 
 
 Light and Background. — The best light is a very light 
 blue ; and a beautiful effect may be produced with common 
 gaslight by showing them on a dark stage, and slowly turn- 
 ing up the light. They must always be shown against a 
 background of black curtain or of any plain cloth. A plain 
 black shawl serves very well, if prepared in a parlor, as is 
 often the case. Well carried out, there is no more charming 
 study, or attractive performance, than that of living statuary. 
 
 Properties. — The smaller properties may be cut from 
 pasteboard or thin wood, and covered with white cloth or 
 paper : those used in the above scene are as follows, — 
 
 Rake, hat, chain (made of loops of canton flannel), scales 
 and olive-branch (cut from white pasteboard) ; cross, eight 
 feet high, five inches wide ; crossbar, two feet and a half 
 long ; tablet, a board two feet and a half long, one foot wide, 
 covered with white cloth ; pencil ; basket of flowers ; three 
 tables and two boxes draped with cotton sheets. Old sheets 
 free from starch and ironing-folds are best for statuary. 
 
THE ANGEL OF SLEEP. 
 
 99 
 
 MONUMENTAL GROUP. 
 
 The man stands in the top box (marked 3 in the illustra- 
 tion), in an attitude of making an address ; his right hand 
 
 BLACK CURTAIN 
 
 13 4 
 
 1 c 
 
 TABLE. 
 
 ?^ 
 
 3 5 
 
 TABLE. 
 
 e 
 
 BOX. 
 
 Fig. 37. 
 
 extended, his left held in a curve, over which drapery is 
 hung loosely. On the table at the left (2) a female figure 
 sits, representing history, writing on a flat table at his right. 
 In the lower table (i) a tall figure stands at a high cross, 
 with her left arm behind it, and her right hand on the cross- 
 bar. At the other end of the long table (5) the shorter of 
 the ladies is scattering flowers from a basket which she holds 
 in her left hand. On the lower box in front (6) a lady bends 
 over a child, who nestles against her side. 
 
 THE ANGEL OF SLEEP. 
 
 The tall statue lady stands on the high box, which is 
 pushed backward to allow a second lady to sit at the left end 
 of it, on the upper table, holding the child in her arm, as if 
 
lOO HINTS FOR PARLOR PLAYS. 
 
 asleep. The angel at the top is provided with wings, made 
 by sewing the sheet to her extended arms, which are curved, 
 the right held higher than the left. 
 
 NYDIA. 
 
 The blind girl of Pompeii leans forward, grasping her staff 
 with the left hand, while the right is held near the ear, in a 
 listening attitude. This may be copied from Rogers's cele- 
 brated statue. 
 
 THE CHRISTIAN GRACES. 
 
 The taller lady stands on the high box in the centre ; an 
 other leans her head upon her side, standing on the table at 
 her right ; while the shorter one kneels on the left side, the 
 left hand of the centre figure resting on her left shoulder. 
 This group has the appearance of being cut from one block, 
 as the ladies stand very close together. 
 
 CARACTACUS. 
 
 The man statue stands with extended hands, which are 
 fastened together with a long chain ; and he afterward may 
 be shown in a kneeling position. In the first position he 
 has a very proud expression ; and in the second he must look 
 humble and depressed, with bowed head. 
 
 JUSTICE, MERCY, AND PEACE. 
 
 The tall lady stands on the high box, holding in her left 
 hand a pair of scales, and leaning with her right hand on a 
 sword. Mercy lies at her feet, and with an olive-branch in 
 her right hand extended. Peace stands at the left, on the 
 lower table. 
 
MAUD MULLER. \Q\ 
 
 MAUD MULLER. 
 
 The shorter lady stands alone, leaning on a tall rake with 
 both hands, looking modestly down, and wearing a broad 
 sun-hat covered with white cloth. The rake is a common 
 garden-rake, also covered with white cloth. A short kilted 
 skirt of white cotton, reaching to the ankles, will modernize 
 the suit from the antique drapery described above, over 
 which it may be worn. 
 
 These examples will doubtless suggest numberless single, 
 double, and larger groups, which may be copied from the art 
 journals and photographs. 
 
I02 BALLADS IN ACTION. 
 
 CHAPTER VI. 
 
 BALLADS IN ACTION. 
 
 Illustrated ballads sound difficult, but are really one of 
 the easiest forms of amusement for a winter evening, as very 
 little rehearsing or scenery is needed. Children of any age 
 above seven can be trained to perform them, but they are 
 most successful when the actors are old enough to catch the 
 spirit of the verse. A good ear for time is also necessary, 
 as the pantomime must give the appropriate action in exact 
 time with the melody, which is to be sung very distinctly by 
 some one with a clear, full voice, hidden from the audience, 
 or in full view, as may be preferred. Two or three are given 
 here which have already been tried, and always with ap- 
 plause. 
 
 auld robin gray. 
 
 ARRANGED BY GEORGE B. BARTLETT. 
 
 CHARACTERS. 
 
 Auld Robin Gray. — Gray suit, knee-breeches, long vest, plaid, white wig, or powdered 
 
 hair. 
 Jamie. — Kilt, plaid, pea-jacket, sailor-hat, 
 
 ]EA^SiE.—P/aid skirt tucked up over white, white waist, black bodice, plaid scarf . 
 Mother. — Black or brown dress, white kerchief, white apron. 
 Father. — Gray or brown suit, wrapped in plaid, left arm in sling. 
 Properties. — I St Scene. Silver dollar for Jamie, 2d Scene. Two chairs, R.; small 
 
 chair, C, at small spinning-wheel. 3d Scene. Box for door-stone, C. 4th Scene. 
 
 Great chair, with pillows, guilt, etc., for Robin, C; small table, cup, medicine. 
 
 SCENE I. — Jamie, R., atid Jeannie, L., discovered in cittitude of parting lovers, C. 
 
 Young Jamie lOved me well, and sought me for Jamie kneels on left knee. 
 
 his bride. 
 But, saving a crown, he hath nothing else beside. Jamie shows silver-piece; both sadly shake 
 
 their heads. 
 
AULD ROBIN GRAY. 
 
 103 
 
 To make the crown a pound, my Jamie ga'ed 
 
 to sea. 
 And the crown and the pound were a' baith for 
 
 me. 
 
 Jamie points off, L., and exit, L., at the 
 
 word " sea." 
 Jeannie follows him three stepi, parts, 
 comes forward sadly with clasped hands. 
 {Curtain falls. 
 
 SCENE II. — Father and Mother in chairs^ L.; Jeannie, C, at wheel, hands clasped in 
 
 lap. 
 
 He had na' been gone a year and a day 
 
 When my father brake his arm, and our cow 
 
 was stole away. 
 My mother she fell sick, my Jamie at the sea; 
 And Auld Robin Gray came a courtin' to me. 
 
 My father could not work, my mother could 
 
 not spin, 
 I toiled day and night; but their bread I could 
 
 not win. 
 Auld Rob maintained them baith, and with 
 
 tears in his e'e. 
 Said, " Jeannie, for their sakes, oh, pray, marry 
 
 me! " 
 My father urged me sair; my mother did na' 
 
 speak. 
 
 But she looked in my face till my heart was 
 
 like to break : 
 So they gied him my hand, though my heart 
 
 was on the sea, 
 And Auld Robin Gray was a gude man to me. 
 
 Jeannie in attitude of despair, hands 
 
 clasped. 
 Looks sadly at her father. 
 
 Turns towards her mother. 
 
 Robin Gray enters, L. or C, kneels to 
 Jeannie, and takes her right hand;' she 
 turns away in disgust, and looks down. 
 
 Robin Gray points to each ; Jeannie sadly 
 watches his motions. 
 
 Jeannie spins at wheel, C. 
 
 Rodin kneels, and implores with tears. 
 Jeannie turns away as he takes her hand. 
 
 Jeannie is led by Robin across to her par- 
 ents, and kneels with her hands across 
 her Mother's lap. 
 
 Mother regards Jeannie earnestly as she 
 kneels before her, R. 
 
 Robin crosses from C. to R., takes Jeannie's 
 hand from Mother. 
 
 Robin leads Jeannie to C., and draws he?^ 
 hand through his arm, looking fondly 
 at Jeannie, who looks sadly down. 
 
 [ Curtain falls. 
 
 SCENE III. — Jeannie discovered sitting at door, very sad, 
 
 I had na' been his wife but weeks only four, 
 When, sitting so mournfully at my own door, 
 1 saw my Jamie's ghost; for I could not think 
 
 it he. 
 Till he said, " I've come home, love, to marry 
 
 thee." 
 Oh ! sair did we greet, and mickle did we say; 
 
 She slo^vly lifts her head from, her hand. 
 Jamie enters, L. ; Jeannie, in fright, motions 
 
 him away. 
 They rush into each other's arms. 
 
 We took na' kiss at all, I bid him gang away ; 
 
 For 1 will do my best a good wife for to be, 
 For Auld Robin Gray is very kind to me. 
 
 They bow their heads, then lift their heads, 
 
 as if conversing. 
 Jeannie pushing him away, exit Jamie 
 
 sadly, L. 
 Jeannie comes forward, extends her hands. 
 Sinks back into her seat, bozved with sorrow. 
 [Curtain falls. 
 
I04 
 
 BALLADS IN ACTION. 
 
 SCENE IV. — Robin at C, in arm-chair, propped up by cushions or pillows. 
 
 The nights were long and sad, the days were Jeannie bends over hint, R. 
 
 dull and wae; 
 
 But that which grieved the most was Auld }^k\^^\b. smooths his hair from his forehead. 
 
 Robin Gray. 
 
 He sickened day by day, and nothing would he Jeannie /aw^j cup from table, R., which he 
 
 take, refuses. 
 
 But said, " Though I am like to die, 'tis better Jeannie kneels for the old man's blessing: 
 
 for her sake. 
 
 Is Jamie come?" he said; and Jamie by us J amik enters,!,. 
 
 stood. 
 
 " I've wronged you sair," he said, " now let me RoBln gras/s Jamie's hands. 
 
 do some good. 
 
 I give you all, young man, — my houses and my Jamie kneels, L., and Robin points off, L. 
 
 kine, 
 
 And the good wife herself, who should not have Jeannie kneels ; he joins their hands ; they 
 
 been mine." bow their heads for his blessing. 
 
 We kissed his clay-cold hands, a smile came They rise, lift his hands to their lips, and 
 
 o'er his face. then suffer them, to drop heavily. 
 
 Said Jamie, " He is pardoned before the throne Jamie points up, L., one hand on arm of 
 
 of grace. chair. 
 
 O Jeannie, see that smile ! forgiven I'm sure is Jamie turns to Jeannie. 
 
 he. 
 
 Who could resist temptation while hoping to "RoBia falls back in death. 
 
 win thee ? " Jeannie kneels, R. ; Jamie points up, L. 
 
 [Curtain falls. 
 
 THE MISTLETOE-BOUGH. 
 
 ARRANGED BY GEORGE B. BARTLETT. 
 
 CHARACTERS. 
 
 The Bride. — White dress and veil, wreath, also a faded wreath. 
 
 LovELL. — Knee-breeches of white paper-cambric, coat faced with same, ruffled shirt, white 
 cravat, white wig and beard for last scenes. 
 
 FouR^GENTLEMEN^r Boys, \ ''''"' ^' ^^^^^' excepting bright-colored breeches and facings. 
 
 Four Ladies or Girls. — Silk train-dresses, powdered hair. 
 
 The Baroness. — Black dress in same style. 
 
 Six Little Children in ordinary dress. 
 
 Properties. — One table, one chair, two boxes. Front, side, and lid of chest four feet and 
 a half long, two feet and a half high. The lid is hinged, as usual, to the back ; the four 
 sides of the chest are not nailed together, but merely held together by hooks and eyes at 
 each corner inside. The sides must be unhooked for the last scene to allow the chest to 
 fall to pieces. 
 
 At rise of curtain the bride and Lovell stand in centre 
 of stage, at back ; the baron and baroness, at the left hand of 
 Lovell. The others stand in two lines at side, gentlemen 
 
THE MISTLETOE-BOUGH. 
 
 105 
 
 at right hand of partners. They dance as follows : head 
 couple forward and back ; sides forward and back twice, and 
 bow; grand right and left. The pianist must play the 
 melody ; and, as the bride and Lovell meet at head of the 
 stage, the singer must twice sing the chorus, " Oh the Mis- 
 tletoe-Bough ! " At the word "bough," the couples join 
 right hands, and bow first to partner, then to opposites, in 
 exact time with music. The song then begins, the same 
 dance comin^: in as marked. 
 
 The mistletoe hung in the castle-hall. 
 
 The holly branch shone on the old oak wall, 
 
 And the baron's retainers were blithe and gay, 
 And keeping their Christmas holiday. 
 
 Lovell leads his "^tvtwm forward, and points 
 
 up. 
 They go backward to place, he points to sides 
 
 of stage. 
 
 Sides forward and back, bow, and begin the 
 dance, which goes on as above. 
 
 The baron beheld with a father's pride 
 His beautiful child, young Lovell's bride; 
 While she with her bright eyes seemed to be 
 The star of the goodly company. 
 
 CHORUS. 
 
 Oh the mistletoe-bough ! 
 Oh the mistletoe-bough ! 
 
 (^Dance.) 
 
 Lovell leads Bride to Baron, who salutes 
 her; he then leads her to centre of stage, 
 and puts a ring upon her finger. 
 
 They look tenderly at each other, and re- 
 main in centre, hand in hand, until 
 chorus, when they bow, first to each 
 other, then to sides. 
 
 All bow as before. 
 
 (Dance.) 
 
 " I'm weary of dancing now," she cried : 
 " Here tarry a moment, I'll hide, I'll hide! 
 And, Lovell, be sure thou'rt the first to trace 
 
 The clew to my secret lurking-place." 
 Away she ran, and her friends began 
 Each tower to search, and each nook to scan; 
 And young Lovell cried, " Oh ! where dost thou 
 
 hide? 
 I'm lonesome without thee, my own dear 
 
 bride," 
 
 Oh the mistletoe-bough ! 
 
 Bride comes forward, stretches out her 
 hands wearily, places left hand on Lov- 
 ell's shoulder, who also comes forward; 
 she points over her shoulder, and runs 
 off, R. Dancers cross, and go out. 
 
 Lovell expresses despair. Baroness comei 
 forward, places her right hand on his 
 shoulder. They salute each other, then 
 bow to audience at chorus. 
 
 [Curtain falls. 
 
 SCENE II. — Chest, C; table tipped over, R.: chair on floor, L. The melody is played. 
 Bride enters hastily ; first hides behind the table, then decides to enter chest, draws up 
 chair, and steps in. The chorus is then sung, and the Bride lets the lid fall heavily 
 at last note. 
 
io6 
 
 BALLADS IN ACriON. 
 
 They sought that night, and they sought her The dancers enter slowly, pause a moment^ 
 next day, then cross, and exit. 
 
 And they sought her in vain when a week 
 passed away. 
 
 In the highest, the lowest, the loneliest spot 
 
 Young Lovell sought wildly, but found her not. \Curtain /alls. 
 
 SCENE III. — Children are playing Thread-the-Needle, in time to the melody; they stop 
 suddefily, two of them point to right of stage. 
 
 And years flew by, and their grief at last 
 
 Lovell appears, R., dressed as an old man, 
 and crosses the stage slowly. 
 
 Was told as a sorrowful tale long past; 
 And, when Lovell appeared, the children cried, 
 " See! the old man weeps for his fairy bride." 
 Oh the mistletoe-bough ! 
 
 He bows his head, and weeps, then salutes 
 the Children, who bo7v to him, and then 
 to audience. 
 
 [Curtain falls. 
 
 SCENE IV. — Sajne as Scene III., except that the chest is unhooked at corners, and the 
 faded wreath inside. 
 
 At length an oak chest that had long lain hid 
 Was found in the castle ; they raised the lid. 
 And a skeleton form lay mouldering there 
 In the bridal wreath of the lady fair. 
 Oh, sad was her fate ! in sportive jest 
 She hid from her lord in the old oak chest; 
 It closed with a spring, and her bridal bloom 
 Lay withering there in a living tomb. 
 Oh the mistletoe-bough ! 
 
 Old man slowly enters, and attempts to 
 raise the lid; pushes the right corner, 
 and chest falls. He holds up the wreath 
 with trembling fingers. Gazes with 
 horror on the chest. Turns to audi' 
 ence, ajid points towards it. He kneels, 
 and at last note of chorus falls on ruins 
 of the chest. 
 
 [Curtain fallsr 
 
 VILLIKINS AND HIS DINIAH. 
 
 An Illustrated Ballad, to 
 
 performed by Children from Eight to Twelve 
 Years Old. 
 
 CHARACTERS. 
 
 Parent. — Top-hoots, knee-breeches, swallow-tail coat, ruffled shirt, white cravat, ponxy- 
 
 dered hair. 
 ViLLiKiNS. — White pantaloons, swallow-tailed coat, ritffled shirt, fancy tie, curled hair. 
 DiNiAH. — Train-dress, bright overskirt, hat, large waterfall, Grecian bend. 
 Properties. — Two sheets, letter, bottle, carpet-bag, money. 
 
 Note. — Swallow-tail coats are easily made by sewing tails on to the boys' jackets; the ruffles 
 are made of paper. The girl can wear a long dress tucked up over her own. The sheets are 
 placed over the heads, leaving only the face exposed. They hold the sheet under their chins n ith 
 left hands, and point with the right. Where a trap-door is available, they fall into and rise up Ircu 
 k. 
 
 {A concealed singer begins song as curtain rises.) 
 
VILLI KINS AND, HIS D INI AH. 
 
 TO7 
 
 I. 
 There was a rich merchant in London did 
 
 dwell. 
 Who had for a daughter a very fine girl; 
 Her name it was Diniah, just sixteen years old, 
 With a very large fortune in silver and gold, 
 
 CHORUS. 
 
 Sing tural li lural li lural li la. 
 Sing lural li lural li lural li la. 
 Sing tural li lural li lural li la. 
 Sing tural li lural li lural li la. 
 
 II. 
 As Diniah was walking the garden one day, 
 
 Her father came to her, and thus did he say, 
 
 " Go dress yourself, Diniah, in gorgeous array. 
 
 And I'll bring you a husband both gallant and 
 
 gay." 
 
 CHORUS 
 HI. 
 
 "O papa, dear papa! I've not made up my 
 
 mind : 
 To marry just yet I do not feel inclined; 
 
 And all my large fortune I'll gladly give o'er 
 
 If you'll let me be single a year or two more." 
 
 CHORUS. 
 IV. 
 
 " Go, go, boldest daughter ! " the parent replied. 
 
 " If you do not consent to be this young man's 
 
 bride, 
 I'll give your large fortune to the nearest of kin. 
 
 And you sh'an't reap the benefit of one single 
 pin." 
 
 Parent bows low to audience, 
 
 'Pakeut pomts with left hand. 
 Parent spreads both hands in ecstasy. 
 Parent rattles money in his pockets. 
 
 Parent dances, in time to music, forward. 
 Parent dances, in time to music, backward. 
 Parent dances, in time to music, forward. 
 Parent dances, in time to music, backward, 
 
 ajid bows at last note, 
 Diniah enters, and courtesies to Parent, 
 
 who bows in time. 
 Parent approaches her, and moves head 
 
 and hand as if speaking. 
 Parent points to Diniah's dress, ^uho takes 
 
 it in her hands, and looks upon it, 
 Diniah puts finger in her mouth, and turns 
 
 head away. 
 Both dance forward and backward together 
 
 at each line, and bow at end. 
 Diniah p2its right hand on Parent's left 
 
 shoulder. 
 Diniah places left hand coaxiti'gly under his 
 
 chin. 
 Diniah tttrns to left, moves both hatids as if 
 
 throwing away her money. 
 Diniah looks at him imploringly, and coaxes 
 
 him as before. 
 Both dattce forward and backward, and 
 
 bow in time, as before. 
 Parent shakes his head and fist very 
 
 savagely. 
 Diniah kneels down, and cries. 
 
 Parent makes motions as tf throwing away 
 
 money; takes large pinfrotn his coat. 
 Diniah wrings her hands, and weeps. 
 
 Sung and danced as before. 
 
 [Curtain falls. 
 
 As Villikins was walking the garden around, 
 He spied his dear Diniah lying dead on the 
 
 ground. 
 With a cup of cold pison lying down by her 
 
 side. 
 And a billet-doux, saying by pison she died. 
 CHORUS. 
 
 Villikins enters, discovers Diniah lying, 
 C, with bottle and letter; he jumps, 
 throws up his hands in horror. 
 
 Villikins picks up bottle, and smells it. 
 
 Reads letter in amazement. 
 Villikins dances forward and backward.. 
 looking first at letter in his left hand, 
 
io8 
 
 BALLADS IN ACTION. 
 
 He kissed her cold corpus a hundred times o'er. 
 
 And called her his Diniah, though she was no 
 
 more ; 
 Then he swallowed the pison like a lover so 
 
 brave, 
 And Villikins and his Diniah both lay iri one 
 
 grave. 
 
 CHORUS. 
 VII. 
 
 At twelve next night, by a tall poplar-tree 
 The ghosts of his children the parent did see. 
 
 Standing close to each other, and both looking 
 blue, 
 
 Saying, " We should be both living if it was 
 not for you." 
 
 CHORUS. 
 
 vni. 
 Now the parent was struck with a horror of 
 
 home: 
 So he packed his portmanteau, the world over 
 
 to roam. 
 But he had not gone far, when he was seized 
 
 with a shiver 
 Which ended his days, so finished him forever. 
 
 CHORUS. 
 
 then at bottle in his right, extending 
 each hand in turn, bows at last note. 
 
 Villikins kneels down behind Diniah, bends 
 over her, and pretends to kiss her. 
 
 Wrings her hands. 
 
 Drinks from bottle. 
 
 Falls behind Diniah at last note. 
 
 No dance. 
 
 [Curtain falls. 
 
 Parent enters, discovers the lovers stand- 
 ing at back of stage, dressed in sheets, 
 like ghosts. He jumps, looks first over 
 his left shoulder at them, then over his 
 right shoulder, and contitiues this mo- 
 tion through rest of verse and chorus. 
 
 Ghosts dance forward and back, as before, 
 following Parent. A II bow. 
 
 Parent goes off, L.,for his carpet-bag. 
 He packs his clothes. 
 
 Suddenly turns his head, sees ghosts, and 
 shivers faster and faster until he drops, 
 C. 
 
 Ghosts dance around Parent, Diniah first. 
 Both bow. [Curtain falls. 
 
 As will be easily seen, there is no limit in the choice of 
 illustrated ballads. One which has never been used, and 
 which Cruikshank illustrated many years ago, is the ballad 
 of Earl Bateman. 
 
 " Earl Bateman was a noble lord ; 
 A noble lord he was, of high degree; 
 And he determined to go abroad, — 
 To go abroad strange countries for to see." 
 
 The illustrations will furnish the necessary hints for cos- 
 tumes, and the ballad may better be sung than said, as the 
 air is in the minors, — a quaint and rather pathetic tune, 
 which any one who has seen " Rosedale '* played will at 
 
LORD ULLIN'S DAUGHTER. lOQ 
 
 once recall. Where an entire poem cannot be used, pictur- 
 esque passages can often be taken ; and there is hardly any 
 form of parlor entertainment that gives a better result for 
 the amount of trouble expended. 
 
 LORD ULLIN's daughter. 
 
 A burlesque performance of Campbell's ballad is very 
 simple to prepare, and very effective for children to act. 
 
 The descriptive part of the poem must be read aloud 
 slowly and distinctly ; but each actor speaks his own part. 
 It is much easier for children to act when they have some- 
 thing to say than to accompany the reading entirely in dumb 
 show. 
 
 The necessary properties are a large sheet and a common 
 wash-tub. The tub is placed in the middle of the cotton 
 lake as a boat. Four people shake the sheet at the corners 
 to make waves. 
 
 CHARACTERS. 
 
 Lord Ulun. — Short plaid skirt, or shawl pinned around his waist as skirt. Plaid shawl 
 fastened in Highland fashion on the shoulder. Tin pail on his head as helmet. Old- 
 fashioned carpet-bag in one hand. Big silk or red-cotton handkerchief in pocket. He 
 rides in on a broomstick, followed by one, two, or more armed men, who are dressed in 
 the same way, and carry toy-guns, bows, or sticks for arms. If there are no boys in the 
 company, these parts can easily be taken by girls. It is quite effective to have Lord 
 Ullin very tall, and the armed men tiny children. 
 
 Chieftain. — Dressed in the same fashion, but wearing plaid of a different color, to show 
 that he belongs to another clan. His stockings must be long and bright-colored. In- 
 stead of a helmet, he wears a cap or soft hat with a long feather He carries a toy-gun 
 or bow in one hand, while with the other he supports his bride. A girl can of course 
 take this part. 
 
 Lord Ulun's Daughter. — White dress and bridal veil, with plaid sash. Her chieftain 
 may carry a plaid for her on his arm. Veil can be made of mosquito-netting. 
 
 BOATMAii— Big rubber coat, rubber hat or old felt hat, rubber boots Stick, oar, or cro- 
 quet-mallet, for paddle. A small child can take this part effectively. 
 
 The scene opens with the boatman sitting on the edge of the tub, with pipe in mouth. He looks 
 up at the sky, shakes his head ominously, and whistles, holding pipe in hand. He may be alone oa 
 dM stage for a minute or two before the reader begins. 
 
no BALLADS IN ACTION. 
 
 RE^ADER. (^Chieftain and bride rush in from back of stage, looking back in a frif^ 
 
 ened manner.') 
 
 A chieftain, to the Highlands bound, 
 
 Cries, " Boatman, do not tarry ! 
 And I'll give thee a silver pound 
 
 To row us o'er the ferry." 
 
 BOATMAN (^without rising, staring at them, points to the lake, which must be waved 
 harder and harder). 
 
 " Now who be ye would cross Lochgyle, 
 This dark and stormy water ? " 
 
 CHIEFTAIN i^with a gesture and loving look to his bride. She clings closer to him, looks 
 back frightened, and at the end of his speech falls half fainting into his arms). 
 
 « Oh ! Pm the chief of Ulva's isle, 
 
 And this Lord Ullin's daughter. 
 And fast before her father's men, 
 
 Three days we've fled together; 
 For should he find us in the glen, 
 
 My blood would stain the heather. 
 His horsemen hard behind us ride : 
 
 Should they our steps discover, 
 Then who will cheer my bonny bride 
 
 When they have slain her lover ? 
 
 READER. 
 
 Out spoke the hardy Highland wight: 
 
 BOATMAN {rises, brings board or small step-ladder from the side of stage, places it against 
 edge of tub, and assists lady into tub. He points to the waves, and starts to bring the 
 steps just at the end of his speeech. A pause is nearly always effective. The chieftain 
 follows his bride into the tub, and sits close to his bride. The boatman sits on the edge, 
 and paddles). 
 
 " I'll go, my chief — I'm ready : 
 It is not for your silver bright. 
 
 But for your winsome lady : {Bride courtesies. 
 
 And by my word the bonny bird 
 
 In danger shall not tarry ! 
 So, though the waves be raging white, 
 I'll row you o'er the ferry." 
 
 [The chieftain offers a silver pound, made of cardboard and silver paper, 
 and marked £i, in black letters. It can be as large as a dinner-plate. 
 The boatman refuses it. The lady takes it, and presses it upon tht 
 tcatman, who receives the silver, and then tosses it into the lakt. 
 
LORD ULLIN'S DAUGHTER, III 
 
 READER. 
 By this the storm grew loud apace, 
 
 The water-wraith was shrieking ; 
 And in the scowl of heaven each face 
 
 Grew dark as they were speaking. 
 
 {Xhnnder can be made by rattling coal or wood outside. The armed men must stamp. 
 The gas can be turned down.) 
 
 But Still, as wilder blew the wind, 
 
 And as the night grew drearer, 
 Adown the glen rode arm^d men. 
 
 Their trampling sounded nearer. 
 
 BRIDE {looking imploringly at the boatman, and then points at the Ji^). 
 
 " Oh, haste thee, haste ! " the lady cries : 
 
 " Though tempests round us gather ! 
 I'll meet the raging of the skies, 
 
 But not an angry father." 
 
 READER. 
 
 The boat has left a stormy land, 
 
 A stormy sea before her. 
 When, oh ! too strong for human hand, 
 
 The tempest gathered o'er her. 
 
 (Lord Ulun and the armed men ride in. Lord Ullin leaps off his horse, drops his carpet* 
 
 bag, pulls out his handkerchief, and laments loudly.) 
 
 And still they rowed amidst the roar 
 
 Of waters fast prevaiHng : 
 Lord Ullin reached that fatal shore; 
 
 His wrath was changed to wailing. 
 
 For sore dismayed, through storm and shade. 
 
 His child he did discover : 
 One lovely hand she stretched for aid. 
 
 And one was round her lover. 
 
 LORD ULLIN. 
 
 ** Come back, come back ! " he cried in grie^ 
 
 " Across this stormy water, 
 And I'll forgive your Highland chief, 
 
 My daughter ! — O my daughter I " 
 
112 BALLADS IN A CTION. 
 
 READER. 
 
 *Twas vain : the loud waves lashed the shore, 
 
 Return or aid preventing : 
 The waters wild went o'er his child^ 
 
 And he was left lamenting. 
 
 \As the last lines are read, the four comers of the sheet are thrown over 
 the tub and its contents. Lord Ullin is left loudly lamenting on the 
 shore. 
 
THE MISS PELICOES, II3 
 
 CHAPTER VII. 
 
 THE MISS PELICOES. 
 
 Twelve girls must be arranged to form a graduated row 
 or semicircle, with either curtains or screens for a back- 
 ground. Dresses must be in Kate Greenaway style, and 
 carefully selected as to contrasting colors. Some can wear 
 bonnets, large or small ; others, caps. Some must have curled 
 or wavy hair ; others must have braids. It is better for all 
 to wear ties or slippers with large bows or buckles. They 
 must practise making the short drop-courtesy in concert, as 
 want of precision in this greatly weakens the effect. 
 
 When the reciter announces "the Miss Pelicoes,*' the 
 tallest one enters, stops in the middle of the stage, makes a 
 courtesy, and walks to her place at the head of the row. 
 The others enter in quick succession ; each making the cour- 
 tesy at the same spot, and going to her place. The ballad 
 proper then begins, all courtesying in concert whenever the 
 twelve " Miss Pelicoes " are named. 
 
 When the ballad is finished, all courtesy in the middle of 
 the stage, as they did upon entering, and pass out. An 
 e7icore is generally desired. 
 
 One girl commits the ballad to memory. She must say it 
 without any stumbling, repeating the lines very slowly where 
 there is much action, and rapidly where there is little. It is 
 important that her utterance be clear, distinct, and rather 
 loud, so there be no mistaking the sentiment expressed, both 
 
114 
 
 THE MISS PELICOES. 
 
 by words and action. Costume according to taste, but not 
 fancy. Light colors preferable. 
 
 THE MISS PELICOES. 
 Enter one by one, courtesy in middle of stage, and pass on to place. 
 
 The twelve Miss Pelicoes 
 
 Were twelve sweet little girls: 
 
 Some wore their hair in pigtail plaits; 
 
 While some of them wore curls. 
 
 The twelve Miss Pelicoes 
 Had dinner every day: 
 A not uncommon thing at all, 
 You probably will say. 
 
 III. 
 The twelve Miss Pelicoes 
 Went sometimes for a walk. 
 It also was a well-known fact 
 That all of them could talk. 
 
 I. 
 
 All courtesy exactly together. 
 
 Courtesy, smiling sweetly. 
 
 Those with braids turn around to shoxv their 
 
 braids ; 
 Those with curls, ditto. 
 
 II. 
 All courtesy together. 
 
 Raise fingers to mouth, as if having some' 
 thing to eat. 
 
 AU courtesy together. 
 
 Head girl walks for^vard, all following, but 
 turning so as to be in places before last 
 line, when all say together, either" Good- 
 morning," " Fine day" " How do you 
 do ? " all mixed up, but rather loud. 
 
 The twelve Miss Pelicoes 
 
 Were always most polite ; 
 
 Said, " If you please," and " Many thanks,' 
 
 " Good-morning," and " Good-night." 
 
 All courtesy together. 
 
 Bow to each other, shake hands. 
 
 After "said," the reciter omits "If you 
 please," and " Many thanks," leaving 
 this to be said by the four largest girls ; 
 " If you please" by the first two; " Many 
 thanks" by the next two ; " Good-morn- 
 ing')' by the next two; " Good-evening*' 
 by the next two, the reciter supplying 
 the " and." 
 
 The twelve Miss Pelicoes 
 Learned dancing, and the globes; 
 Which showed that they were wise, and had 
 The patience which was Job's. 
 
 Courtesy all together. 
 
 Take a few dancing-steps. 
 
 Try to look patient, resigned to a hard fate. 
 
 The twelve Miss Pelicoes 
 Played music, " Fa, la, la; " 
 Which consequently made them all 
 The joy of their papa. 
 
 All courtesy together. 
 
 Make motion with hands and arms, as if 
 playing on the piano. Let them, draw 
 themselves up, turn their heads, and 
 smile in a self-satisfied manner. 
 
THE MISS PEL ICO ES. 
 
 15 
 
 The twelve Miss Peiicoes, 
 You plainly see, were taught 
 To do the things they didn't like; 
 Which means, the things they ought. 
 
 vn. 
 
 AH courtesy together. 
 
 Now, fare you well. Miss Peiicoes; 
 I wish you a " good-day." 
 About these twelve Miss Peiicoes 
 I've nothing more U. say. 
 
 AU courtesy together. 
 All bow to reciter. 
 
 AU courtesy together, and, after last line, 
 pass out one by one, each making courtesy. 
 
Il6 CHARADES AND PROVERBS IN ACTION. 
 
 CHAPTER VIII. 
 
 CHARADES AND PROVERBS IN ACTION. 
 
 These may be given either in tableaux, in pantomime, or 
 the performers may trust to the inspiration of the moment 
 for words, and fill each part as perfectly as possible. Prov- 
 erbs are given in a single scene. Charade words must be 
 divided into syllables, each one represented by a tableau or 
 scene, and the whole given as a final scene. 
 
 PATCHWORK 
 
 makes three pretty scenes. The first scene is 
 
 Patch. — Two little girls, dressed in expensive costumes, 
 in the prevailing style, stand as if just meeting. They wear 
 jaunty hats and gloves, and carry parasols. Both are laugh- 
 ing, and pointing to a third little girl, who stands near them, 
 hiding her face, as if ashamed. Her dress is poor, — calico 
 sunbonnet, coarse boots ; and upon a dress of some very 
 light material is a large, square patch of dark stuff. 
 
 Work. — A very pretty tableau can be made for this scene 
 by representing several trades, each at a small bench or 
 table, — the blacksmith hammering a horseshoe, the dairy- 
 maid making butter, the cobbler mending a shoe, the mil- 
 liner trimming a bonnet, the carpenter planing a board, the 
 cook plucking a fowl. In short, as many figures as the size 
 of the stage will admit, all busy at some work. The cos- 
 tumes can be picturesque. 
 
 Patchwork. — The scene, a farm-kitchen, with several 
 
DRAMATIC. 117 
 
 figures. Centre of background is the mother rocking g 
 baby; over the cradle is a patchwork quilt. The grand- 
 mother, right of foreground, is sewing upon a piece of patch- 
 work ; and at her feet a very little girl is putting two patches 
 together, with a very big needle, very long stitches, and a 
 face puckered up, as if very intent upon the work. 
 
 DRAMATIC 
 
 is a good word for tableau. 
 
 Dram. — Scene, a poorly furnished room. Centre of 
 scene, a man poorly dressed stands facing audience. In one 
 hand he holds a glass with a little liquor in it ; in the other 
 he holds an empty bottle over the glass, as if draining the 
 last drop. A pale, haggard face, and eyes very eagerly 
 fixed upon the glass, are most effective. 
 
 Attic. — If a sloping roof can be managed, and an attic 
 window in the background, it will add to the effect of the 
 scene. Centre of stage, a table, with candle stuck in porter- 
 bottle, and a few loose sheets of manuscript upon it. Facing 
 audience, a young man, carelessly dressed, his hair very 
 much rumpled, his hand clinched in the hair; is a poet. 
 His legs are stretched each side of the table ; and, while 
 he ruffles his hair with his left hand, with his right he is 
 writing furiously. The wilder the expression, the better. 
 
 Dramatic. — The scene is a parlor, where a party for 
 private theatricals have just assembled. Every variety of 
 costume and attitude will be admitted, according to the 
 extent of the manager's wardrobe. Mary Queen of Scots 
 may be tying the cravat of Lord Dundreary ; Cardinal 
 Richelieu saying soft nothings to a pretty waiting-maid ; 
 Romeo can dance a hornpipe with Othello ; and Juliet 
 arrange the overskirt of Lady Teazle. 
 
Il8 CHARADES AND PROVERBS IN ACTION, 
 
 CHILDHOOD. 
 
 Child. — Centre of background a haystack, and behind 
 this a boy and girl peeping out. Centre of foreground, 
 facing audience, a very little child in a pretty country dress, 
 looking half frightened, as if missing her companions. 
 
 Hood. — A very young pretty girl, in a very light, tasteful 
 ball-dress, with her hair most elaborately ornamented with 
 graceful flowers, looking with horror, and hands outstretched 
 to push it away, at a large quilted, old-fashioned hood held 
 out by an old woman in a picturesque dress and cap. 
 
 Childhood. — A nursery-scene, with several children, effec- 
 tively grouped, in various occupations suited to childhood. 
 Two are seated, looking at a picture-book held between them ; 
 two more arrange a doll's tea-table ; two more dress dolls ; 
 two compare tops or balls. In short, the scene can be 
 arranged in any pretty grouping. 
 
 The boys should wear gay stockings and shirt-waists ; the 
 girls, white, with broad sashes of gay-colored ribbon. 
 
 PROVERBS IN TABLEAUX. 
 
 Like the charades, these are to represent in scenes some 
 popular proverbs, one scene for each, and must be guessed 
 by the audience. 
 
 A STITCH IN TIME SAVES NINE. 
 
 The scene is a boudoir, with two young ladies, in hand- 
 some walking-dresses, standing centre of foreground. Upon 
 a chair, left of foreground, is a handsome dress, with a long 
 ragged tear conspicuous upon it. A strip of black cambric 
 with torn edges basted down is a perfect imitation of such 
 a tear. 
 
 One of the young ladies is holding up the overskirt of her 
 
CHARADE WORDS. II9 
 
 dress, and sewing a very tiny rent ; while the other points to 
 the torn dress on the chair, as if quoting the proverb. 
 
 HUNGER IS THE BEST SAUCE. 
 
 Two tables are standing over each side of foreground. At 
 one is seated a dandy in the most elaborate costume, who 
 holds the wing of a tiny bird upon a fork, and looks at it 
 with an expression of perfect disgust. Upon the table are 
 a very few dainty trifles of food, choice fruit, a bottle of 
 champagne, and several kinds of sauce. 
 
 At the other table a man, in the dress of a farmer, has 
 a huge dish of pork and beans before him, and is lifting an 
 enormous mouthful upon his knife to his widely opened 
 mouth, with an eager, hungry expression. 
 
 Centre of background is a colored waiter, with a napkin 
 over his arm, as if in attendance upon the others. 
 
 The few specimens given will show clearly how the 
 charades and proverbs can be made effective and amusing ; 
 and a few words that will divide well for charades, and some 
 easily-posed proverbs, are given below for the benefit of 
 the stage-manager. 
 
 CHARADE WORDS. 
 
 Band-age. Crib-b-age. 
 
 Book-worm. Purse-proud. 
 
 Hand-some (sum). Broom-stick. 
 
 Peni-tent. In-fan-cy (sea). 
 
 Watch-man. Horn-pipe. 
 
 Mad-cap. Bride-cake. 
 
 PROVERBS. 
 
 Money makes the mare go. 
 Fine feathers make fine birds. 
 
I20 CHARADES AND PROVERBS IN ACTION, 
 
 It*s an ill wind that blows nobody good. 
 Take care of the pence, and the pounds will take care of 
 themselves. 
 
 Too many cooks spoil the broth. 
 
 When the cat's away, the mice will play. 
 
 Charity begins at home. 
 
 Killing two birds with one stone. 
 
 Out of the frying-pan into the fire. 
 
 The more, the merrier ; the fewer, the better fare. 
 
 It never rains but it pours. 
 
 ACTING CHARADES. 
 
 A room with folding-doors is of course best for a stage ; 
 but, wanting this, an iron rod suspended across the end of 
 the room, on which a pair of curtains can be hung, will 
 answer the purpose. Impromptu charades are always the 
 funniest, but there are some written ones given for those 
 who are too nervous to speak their own words. The follow- 
 ing list of words would be good ones to act ; — 
 
 RINGLET. 
 
 Ring. — Might turn on the loss of this ornament, and 
 the suspicion of theft against one of the servants, who is 
 consequently discharged. 
 
 Let. — Might be a house to let, where the discharged ser- 
 vant has found a situation. The old master and mistress 
 take the apartments, and on unpacking the portmanteau the 
 long-lost ring is found at the bottom of it. Of course due 
 reparation is made to the suspected servant, and she is taken 
 back to her old service at increased wages. Making the part 
 of the servant Irish would increase the fun, if an actress 
 could be found to speak with a good brogue. 
 
 Ringlet. — If the plot is still carried on, there might 
 
PETTICOAT. 121 
 
 be a party at the same people's house. The daughter is 
 engaged to be married ; the gentleman is seated near her ; 
 she suddenly becomes uneasy ; he questions her, but she 
 declares there is nothing the matter ; suddenly a Httle girl, 
 a younger sister, one of the enfant terrible kind, who has 
 been very mischievous all the time, jumps up from under 
 the table, holding aloft a false ringlet, the loss of which had 
 caused the poor young lady's distress. General astonish- 
 ment of the guests, and discomfiture of the young lady, 
 would close this last syllable. 
 
 PETTICOAT. 
 
 If the sound of the syllables may be taken, and the spell- 
 ing be not considered, this is a very good word. 
 
 Pet. — Must be a spoilt child, out of which much fun 
 could be got. 
 
 Tie. — This was once amusingly rendered by the trick of 
 tying two persons together by the wrists, who did not know 
 the secret by which to disentangle themselves. A quarrel- 
 some man and wife would afford the most amusement, 
 some waggish friend tying them together ; or, of course, the 
 scene might turn on a gentleman's tie. 
 
 Coat. — A mistake involving some difficulty through an 
 exchange of coats. Stolen goods found in the pocket, or 
 a love-letter, or a lost will, would do, — any thing by which a 
 commotion may be created. 
 
 Petticoat. — May be represented very funnily by a gen- 
 tleman getting his wrong luggage, and finding this article of 
 female attire in the shape of a crinoline ; or by the well- 
 known concealment of stolen goods under its shelter, and 
 arrest by the policeman. 
 
122 CHARADES AND PROVERBS IN ACTIOfi, 
 
 POSTMAN. 
 
 Post. — Some children might be discovered playing the 
 game of "post," and some amusing interruption arrives, — a 
 letter by the last delivery, announcing some startling event ; 
 of some rich old uncle whom they were anxious to please, 
 coming in to put a stop to the noise. A mischievous youth 
 might play him some trick in revenge for disturbing the 
 game. 
 
 Man. — A lady in pursuit of a man-servant, several com- 
 ing with extraordinary manners, of different kinds, — Irish, 
 Scotch, French. The part might be intrusted to one actor 
 to take the several assumptions, which a good amateur actor 
 would greatly enjoy. 
 
 Postman. — Valentine's Day. The perpetual postman's 
 knock, causing continual irritation to a warm-tempered old 
 gentleman, would afford plenty of amusement, and scope for 
 fun. 
 
 POST-CHAISE. 
 
 Post. — An anxiety for a letter, the post anxiously waited 
 for; or a very deaf man, — "deaf as a post.'" Either might 
 be worked into a good scene. 
 
 Chaise. — It breaks down ; adventures of the party who 
 had occupied it, whilst waiting for repairs. 
 
 Post-chaise. — A runaway couple are discovered by 
 means of the post-chaise, some portion of their luggage 
 being left in it. 
 
 BOOKCASE. 
 
 Book. — This word would admit of a variety of render- 
 ings, — a betting-book, a book lost, an album (in which some 
 one might be asked to write a verse), a photograph-book, a 
 
MISCHIEF. 123 
 
 cresl-book, or booking a place in the coach, or a parcel for 
 the train. 
 
 Case. — Might be a physician's case, — some one taken 
 very ill, and the doctor sent for ; or a case of jewels lost ; or 
 picture-case; or a piteous tale of distress, a sad case, — all 
 subjects which would suggest dramatic situations. Then 
 
 Bookcase. — Some great discovery from the shelves of a 
 bookcase ; or concealed behind ; or an instance of somnam- 
 bulism, where the sleep-walker is found taking a book, or 
 placing something behind those on the shelves. This might 
 all be connected in one story, which is, I think, the most 
 entertaining way of acting charades. 
 
 WEDLOCK. 
 
 Wed. — The return from church of a bride and bridegroom, 
 subsequent arrival of the guests, bridesmaids, etc. Amuse- 
 ment might be got from a stupid servant, or the mistakes of 
 the green-grocer, who is brought in to wait. 
 
 Lock. — The bride has become unreasonably jealous, and 
 is driven at length to the terrible expedient of opening her 
 husband's desk. She breaks the lock ; sends in alarm for 
 a locksmith to repair it ; at the moment, her husband, whom 
 she thought was abroad, returns. Scene of- vindication and 
 recrimination. 
 
 Wedlock. — Discomfort and suspicion still prevail ; the 
 husband is angry, and the wife impudent. An old bachelor 
 friend comes to stay on a visit, with some intention of marry- 
 ing a sister of the bride ; but the state of affairs causes a 
 change in his opinion, and he decides that a bachelor life is 
 better than wedlock. 
 
 MISCHIEF. 
 
 Miss. — Here, again, sound must be followed, and miss be 
 the word, which could be acted in a variety of ways, — a 
 
124 CHARADES AND PROVERBS IN' ACTION, 
 
 young lady on her preferment, an old maid pretending to be 
 young, a loss or " miss " of the train. 
 
 Chief. — An Indian chief, or head of some public oflfice. 
 An amusing scene with the former might be made by the 
 true story of the Indian's anger at having his portrait 
 painted, under the impression that through some necro- 
 mancy they were taking off his face, and putting it on the 
 paper. Or, taking the chief man in some department, a 
 scene with a clerk giving reasons for his being late at the 
 office, having "sat up all night with a poor sick friend," 
 might be made very funny. 
 
 Mischief. — This could have endless variety, — mischief 
 made between friends or lovers, amongst servants, in a 
 school, or a child forever in mischief, letting pet birds out 
 of cages, sewing people's dresses together : any thing, in 
 short, which will make a mischievous situation, and end with 
 some denoHment, which is always necessary to consider in 
 the last syllable of the charades. 
 
 WARDROBE. 
 
 Ward. — The trials of a guardian with a pretty, gay young 
 ward who is confided to his care, who upsets his bachelor 
 home, and worries him to death, and whom he finally decides 
 to send to the other guardian named in the will, imagining 
 him to be an old married man. 
 
 Robe. — He turns out a young student in chambers; and 
 some fun might be got by this mistake ; the guardian, send- 
 ing her there to await his arrival, thinking the wife would 
 of course receive her; and she, weary of waiting, might 
 amuse herself by dressing up in his academical cap and 
 gown. 
 
 Wardrobe. — The young lady of such mischievous ten- 
 dencies might finally be sent to some old maiden lady, and 
 
WOODSTOCK. 125 
 
 for the fun of frightening her, one day conceal herself in an 
 empty wardrobe. The old lady rings violently for her maid 
 to inquire what has become of her, who, having been in- 
 structed not to tell, will give no information. At this 
 moment a dealer arrives to purchase the wardrobe, and locks 
 the doors to see if they work properly, when a violent shak- 
 ing and knocking take place, which causes such great alarm 
 that the dealer rushes out, determined to have nothing to 
 do with such an "uncanny" piece of furniture. The maid 
 is then, of course, obliged to reveal her mistress's hiding- 
 place ; and the indignant old lady releases the girl, and 
 threatens to return her to her guardian. 
 
 WOODSTOCK. 
 
 Wood. — Some young people are lost in the mazes of a 
 wood, who had bragged about knowing their way so well, 
 making good, they might say, the old adage, " Don't cry till 
 you are out of the wood." Or the " Babes in the Wood " 
 might be enacted ; the scene where the wicked uncle sends 
 them away to be killed, or where they lie down to sleep in 
 each other's arms. For the robins you must request the 
 audience to draw on their imagination. 
 
 Stock. — Taking stock in a shop would make a busy, 
 bustling scene ; or an absent old gentleman going to a 
 dinner-party with his white stock in his pocket, and his 
 pocket-handkerchief round his neck. 
 
 Woodstock. — A tableau from the novel. 
 
 MORTALITY. 
 
 Mortal. — An illiterate man comes to a stone-mason to 
 have an epitaph engraved, and insists on spelling " Here lie 
 the {mortel) mortal remains." The stone-mason proudly 
 assures him he was at school for years, and it is really 
 
126 CHARADES AND PROVERBS IN ACTION. 
 
 spelled mortle. The discussion, and final determination to 
 omit the word altogether, or submit the matter to another 
 authority, might be made very funny. 
 
 I. — Exceedingly egotistical person, boring every one with 
 the everlasting "/say this," or "/do that," and one of the 
 party making fun of him without his perceiving it. 
 
 Ty {tie). — A wedding breakfast. Speeches are made, and 
 the " tie " which has that morning united two happy beings 
 might be touchingly alluded to and dwelt on in one of the 
 speeches : the clergyman might be the spokesman, and say 
 how difficult the knots which he ties are to undo. 
 
 Mortality. — Might be a picture from the novel of " Old 
 Mortality." Many words might be found, perhaps, to end 
 in this manner which would be a novelty. 
 
 HELPMATE. 
 
 Help. — A poor family receiving great and unexpected 
 assistance. 
 
 Mate. — The mate of a ship, come home to see his friends, 
 recklessly spending his money, and giving a supper-party. 
 
 Helpmate. — Either a good or bad one may be repre- 
 sented, — the devotion, through many trials, of a good wife, 
 or the misery entailed on a family where the wife is not a 
 good helpmate. 
 
 INCAUTIOUS. 
 
 Inn. — A busy hostelry, with the arrival of guests, etc. 
 
 Cautious. — The landlord, priding himself on his caution, 
 gets deceived by some sharpers ; much railed at by his wife 
 in consequence, who — in 
 
 Incautious — By some incautious act makes a similar 
 blunder. 
 
lACK AND THE BEAN-STALK. 127 
 
 These few hints may be very much amplified in the acting, 
 which can be made as long or short as is required. When 
 they are impromptUy the dresses on the spur of the moment, 
 too, add greatly to the fun. Table-covers or colored blankets 
 make admirable dresses for Indian chiefs. Large wrappers,- 
 such as gentlemen wear about their throats, make excellent 
 turbans. Ladies' shawls serve for trains ; and, with some 
 white aprons and nurses' caps, the theatrical wardrobe is 
 soon made up. 
 
 Illustrated poems are on the same principle as ballads in 
 action, save that in the former each scene is a tableau. 
 Kingsley's "Three Fishers" has been given in this way; a 
 deep contralto voice behind the scenes singing the ballad. 
 Bishop Doane's **The Sculptor-Boy," Tennyson's "King 
 Cophetua and the Beggar-Maid," Whittier's " Maud Muller," 
 and many others, will suggest themselves at once. 
 
 JACK AND THE BEAN-STALK, IN RHYME (WITH A 
 
 MORAL). 
 
 BY MRS. CHARLES FERNALD. 
 PREFACE. 
 
 Then will it not be just as well 
 The truth our little ones to tell, 
 To let the darling children see 
 Just what and where the fairies be, 
 And where the giants really grow ? 
 For by this time most people know 
 That fairy-tales and " Mother Goose " 
 Were written for a higher use 
 Than singing restless babes to sleep, 
 Or making timid children weep, 
 Or turning boys, for many an hour. 
 To lambs, just by their magic power. 
 
128 CHARADES AND PROVERBS IN ACTIOH. 
 
 And though these potent uses I 
 
 Would by no means pass lightly by, 
 
 Still it has always seemed to me 
 
 The children should be taught to sec 
 
 That by the fairy, giant, sprite, 
 
 Or demon, who in sin delight, 
 
 Is meant some evil of their own, 
 
 A vice which in their hearts has grown, 
 
 Which if they cherish and caress 
 
 Will fill their souls with ugliness ; 
 
 That, when a bad thought in them dies, 
 
 A good one in its place will rise ; 
 
 And nothing can good fairies be, 
 
 But truth, love, honor, industry. 
 
 Teach them their actions, words, and looks 
 
 Write every day new story-books ; 
 
 That 'tis for them to say if sin, 
 
 The tallest giant, shall creep in, 
 
 Or if with fairies pure and bright 
 
 They keep their pages clean and white. 
 
 Ah ! never was a book yet writ 
 
 By heart or life, without a bit 
 
 Of strife 'twixt good and evil powers 
 
 For mastery o'er us and ours. 
 
 That blessed genii only may your lives attend, 
 
 Will ever be the wish, dear children, of your friend 
 
 J. M. R 
 
 Characters. — Jack, Mother, Butcher, Giant, Wife, Fairv 
 Queen, and Attendants. 
 
 The words of Fairy Queen in first scene may be spoken or sung, as is most convenient. In 
 the third scene, if it is impracticable for the real giant to fall, a dummy can easily be made to pet 
 sonate him, to be thrown down the bean-stalk. All of the " Mother Goose" melodies introduced 
 should be sung if possible; and any pretty chorus, like " Annie Lee " or " Beautiful Bells," should 
 be sung while Jack awakens from his dream. 
 
 Scene I. — Dilapidated and wretched. Enter Mother. 
 
 Mother. Ah, where is Jack, my lazy Jack? He spends the live' 
 long day, 
 While I am starving here at home, in idleness and play. 
 
JACK AlVD THE BEAN-STALHT. 1^9 
 
 Tis hours since I have tasted food — even a bit of bread. 
 O Jack, if you would only work ! I wish that I were dead ! 
 
 {Enter Jack.) 
 
 Jack. Ho, mother, I'm so hungry ! Can we have our supper now f 
 
 Mother. There's nothing but a little milk from good old mooly cow. 
 O Jack ! unless you do some work, we both of us will die. 
 You are an idle, useless boy ! Oh, pray, my child, do try ! 
 For if you don't do something, Jack, you'll come to grief and harm ; 
 And Mr. Brown will pay you well to help him on his farm. 
 O child ! if you would only look down in your heart, and see 
 The hideous giant living there who brings this misery, 
 The ugly monster Idleness, — yes, Jack, that is his name, — 
 You would not dare to raise your head : you'd die for very shame. 
 
 Jack. Well, mother. But I mean to work — oh, yes, indeed ! some 
 day; 
 But now I'm but a little chap, and little chaps should play. 
 You can't expect a boy like me would pitch right in and work. 
 Just wait till I grow up : you'll see there's nothing I will shirk. 
 
 Mother. You're not a little boy now. Jack : you are almost a man ; 
 And you could earn enough if you would do the best you can. 
 But that old serpent Idleness in you has grown so strong, 
 He makes you think you're doing right when you are doing wrong. 
 If you don't kill him pretty soon, then. Jack, he will kill you. 
 For we have not a bit to eat. Oh, dear I what shall we do ? 
 
 Jack. I think we'd better sell the cow, she don't do us much good; 
 And with the money we shall get we'll buy — oh, lots of food! 
 We'll have a jolly lay-out then, — caramels full of cream, 
 Mince-pies and cheese, and taffy too. Golly ! how good 'twill seem ! 
 
 Mother. Oh, stop your foolish nonsense, Jack ! I tell you, every 
 cent 
 That mooly brings, for bread and meat will all have to be spent. 
 Oh, how it grieves me thus to part with our dear, good old cow ! 
 And Jack, if you would only work, we should not have to now. 
 
 Tack. There, mother, don^t cry any more. I'll make a first-rate trade ; 
 And we'll have lots of money then : so don't you be afraid. 
 We'll live like lords and ladies, yes, till both of us grow old, 
 And every thing we use shall be of silver or of gold. 
 
 Mother. Well, then, Jack, I suppose we must ; and I so will go now 
 And take a last, long lingering look at poor old black-tailed cow. 
 
 {Exit Mother. 
 
130 CHARADES AND PROVERBS IN ACTION. 
 
 Jack {dances and sings). High diddle diddle, the cat and the fiddle; 
 the cow she is going soon^ etc. 
 
 {Enter Butcher, watches Jack.) 
 
 Butcher. Waal, I declar ! I swaow you air the darnedst dancin' chap 
 I ever see ; jes like a monkey kickin' in a trap. 
 I guess you're jes a lee\}it. cracked, an' I'll go hum again. 
 
 {Goes toward door. 
 Jack. Here we go up, up, up, and here we go down, down, downy 
 {spins about) ; 
 Here we go backward and forward, and here we go round, round, roundy. 
 Butcher. Waal, yes, that's jes abaout your style. You air a crazy 
 goose, 
 And, though you spin raound spry enough, I guess you ain't much use. 
 I reckon 'tis my wisest course to git out of his way ; 
 My time's too val'able to look at spinnin'-Jacks all day. 
 Jack {catches him., and makes him whirl about with him). Oh, come 
 with me in my little canoe ; 
 ril duck you, my love, in its waters blue. 
 Butcher {alarmed). Great Scots ! He wants to kill me naow : he 
 says I shall be draowned. 
 He ha'n't no more respect for me than any old caow raound. 
 Jack {suddenly stands still, looks sharply at him). A cow, a cow ! 
 You want a cow f Why, you're the very man. 
 She's white as milk, all but her tail : now beat that if you can ! 
 Gives twenty quarts of milk a day, and never eats a thing {gesticulates 
 
 violently). 
 To any one who owns that cow, she will a fortune bring. 
 Butcher {looks around). You ha'n't got nothing though, to spare. 
 Things looks — waal, peekish, here. 
 I'll take the critter, though, unless she's too all-fired dear. 
 
 Jack. I'll fetch the milking-pail to hold the money: that will do. 
 So out with the spondulics, man, and count them quick, will you ? 
 
 Butcher. Oh, I ha'n't got no chink to give for any black-tailed caow; 
 But if yer was a mind to trade, think I mought suit yer now. 
 Money don't fetch us every thing — no, sir, by a long chalk ! 
 But, if yer'd like to trade a mite, we might begin ter talk. 
 
 Jack. But I must sell the cow for cash to buy us bread and noMt : 
 We've not a mouthful, not a crust, left in our house to eat. 
 
jACk AND THE BEAN-STALk. 13! 
 
 Butcher. Well, I ha'n't no loose cash ; but what I've got is worth 
 lots more 
 Than any di'monds blazin' raound in any juUer's store. 
 An' if yer trade with me, — now mind, I'm tellin' truths young man, — 
 They'll make yer fortune, if yer use them as yer ought and can. 
 Jack. Trot out your stuff, then; let us see what all this talking 
 
 means. 
 Butcher {takes handful of beans from his pockety and shows them). 
 The pootiest things yer ever see ! just thirty smooth white beans, 
 All polished up, like marble is, and hard and raound and clean. 
 If yer don't swop 'em for the caow, I'll say yer all-fired green. 
 Jack {looks at beans, and then at Butcher in silence). Well, I don't 
 know so very much, 'cause I wouldn't go to school : 
 But I know what a swindler is. D'ye take me for a fool ? 
 Get out of here, and take your trash — quick too, or you will feel 
 What I am laying up for you not far from my boot-heel ! 
 ^\:ic^^^ {slowly puts beans in his pocket). The fools ain't all dead 
 yet, I see. Now my words, young man, mind, — 
 Some day yer'd give all your old shoes if yer hadn't been so blind : 
 A fortune is in every bean, — yes, sir, there's millions in it : 
 If yer don't want 'em, then I'm off in less than half a minute. 
 Jack. Oh^ if you're sure^ now, very sure, they'll bring good luck 
 to me, 
 I'll take them and give you the cow. She's out there, don't you see ? 
 {Takes beans ^ 
 Butcher. Thar, naow, yer growin' sensible. An' I'll jes bet yer, 
 lad. 
 Them little beans may keep yer back from goin' to the bad. 
 Di'monds ain't nothin' side of them ; and if yer've grit and pluck, 
 'Tain't long afore you'll bless them beans for bringin' y^r good luck. 
 
 [Exit. 
 Jack {looks after Butcher, and then at beans in his hand). Better 
 than diamonds, so he said. Well, really, I can't see 
 How a few common small white beans better than gold can be. 
 But then he said he was quite sure my fortune they would make. 
 Oh, dear ! I wish I'd thought to ask him just how long Uwould take. 
 
 {Looks at beans.) 
 Now may be they are diamond-seeds, — pearl-seeds there are, I know, — 
 And, hocus-pocused underground, beans may to diamonds groMi , 
 
132 CHARADES AND PROVERBS IN ACTION, 
 
 And mine may yield at least a peck or bushel, maybe two. 
 
 Oh, golly ! I shall be (Mother enters^ and watches him silently) so rich 
 
 * I sha'n't know what to do ! 
 Our house shall all be built of gold, our carriages of pearls ; 
 My clothes shall be made like a king's ; I'll wear my hair {considers) — in 
 
 curls ; 
 Airily) I sha'n't mix up with people herej I never shall be seen 
 With any one but earls and dukes, and live quite near the queen. 
 My mother, she shall be arrayed in velvet, satin, silk. 
 And ride upon an — elephant, a Jumbo white as milk ; 
 And she shall wear upon her head all day a golden crown, 
 And every one who sees her shall stop, and thus bow down ipows^ as if 
 
 to royalty). 
 Mother {rushes wildly in). O Jack ! what are you talking of ? Tell 
 
 me what this all means ! 
 Jack. Why, that I've traded off the cow for — thirty little beans. 
 
 {Tableau.) 
 
 Mother {weeps violently). O Jack, Jack ! Such a wicked thing you 
 
 cannot^ Jack, have done : 
 There's nothing now to do but die. O Jack, my son, my son ! {Sinks 
 
 on floor.) 
 Jack. How could I have been such a fool to mind a word he said, 
 And my poor mother starving there, dying for want of bread. {Looks at 
 
 beans, and bites one in two.) 
 They're nothing but just beans, yes, beans. That fellow lied io me. 
 The cow was all we had — yes, I have been a fool, I see. {Throws 
 
 beans away.) 
 Lie there and rot/ But, if /live to see another day, 
 I vow I'll spend it all in work, and not one hour in play. 
 I've been an idle, wicked boy, an unkind, cruel son, 
 And for my poor old mother there not one good thing I've done. 
 
 {Goes to Mother, and bends over her : she weeps and sobs.) 
 O mother, don't cry any more ! and from this day you'll see 
 How hard I'll work, and how I'll try a real good son to be. {They both 
 
 sleep.) 
 
 {Enter Fairy Queen and Attendants.) 
 Attendant {sings). Fairy queen, what do we here? 
 
JACK AND THE BEAN-STALK. I33 
 
 Fairy Queen {sings. Music, ''Pinafore'"). Good work waits for us, 
 my dear. 
 Do you see that boy asleep ? 
 
 Attendant. Perhaps " Boy Blue," without his sheep. 
 Lovely queen, is it so } 
 
 Fairy Queen. Ah, no, no ! 'Tis idle Jack, 
 Who to work won't bend his back; 
 Spending all the livelong day 
 Either in mischief or in play. 
 
 Attendant. Is that so ! Oh, oh, oh ! 
 
 Fairy Queen. Boys and girls should never shirk 
 Doing their own share of work. 
 See this mother, sick and sad. 
 Grieving o'er this idle lad. 
 
 Attendant. Yes, we know : that is so. 
 
 Mother {sings in sleep). I may labor, I may preach ; 
 But my boy I cannot teach. 
 He would rather go and play 
 Than listen to a word I say. 
 
 Attendant. Ah ! we know : that is so. 
 
 Fairy Queen {speaks). And before he wakes again, 
 To save them both from future pain, 
 I will let this young Jack see 
 What an idle life can be. 
 His own heart to him I'll show, 
 And what a monster there does grow. 
 If we can but his conscience wake, 
 Another path the boy may take ; 
 For I'm sure this mother's lad 
 Cannot be altogether bad. 
 And idle Jack shall, if we can. 
 Be made a good, industrious man. 
 
 Mother {speaks). Ah, if my poor idle Jack 
 Would only choose another track ! 
 If these little, worthless beans, 
 To save my boy should be the means, 
 I'd be thankful even now 
 That we parted with the cow. 
 Jack, dear Jack 1 I wish you would 
 Try to be useful, Jack, and good. 
 
134 CHARADES AND PROVERBS IN ACTION. 
 
 For mine, your mother's sake, oh, try ! 
 Or else I must lie here — and die. {Sobs.) 
 
 Attendant {softly). Do not cry. We will try, 
 Ere too late, show him his fate. 
 
 Fairy Queen {waves wand). Now all is still without, within. 
 Let idle Jack his dream begin. 
 
 Guard him with downy robes, lest fell night-dews arise : 
 With charms and flowers wreath him, that sleep seal his eyes. 
 
 (Fairy Queen gives Attendants flowers. They advance to Jack ; 
 and^ while covering him with flowers^ he slips off stage unseen^ while fac- 
 simile fllls his place. All exit silently^ dancing to soft music. Bean- 
 stalk should now appear as if shooting suddenly from the ground whei'e 
 beans had been thrown. Enter Jack.) 
 Jack {yawns). Oh, dear ! oh, dear ! I cannot find a single thing to 
 
 eat! 
 I'd give, yes, all the world I would, for some good bread and meat; 
 But not a penny, no, not one, have we to buy food now. 
 Since I made such a stupid trade with our poor black-tailed cow. {Sees 
 
 bean-stalk.) 
 Why, what is that ? By Jupiter, by Saturn, and by Mars, 
 The Sun and Moon, the Milky Way, and all the inferior stars ! 
 A great green stalk {shakes it) so strong and tall ! I don't see what this 
 
 means. 
 Oh, golly ! By the great horn-spoon, it's sprung up from those beans ! 
 
 {Looks up.) 
 I really can't believe my eyes. In one night grown so high? 
 Why, I can't see the top of it: it must be near the sky. 
 I'd really like to find out where the plaguy thing does stop. 
 What fun 'twould be to climb up there, — up to the very top! 
 Oh, dear, me! I'd go twice as far for something good to eat: 
 I'd give the world, if it was mine, for some cold bread and meat. 
 I'm sure to starve if I stay here : so I may as well try 
 To find out where this bean-stalk goes as stay down here — and die, 
 Good-by, then, poor old mother dear {kisses her softly), and, if I don't 
 
 come back. 
 Don't grieve for such a worthless boy as your own lazy Jack. {Climbs 
 
 up bean-stalk.) 
 
 (Slow curtain^ 
 
JACK AND THE BEAN-STALK, 1 35 
 
 Scene II. — Jack climbing from bean-stalk; looks about in astonish' 
 mentj sees pretty country-place j breathes hard. 
 
 Jack. By Jupiter, I'm up at last ! and I don't think I'd lie 
 If I should say that pesky stalk at least was ten miles high. 
 I guess I sha'n't be sorry, though. This place {looks around) is awful 
 
 pretty, 
 A great deal better than {hesitates) — down there {points downward)^ — 
 
 down in that noisy city. 
 Oh, dear ! if I could only find any thing I could eat ! 
 I'll take a look around the place to see what luck I meet. 
 Poor mother! Oh, dear, how she cried! Ah! she was hungry too. 
 
 ( Wipes eyes.) 
 She sha'n't cry any more, though, now, if I get work to do. 
 {Enter Fairy Queen and Attendants silently). 
 
 Jupiter and Hail Columbia ! I wonder what this means. 
 Perhaps — this must be fairy-land, all sprung up from those beans; 
 Or maybe — maybe I am dead, and these are little ghosts. 
 
 I'll get away, I will: I'll hide behind some of these posts. 
 
 They're not bad looking, though, for spooks j but one can never tell 
 
 What mischief they are plotting there : so 'twill be just as well. {Tries 
 
 to hide.) 
 Fairy Queen. There, Jack, you need not try to hide : 'twould be 
 
 no use, you see ; 
 For anywhere in fairy-land you can't escape from me. 
 I've watched you for a long time. Jack : I've brought you here to-night 
 To show you what you really are, — a useless, lazy wight. 
 
 1 saw your poor old mother. Jack : I heard her moan and weep^ 
 And grieve about her idle son, yes, even in her sleep. 
 
 A cruel boy you are to her, a useless, lazy lad, 
 
 And going nearer every day, much nearer, to the bad. 
 
 Jack {trembling). Yes, thank you, ma'am! I'm much obliged! 
 You're right f Oh, I mean, ma'am, 
 I'm nothing but a lazy fraud, and that's y«j/ what I am ! 
 
 Fairy Queen. Don't interrupt me any more, for I mean you shall 
 sefe 
 What a vile monster " Idleness " in any heart can be. 
 He is 2i giant in yours, Jack ; he fills up all your life ; 
 And, if a good thought comes to you, he kills it with his knife. 
 There is but one way left now, Jack, just one^ for you to do,-— 
 To kill him : yes, indeed, you must, or else he will kill you* 
 
136 CHARADES AND PROVERBS IN ACTION, 
 
 T<vmorrow it will be too late, it must be done to-night. 
 And, though I'll help you all I can, ''\!\% you alone xk\i%\ fight. 
 
 Jack. Oh, yes, yes, ma'am, I will, I will! I'm ready now to go: 
 Just tell me where the beggar is^ only give me a show. 
 Oh, yes ! I know I'm in his power, bound down with strong chains in it 
 No matter what I have to do, I'll do it, yes, this minute. 
 I'll stop for nothing, — oh, no, ma'am, not even bread and meat! 
 This villain he shall die^ I say, before one bit I eat. 
 My mother she shall cry no more ; for I've made up my mind 
 To be a good boy. Tell me, ma'am, where shall this wretch I find ? 
 
 Fairy Queen. Ah, Jack ! I knew you'd try to be a good, or better 
 boy; 
 *Twill make your poor old mother glad ; her heart will leap with joy. 
 So now a secret I'll unfold, that no one knows but me. 
 Which, if you but prove faithful, Jack, soon all the world may see. 
 The giant in his stronghold hoards gems, jewels, silver, gold, 
 Which he has stolen from you. Jack, and has no right to hold. 
 If you are firm and brave and true, — if you will kill him. Jack, — 
 These precious treasures, all of them, to you will soon come back. 
 This is your last, your only chance, and this night you must choose ; 
 For, if he lives, much more than gold and jewels you will lose. 
 Though I must vanish from your sight, I still will linger near; 
 For none hut you can fight this fight. Vour enemy is here. 
 
 Jack {tries to detain her). Oh, please^ ma'am ! oh, I beg of you ! — oh, 
 please^ don't go away ! 
 I'll kill the biggest of them, ma'am, if you will only stay, 
 And tell me what I am to do, and whom I have to fight. 
 They're gone, and left me all alone ! I'm in a pretty plight ! 
 
 {Enter Giant and Wife.) 
 
 Oh, mercy on me ! Who is this f Is this the cruel man 
 
 That I must kill.? Oh, I'm afraid ! I'll hide me if I can. {Hides.) 
 
 Giant {loudly). Fee, faw, fo, fum ! I tell you now I know I smeL 
 fresh meat. 
 
 Wife. And that is all you care about, — just something good to eat ? 
 
 Giant. Why, that's the best thing I can do, then I can go to sleep : 
 I'd rather have a nice fat boy than any kind of sheep. 
 Oh, if I only had one now, I'll bet there'd be some fun ! 
 They make, oh, such delicious pies, so tender ! — ah, num^ num / 
 
JACK AND THE BEAN-STALK. 1 37 
 
 The idle boys and girls are mine, I catch them in my trap. {Sniffs 
 
 about.) 
 Fresh meat I smell : where can it be ? {Yawns.) 
 I think I'll take a nap. {Lays head on table, and snores.) 
 
 [Exit Wife 
 Jack {creeps out cautiously). And can it be that / am like that cruel, 
 dreadful man 1 
 I'll crush the monster '■^Idleness :'''' I'll kill him — if I can. 
 But how can /, a weak, small boy, with neither sword nor gun ? 
 He'd crush me like a little mouse, and think 'twas real good fun. 
 I wish I had a good revolver, or a large bear-trap, — 
 Something to whirl his ugly head off with a bang — and snap. 
 What shall I do ? The fairy said it " must be done to-night.^'' 
 'Tis my own idle wickedness has brought me to this plight. 
 Oh ! if the power to cleanse my heart is given now to me, 
 No more forever, from this hour, a lazy Jack I'll be. 
 
 {Enter Wife.) 
 Wife. Here, Idleness, wake up : here is your money, hen, and harp. 
 
 {Shakes him) 
 Giant {sniffs). I tell you, wife, I smell fresh meat. Why don't you 
 look round sharp ? 
 My appetite is poor to-day. If you could find a few 
 Nice well-grown boys, to make a pie, or put into a stew, 
 I think I might be tempted, wife, to eat them up : so come. 
 Look round! for I can smell fresh {rises) meat, — nice, tender boys, — 
 num, num ! 
 Wife {sees Jack). Oh, don't be foolish ! Sit down now ! See all 
 your bags of money ; 
 And, while you count it, I will go and bring some bread and honey ; 
 And then your pretty hen will lay for you a golden tgg. 
 I'll find out if there's fresh meat here; but you sit still, I beg. 
 
 \Signs to Jack, and exit. 
 Giant {sings). The king was in his counting-house, counting out his 
 money: 
 The queen was in the parlor, eating bread and honey. {Laughs boister- 
 ously.) 
 That wife of mine, I say she don^t give me enougli to eat. 
 I'll take a nap, and then {sniffs) — I'm sure, I know, I smell fresh meat 
 {SUeps,) 
 
I3S CHARADES AND PROVERBS IN ACTION. 
 
 Jack. He cares for nothing but to eat, to sleep — lives like a pig. 
 Oh ! have my little idle ways grown up so fierce, so big ? 
 Now I can see how / appear in other people's eyes. 
 O Heaven ! no more let idleness in my young heart arise, 
 But give to my hands willingness, and find them work to do, 
 And give me strength to be a man, yes, and a good man too. 
 {Enter Wife cautiously^ 
 
 Wife. Kxtyou the boy the fairy said was coming here to take 
 Me from this cruel giant here, before he is awake ? (Jack nods.) 
 We must be quick; for, if he wakes, he'd kill you with one blow. 
 And you must take his precious treasures all with you, you know. 
 You take the bags, the money. Throw them down the great bean-stalk ; 
 Then come and help me with the rest. Be quick ! Don't stop to talk ! 
 
 (Jack takes money-bags^ and throws quickly down bean-stalk j hurries 
 back, and is about to take harp.) 
 
 Giant {moves restlessly). Fee, faw, fo, fum ! Wife, wife, I know I 
 smell a tender boy. 
 Ah ! if I just could catch one now, I'd dance, yes, dance for joy. 
 
 Wife. You'd better not wake up just yet. I'm fixing up a stew 
 And a nice broil^ — the very best I ever cooked for you. 
 'Tis nearly ready. — Jack, be quick ! He'll waken soon, I know. 
 He can't sleep well when boys are here : he smells fresh meat. Now go 
 And slip that box away from him, — the one beneath his head ; 
 But, oh, don't let him catch you, Jack ! for, if he does, you're dead. 
 'Tis filled with things he stole from you ; oh, priceless treasures, Jack ! 
 Uprightness, honor, industry. Do try to get them back ; 
 For all the money, without these, will do you, Jack, no good: 
 No wealth can ever make of you what these bright jewels should. 
 You, you alone, gave him the power to keep your treasures bright : 
 If you would have them back 2iga\n,you must get {points to Giant) them 
 to-night. 
 
 (Jack goes cautiously to table, slowly slips box out from under Giant's 
 head, which bumps on table. Jack hides behind table. Wife watches 
 eagerly.) 
 
 Giant {wakes.) I tell you, wife, I smell fresh meat. Oh, I could eat 
 twelve boys ! 
 While I was snoring, didn't you hear a very curious noise ? {Looks about, 
 perceives Jack, who moves round nimbly. Giant sits still.) 
 
JACK AND THE BEAN-STALK. 1 39 
 
 Hullo, hullo ! Fresh meat, fresh meat ! I told you so, didn't I ? 
 
 Here, little boy, come let me feel if you'll do for a pie. 
 
 If I can crack your bones between my finger and my thumb, 
 
 You'll make a tender, juicy pie. D'ye hear? Why donH you come? 
 
 What are you doing with my things ? Where's my box gone, I say t 
 
 You little villain ! I'll soon stop your very pretty play. {Gets up slowly^ 
 
 Wife, wife ! where are you? Wife^ I say! I've caught some nice fresh 
 
 meat. 
 You hurry up, and make the pie. Oh, won't I have a treat ! {Chases 
 
 Jack, who dodges and eludes him till he becomes furious) 
 Jack. Say ! don't you think, old kidnapper, it would be rather wise 
 To catch your nice fresh meat before you make it into pies ? 
 We've taken all your money-bags, your jewels, silver, gold : 
 Your wife and I we're going to leave you out quite in the cold. 
 
 (Giant still pursues) 
 DotiH break its little heart, now donU. Ta-ta, my love, by by I 
 Remember me at dinner-time. I'm too fresh for a — pie. 
 
 {They chase, dodge^ and elude each other for some time; then Wife 
 takes harp, and Jack the box^ and escape to the bean-stalk. Giant 
 follows clumsily. This action should be brisk and exciting) 
 
 {Curtain) 
 
 Scene III. — Same as first. Wife, at foot of bean-stalk, holds harp^ 
 etc. Jack climbs down, with strong box clasped closely to him. 
 
 Jack {hands box to Wife). Please take the box, and hold it fast, 
 
 while I run double-quick 
 To get my axe. Then, just the moment beautiful old Nick 
 Puts his small feet upon the stalk, well, on the upper round, 
 I'll chop it here ; and then I think perhaps he'll tumble down. 
 Oh, dear, when he ran after us, how fast my heart did beat ! 
 He roaring all the time to me, "Stop, stop, you young fresh meat!" 
 
 {Fetches axe) 
 Wife {trembles and weeps). O fack ! But, if he catches us, I know 
 
 what he will do ; 
 He'll make me — oh ! I'm sure he will — into a nice lamb stew. 
 It was too bad for one so beautiful and delicate as I 
 To such a great, vile monstrous wretch my little self to tie. 
 
I40 CHARADES AND PROVERBS IN ACTION. 
 
 I loved him once, yes, long ago, before he grew so tall ; 
 But, now I know how bad he is, I don't love him at all. 
 O Jack ! I know he's coming. {Looks up.) Yes, I see both of his feet. 
 
 Giant. Ha, ha! you can't run from me now: I'll catch you yet, 
 fresh meat. 
 
 Jack. Come ! come along, old Idleness, you miserable old sinner. 
 I'll do my level best to spoil your appetite for dinner. 
 
 {Chops stalk down. Giant falls., shakes fist at Jack, and dies. They 
 look at him silently^ 
 
 How could he, thus have grown within my heart, and I not know it? 
 Wife. Because " none see themselves as others do," thus says the 
 
 poet. 
 Jack {solemnly). To idleness from this day / will yield, no, never, 
 
 NEVER ! 
 
 Wife. No more will /, I'm very sure ; no, no ! well, hardly ever. 
 Jack. But I'm in solemn earnest. Now say, shall we not both try 
 To make up for the precious time we've lost, — both you and 1 1 
 Wife. Yes, yes, dear Jack ! with all my heart ; yes, and with both my 
 
 hands. {They join hands.) 
 Both. We'll join the ranks of industry, and fulfil its demands. 
 Jack. I feel so happy ! I must run and find my dear old mother. 
 Wife. Oh ! take me to your home, dear Jack : indeed I have no 
 
 other. 
 Jack. You never more shall want a home. Through you I've gained 
 this fight : 
 For mother and for you my hands shall toil from morn till night. 
 
 [Exit. 
 (Fairy Queen and Attendants enter,) 
 Fairy Queen {sings). 
 
 Happily breaketh the golden light 
 
 Of balmy, rosy morning. 
 When through the long, dark hours of night, 
 
 Is heeded a timely warning ; 
 When in our dreams too well we see 
 What loves our hearts are holding. 
 What thoughts unholy there can be, 
 Our very lives infolding. 
 
JACK AND THE BEAN-STALK. I4I 
 
 Mother (sings sadly). 
 
 Wearily breaketh the golden light 
 
 Of balmy, rosy morning, 
 When the heart dreads, through cold, sad night, 
 
 To see the new day dawning ; 
 When in our dreams too well we feel 
 
 Our hearts within us breaking ; 
 When the night brings no love to heal, — 
 
 Nought but a bitter waking. 
 {Repeat as duet^ each singing her own verse, " Merrily," " Wearily," etc.) 
 
 Fairy Queen. Soft, soft, to young Jack's side now nimbly steal, 
 And from his warning dream his eyes unseal. 
 
 (Attendants all dance over to where Jack is supposed to be asleep; 
 and, while they uncover him, facsimile and Jack exchange places as 
 before. Jack wakens slowly. All on stage sing some lively song in 
 chorus. Jack appears bewildered^ 
 
 Jack. The fairies here / Why, where am I ? What ! can this be a 
 dream f 
 Is my name Jack.? or — Who am I ? How funny things do seem ! 
 There's just one thing that I cb know, and that is, I have been 
 A good-for-nothing vagabond — 
 
 Fairy Queen. Jack, is that what you^ve seen ? 
 
 Jack {trembles). Good-morning, ma'am ! Hope you are well. I'm 
 glad you've come again. 
 I did my level best to kill that beggar in his den. 
 
 Fairy Queen. You know me, then ? 
 
 Jack. Should think I did ! Yes, ma'am, we met last night : 
 You said that what was in my heart must die before daylight. 
 We did it, ma'am, — his wife and I. Yes, ma'am, he's very dead. 
 He tumbled down the bean-stalk, ma'am, and landed on his head. 
 O ma'am {kneels to Fairy Queen), I'm much obliged to you; and you 
 
 shall never rue it. 
 For telling me what I must do, and helping me to do it. 
 
 Fairy Queen. Rise, Jack. I knew you'd faithful prove, if you could 
 only see 
 How great a tyrant sin becomes when it gains mastery. 
 'Tis better far to crush it out while it is weak and small, 
 But better, Jack, as you have done, than never done at all. 
 
14^ CHARADES AND PROVERBS IN ACTION. 
 
 Mother {awakes). O Jack, my idle, foolish boy, we've not a bitXa eat\ 
 Your poor old mother now must starve, or beg out in the street. 
 Jack {embraces her). No, never, mother, — oh, no, no / I've seen my 
 wicked ways. 
 I'll work and comfort you, my mother, yes, yes, all your days. 
 See these kind fairies — {Points to fairies.) 
 Fairy Queen. Friends, dear Jack. 
 Jack. They showed me, mother dear, 
 Jdst what I was, and helped me fight my pathway free and clear. 
 
 {Enter Wife.) 
 And here is one whose courage filled with good thoughts my bad heart. 
 {Takes her hand.) 
 
 {Enter Butcher.) 
 
 Fairy Queen. And here, too, is another, Jack. As friend he 
 
 played a part : 
 I sent him in disguise to you, that he might be the means 
 Of opening your blind, selfish eyes by trading with his beans. 
 Butcher. That's jes so, stranger. Where abaout do yer think yer'd 
 
 be naow, 
 If yer hadn't swopped my precious beans for that ere darned old caow ? 
 / knowed jes what a fool you was. You thought I lied to you. 
 'Twan't no use wastin' gold, you see, when them 'ere beans would do. 
 But truth I told ytr, Jack, my boy: not all of Injy's mines 
 Could fetch yer half the precious wealth that in yer heart now shines. 
 
 Mother. If Idleness indeed is dead, fair Industry will come, 
 And make our wretched hovel there a peaceful, happy home. 
 
 Jack. Yes, mother, faithfully I'll work to make up — oh, lost time! 
 But do you think those little ones {points to audience) like " Jack's Bean 
 
 stalk in y?^jw<?.?'* 
 I wish I dared say just one word to every little child. 
 Shall I? {To audience) May I ? I think I will {nods inquiringly). Yes, 
 
 that chap {points to some one in audience) winked at me, and smiled. 
 You grown-up folks there must not hear, — of course not, you don't 
 
 need it : 
 'Tis only for the little ones, and they, I know, will heed it. 
 If any of you children here have just one idle way 
 That you encourage in your heart, a little more each day, 
 Don^t wait till it becomes a giant, like poor, lazy Jack, 
 But go to work this very day, — yes, now, — and break its back. 
 
jACiC AI\/D THE BEAN-STALlt. 143 
 
 There's work for every little hand, for every little heart ; 
 And every little child that's here must do its little part. 
 It may be difficult at first; but this, like every other 
 Hard task, will bring you blessings, if you really love your — mother. 
 And should old Idleness e'er come to you, donH let him talk, 
 But send for these {points to all on stage), who helped poor Jack, — 
 All. And don^t forget the stalk. (All dance and sing.) 
 
 {Slow curtain.) 
 
t44 HALLOWEkN AND OTNMR AMUSMMMnTS. 
 
 CHAPTER IX. 
 
 HALLOWEEN AND OTHER AMUSEMENTS. 
 SNAPDRAGON. 
 
 Though Halloween is really an English possession, it is 
 kept more and more by those who prefer old frolics to new ; 
 and in many Southern families there is a great bowl, used 
 for snapdragon or the christening punch, but never on any 
 less solemn occasion. The dragon is found in half a pint of 
 brandy or alcohol ; the " snap," in candied fruit, figs, raisins, 
 sugared almonds, which are thrown in after the spirit has 
 been lighted. Though there is a big bowl full of blaze, a 
 bit of fruit can be caught out without scorching the fingers, 
 provided the snap is sudden enough ; and the one who 
 secures the most desirable piece will meet her true love 
 within the year. 
 
 NUT BURNING. 
 
 Chestnuts are generally chosen, and named, either in pairs, 
 which are put side by side before the fire, or in threes, with 
 the names of possible lovers. If, in the last case, the nuts 
 fly about wildly, there is no dependence to be placed on their 
 truth or faithfulness. If the pair burn steadily and quietly, 
 the courtship will be happy, and the marriage prosperous. 
 Burns tells the story in his " All-halloween." 
 
 " The auld guidwife's weel-hoarded nits 
 Are round an' round divided. 
 An' monie lads' an' lasses' fates 
 Are there that night decided : 
 
MELTING LEAD, 1 45 
 
 Some kindle couthie, side by side, 
 
 An' burn thegither trimly ; 
 Some start awa' wi' saucy pride, 
 
 An' jump out owre the chimlie, 
 Fu' high that night." 
 
 DIVING FOR APPLES. 
 
 This is a rather rough part of the evening's games, but 
 boys find it very much to their minds. Apples are thrown 
 into a tub partly filled with water, and whoever can bring 
 one up in the mouth secures good luck for the year to come. 
 Another method is to hang the apple by a string just on a 
 level with the mouth, tie the hands behind one, and then 
 try to bite the swinging fruit. There is small doubt about 
 the good luck of whoever succeeds, for it requires persever- 
 ance enough to insure success in any thing. 
 
 THE WEDDING-RING TEST. 
 
 Each wedding-ring is held by a hair in the centre of a 
 glass tumbler. Soon it will begin to swing, till finally it 
 rings against the side of the glass ; the loudest chime being 
 the signal of the best fortune for the holder. 
 
 THE NEEDLE TEST. 
 
 A dozen or more needles are thrown into a bowl of water, 
 and names are given them. They float about, sometime^ 
 point to point, sometimes closely side by side, and now and 
 then one sinks suddenly. The pair which float longest side 
 by side are true lovers, and will not be divided. 
 
 MELTING LEAD. 
 
 In this case the lead is melted, and poured into cold water ; 
 the shapes it takes indicating what the profession of the 
 
146 HALLOWEEN AND OTHER AMUSEMENTS. 
 
 lover will be. In "We Girls" it was all prophetic, — "spears 
 and masts and stars ; and some all went to money ; and one 
 was a queer little bottle and pills ; and one was pencils and 
 artist's tubes, and — really — a little palette with a hole in 
 it." 
 
 THE LOOKING-GLASS TEST. 
 
 Two ways of trying this form have been followed, and 
 either is equally uncomfortable. In the first, the seeker 
 carries a small looking-glass, and walks backward from the 
 house to the middle of a cornfield, saying a rhyme in which 
 the word "moon" or "stars" may be used, according as 
 there is moonlight or starlight. 
 
 " Round and round, O stars so fair ! 
 Ye travel and search out everywhere. 
 I pray you, sweet stars, now show to me 
 This night who my future husband shall be." 
 
 In the second case, the maiden must take a candle and go 
 alone to a looking-glass in an empty room. There she eats 
 an apple, standing before it ; and at the end, the face of the 
 future husband will look over the shoulder. It is needless 
 to say that no better opportunity could be given to an enter- 
 prising and daring lover than this affords ; and it is also 
 needless to add, that all these games, while interesting as 
 curious old customs followed ever since the days of the 
 Druids (and some of them practised hundreds of years 
 before that era), are most of them of a rather rude type. 
 There are many not given here, many of which are described 
 in Burns's " All-halloween." Such games usually end with 
 a supper, and sometimes a dance, and have their real place 
 in an old-fashioned country-house. 
 
LITERARY ENIGMAS, 
 
 i47 
 
 LITERARY ENIGMAS. 
 
 These enigmas are to be given out one by one, either in 
 
 a small company or a home game ; the answer to each being 
 the name of some well-known English or American author. 
 
 What a rough man says to his son when he wishes 
 
 him to eat his food properly. Chaucer. 
 
 A lion's house dug in the side of a hill where there is 
 
 no water. Dryden. 
 
 A good many pilgrims and flatterers have knelt low to 
 
 kiss him. PoPE. 
 
 Makes and mends for first-class customers. Taylor. 
 
 Represents the dwellings of civilized countries. Holmes. 
 
 Is a kind of linen. Holland. 
 
 Can be worn on the head. Hood. 
 
 One name that means such fiery things 
 
 I can't describe their pains and stings. Burns. 
 
 Belongs to a monastery. Prior. 
 
 Not one of the four points of the compass, but inclin- 
 ing towards one of them. SOUTHEY. 
 
 Is what an oyster-heap is apt to be. Shelley. 
 
 Is any chain of hills containing a certain dark treasure. Coleridge. 
 
 Always youthful, you see ; 
 
 But between you and me 
 
 He never was much of a chicken. Young. 
 
 An American manufacturing town. Lowell. 
 
 Humpbacked, but not deformed. Campbell. 
 
 Is an internal pain. Akenside. 
 
 The value of a word. Wordsworth. 
 
 A ten-footer whose name begins with fifty. Longfellow. 
 
 Brighter and smarter than the other one. Whittier. 
 
143 
 
 HALLOWEEN A/^D OTHER AMUSEMENTS. 
 
 A worker in the precious metals. 
 
 A very vital part of the body. 
 
 A lady's garment. 
 
 Small talk, and heavy weight. 
 
 A prefix, and a disease. 
 
 Comes from an unlearned pig. 
 
 A disagreeable fellow to have on one's foot. 
 
 A sick place of worship. 
 
 A mean dog 'tis. 
 
 An official dreaded by the students of English 
 
 universities. 
 
 His middle name is suggestive of an 
 
 Indian or a Hottentot. Walter 
 
 A manufactured metal. 
 
 A game, and a male of the human species. 
 
 An answer to, Which is the greater poet, — William 
 Shakspeare, or Martin F. Tupper? 
 
 Meat, what are you doing ? 
 
 Is very fast indeed. 
 
 A barrier built of an edible. 
 
 To agitate a weapon. 
 
 Red as an apple, black as the night, 
 A heavenly sign, or a perfect fright 
 
 A domestic worker. 
 
 A slang exclamation. 
 
 Pack away closely, never scatter, 
 And doing so you'll soon get at her. 
 
 A young domestic animal. 
 
 One who is more than a sandy shore. 
 
 Goldsmith 
 
 Hart. 
 
 Spenser. 
 
 Chatterton. 
 
 De Quincey. 
 
 Bacon. 
 
 BUNYAN. 
 
 Churchill. 
 Curtis. 
 
 Proctor. 
 
 Savage Landor. 
 
 Steele. 
 
 Tennyson. 
 
 Willis. 
 
 Browning. 
 
 Swift. 
 
 Cornwall. 
 
 Shakspeare. 
 
 Crabbe. 
 
 Butler. 
 
 Dickens. 
 
 Stowe. 
 
 Lamb. 
 
 Beech er 
 
LITERARY ENIGMAS. 
 
 149 
 
 A fraction in American currency, and the prevailing 
 
 fashion. Milton. 
 
 Mamma is in perfect health, my child, 
 
 And thus he named a poet mild. Motherwell. 
 
 A girl's name, and a male relation. Emerson. 
 
 Take a heavy field-gun, nothing loath, 
 
 And in a trice you'll find them both. HowiTTS, SIR. 
 
 Put an edible grain 'twixt an ant and a bee, 
 
 And a much beloved poet you'll speedily see. Bryant 
 
 A common domestic animal, and what she cannot do. Cowper 
 
 Each human head, in time, 'tis said, 
 
 Will turn to him, though he is dead. Gray. 
 
 Found in the kitchen. Cooke. 
 
 The witches' salutation to Macbeth. Hale. 
 
 Grows upon a marshy bank. Reade. 
 
 Leads a religious order. Abbott. 
 
 The reigning monarch of the South. Cotton. 
 
 An obstinate animal, and a protection against burglars. Muloch. 
 
 The delight of an Englishman's heart. Hunt. 
 
 Never melancholy. Gay, 
 
 Oliver Twist's importunate demand. More. 
 
 or 
 
 Reminds one of Othello. Moore. 
 
 What a good man did in his trouble. Praed. 
 
 A silvery stream in a sylvan dell, 
 
 Where golden treasures often dwell. Brooke. 
 
 I do it for information, 
 
 I do it for recreation, 
 
 It can music awaken. 
 
 But is easily shaken. Reads 
 
I50 HALLOWEEN AND OTHER AMUSEMENTS. 
 
 Thousands by me have met their death ; 
 
 All Nature withers at my breath. Frost 
 
 The knights of old my protection sought 
 
 When in battle or tourney they gallantly fought Shields. 
 
Part Second. 
 OUTDOOR GAMES, 
 
 CHAPTER I. 
 
 LAWN TENNIS AND ITS LAWS. 
 
 This deservedly popular game is not of mushroom growth, 
 but is rather antiquated ; as it can be traced to the introduc- 
 tion of tennis into England, by certain " persons of superior 
 rank," in the sixth year of the reign of Henry III., or about 
 1222, as an amusement well befitting the tastes and inclina- 
 tions of the nobility, in the performance of which they could 
 exercise a commendable zeal, as also their whole physique. 
 Tennis undoubtedly came from France, where it had been 
 played many years prior to its introduction among the 
 worthy sports of our English ancestry. There are not a 
 few, however, who most tenaciously hold, that, in some 
 modified form, it existed among the sports of Rome as far 
 back as the time of Nero. The name is in all probability a 
 derivative from Tennois, a place in France, in the district of 
 Champagne, which, by a perversion of the first letter, is now 
 written Sennois, where balls were manufactured, and, it is 
 claimed, the game first introduced. 
 
 As played in that ancient day, ornamental and in some 
 cases very elaborate and expensive courts were constructed, 
 usually 96 or 97 feet long by 33 or 34 feet wide, provided 
 
 151 
 
152 LAWN TENNIS AND ITS LAWS. 
 
 with a net hung across the middle, parallel to the shorter 
 sides of the parallelogram, over which the ball must be 
 struck to make any stroke good. This net divided the 
 court into two sides, known respectively as the service side 
 and hazard side. There were some marked features of this 
 game, from which the play as we at present have it has been 
 a severe divergence. 
 
 The essentials to a thorough enjoyment of this game are 
 not so many, but the few should be carefully selected. 
 
 Those who share in the game should possess themselves 
 with a large stock of good nature and untiring zeal. Nothing 
 so effectually mars the pleasure of an afternoon's sport as a 
 momentary burst of ill-directed temper. Disappointments 
 and failures should work a renewed determination to excel, 
 rather than lead to sulks and disheartenment. The latter 
 unfortunate disposition in one is sure to mar the enjoyment 
 for the remaining associates. 
 
 A lawn, as is indicated by the name, is the first essential 
 to pleasurable play. This should have its grass well 
 clipped, and the turf evenly rolled. The courts should be 
 laid off rectangularly, as indicated in the diagram. Experi- 
 ence has taught that it is best to get up the game with a 
 reference to the direction of the wind, the net (A B, see 
 diagram, p. 153) being set at right angles to it. Thus will 
 be avoided in great measure the tendency of the air-currents 
 to carry the balls off or beyond the bounds, and the play 
 will be then against or with the wind. In either case, its 
 influence can be more accurately calculated. 
 
 The lines of boundary and division should be indicated 
 upon the greensward by means of whitewash carefully laid 
 on with brush and string. The larger or double-handed 
 court should be 78 feet long by a width of 36 feet inside 
 measurement ; and the smaller or single-handed court, 78 by 
 
LAWN TENNIS AND ITS LAWS. 
 
 53 
 
 27 feet inside measurement. As in the old game of tennis, 
 so in this, the court is divided across the middle, and at right 
 angles to its greatest length, by a net (A B) so stretched 
 and fastened to and by two posts (A and B) standing 3 feet 
 outside of the side-lines F H and G J, that the height of the 
 net at each post for the 
 
 double-handed or larger f 27ezob E 3 6ft. G 
 court is 4 feet, and in 
 the middle, over the 
 half-court line at C, 3 
 feet 6 inches ; and, for 
 the single - handed or 
 smaller court, 4 feet 9 
 inches at the posts, and 
 3 feet in the middle, 
 
 over the half-court line. *r I 1^' I -j 
 
 These divisions are 
 termed courts, and are 
 subdivided into half- 
 courts by a line (D E) 
 midway between the 
 side-lines, and running 
 parallel with the great- 
 est length, which is 
 known as the half-court 
 line. The four result- Fig. 38. 
 
 ing half-courts are re- 
 spectively divided by a line on each side of the net (K M 
 and N P) parallel to, and 22 feet from it. These two lines, 
 called service-lines, it may be observed, will then be 17 feet 
 inside of the lines of boundary for the short sides (F G and 
 H J) known as base-lines. 
 The implements comprise net, posts, cordage, balls, and 
 
 
 K5 
 
 
 
 
 k 
 
 
 
 
 fe 
 
 
 
 K 
 
 
 L 
 
 M 
 
 
 t^ 
 
 
 
 
 u. 
 
 
 
 
 evj 
 
 
 
 A>- 
 
 «Vl 
 
 c 
 
 ^^ 
 
 "x'^ 
 n 
 
 K 
 
 
 
 k 
 
 CM 
 
 
 k. 
 
 s 
 
 CM 
 
 
 S 
 
 N 
 
 
 
 
 P 
 
 
 M 
 
 
 
 
 u. 
 
 
 
 
 s 
 
 
 
 
 >« 
 
 
 
 D J 
 
 ■Plan of Ground. 
 
154 LAWN TENNIS AND ITS LAWS. 
 
 rackets. The most substantial of these will be found to give 
 the greatest satisfaction. Any one with a medium amount 
 of ingenuity can make a net, for which a careful choice 
 should be made of the cord, that strength, and lightness of 
 weight, may be secured, thus enabling a better drawing of 
 the net to have it taut. The posts will be more rigid, and 
 appear with better grace, if turned without a joint in their 
 middle ; but if, for convenience in packing, it is desirable to 
 have the joint, care should be taken to have it so adjusted, 
 that when set it will be straight, and not, as too many, alas ! 
 are, with so great a " kink " as to look more like the hind-leg 
 of a dog than the thing of beauty it should be. 
 
 The standard ball is hollow, made of India-rubber, and 
 covered with white cloth. In size it must be at least 2K, 
 though not more than 2>^, inches in diameter, and of weight 
 not less than 1% or more than 2 ounces. 
 
 The rackets are mostly of foreign manufacture, and usually 
 of the style in the diagram. An excellent racket, however, is 
 now made in Philadelphia, and in use, with great acceptance, 
 at Yale. They are made with a frame of elastic wood, with 
 a webbing, nicely wrought, of catgut. The individual player 
 exercises preference in this instrument, as no restriction is 
 imposed as to their size or shape. 
 
 The players should be divested, so far as practicable, of 
 such clothing as would impede a free and rapid movement of 
 the muscles, especially those of the limbs. Greater security 
 of person, and accuracy of movement, will be attained if the 
 feet be shod with almost any of the many devices for this 
 purpose. The shoe should be of a pliant material (a soft 
 canvas is found substantial), soled with corrugated rubber 
 for the ladies, and spiked for the gentlemen, nearly or 
 entirely without heel. 
 
 Thus equipped, the game may be begun, after the choice 
 
LAWN TENNIS AND ITS LAWS. 1 55 
 
 or arrangement of the sides. The choice of sides, and the 
 right of serving during the game, is usually decided by toss, 
 with the proviso, that, if the winner of the toss choose the 
 right to serve, the other player shall have the choice of sides, 
 and vice versa. 
 
 There are double-handed, three-handed, and four-handed 
 games, each having some variations peculiar to itself. 
 
 In the double-handed game the players should stand on 
 opposite sides of the net. The player who first delivers the 
 ball is called the server; and the other, the striker-out. The 
 first game having been played, these interchange : the server 
 becomes striker-out, and the striker-out becomes server ; and 
 so alternately in subsequent games of the set. 
 
 The server usually announces the intention to serve by 
 the interrogatory, " Ready .? " If answered affirmatively, the 
 service is made (the server standing with one foot outside 
 the base-line), and from any part of the base-line of the right 
 and left courts alternately, beginning with the right. 
 
 The ball so served is required to drop within the service- 
 line, half-court line, and side-line of the court which is 
 diagonally opposite to that from which it was served (see 
 diagram), where the service from base-line D J must fall, to 
 be a service, within the lines A K, K L, L C. 
 
 If the ball served {a) drops on or beyond the service-line, 
 or ip) if it drops in the net, or {c) if it drops out of the court 
 or on any of the lines which bound it, or {d) if it drops in 
 the wrong court, or (e) if, in attempting to serve, the server 
 fails to strike the ball, it is a fault. A fault cannot be taken, 
 but the ball shall be served a second time from the same 
 court from which the fault was served. 
 
 Though the service is made, if the striker-out is not ready, 
 the service shall be repeated, unless an attempt is made 
 to return the service on the part of the striker-out \ which 
 
156 LAWN TENNIS AND ITS LAWS. 
 
 action shall be construed to be equivalent to having been 
 ready. No service is allowed to be volleyed ; that is, the 
 striker-out is not allowed to return a service while the ball is 
 "on the fly," or before a bounce. If such a return of service 
 is made, it counts a stroke for the server. 
 
 To return a service properly, and have the ball in play, 
 the ball is to be played back over the net or between the 
 posts before it has touched the ground a second time, or 
 while on the first bounce, and is subject to no bounds other 
 than the side and base lines of the court. After the ball is 
 in play, it may be struck while "on the fly;" but policy would 
 dictate a bounce to determine whether or not it has been 
 played beyond the boundaries of the court, — A H, H J, and 
 J B, for one side of the net, or A F, F G, and G B, for the 
 other side. Balls served or in play may touch the net, and 
 be a good service or return. If it touches the top cord, it is 
 termed a let^ a lifct or a net ball, and need not be played if 
 it drops just inside the net on the striker-out side, but must 
 be served again. Should it fall on the service side, or in 
 the wrong court on the striker-out side, or out of bounds, 
 it counts a fault. If, however, it falls so as to be a good 
 return in any stage of the game other than service, it must 
 be played as a good ball. 
 
 In play {a) if the striker-out volleys the service, or {b) fails 
 to return the service or the ball in play, or {c) returns the 
 service or the ball in play so that it drops, untouched by the 
 server, on or outside any of the lines which bound the court, 
 or {d) if the striker-out otherwise loses a stroke, as we will 
 find presently when we consider the conditions common to 
 both server and striker-out, the server wins a stroke. 
 
 In the handling of the racket, great dexterity may be 
 attained by careful study and practice. By experiment you 
 will soon become adept in the twist-ball, which forms a 
 
LAtVN TENNIS AND ITS LAWS. 1 57 
 
 feature in this game few utilize to a material advantage. 
 The uncertainty of its bounces is calculated to outwit the 
 most adroit. 
 
 Since, under certain conditions of failure on the part of 
 the striker-out, the advantage in count of a stroke inures to 
 the server, so, too, the striker-out reaps a harvest {a) if the 
 server serves two consecutive faults, or {b) if the server fails 
 to return the ball in play, or if) if the server returns the ball 
 in play so that it drops, untouched by the striker-out, on 
 or outside any of the lines which bound the court, or {d) if 
 the server loses a stroke under conditions common to both 
 server and striker-out ; in any of which cases the striker-out 
 wins a stroke. 
 
 There are conditions under which each player loses a 
 stroke, as follows : viz., {a) if the service-ball, or ball in play, 
 touches the player, or any thing worn or carried by him, 
 except the racket in the act of striking ; or {b) if the player 
 strikes or touches the service-ball, or ball in play, with the 
 racket more than once ; or {c) if in returning the service-ball, 
 or ball in play, the player touches the net with any part of 
 the body, or with the racket, or with any thing that is worn 
 or carried, or if the ball touches either of the posts ; or (d) 
 if the player strikes the ball before it has passed the net ; or 
 {e) if the service-ball, or ball in play, drops or falls upon a ball 
 lying in either of the players' courts. So much for the con- 
 ditions under which the players, either server or striker-out, 
 win or lose a stroke. And now let us see if we can find out 
 what are the peculiarities of scoring. 
 
 There are two distinct systems upon which the record is 
 made, each of which has its adherents. Both should be 
 understood ; and, the more thoroughly familiarized the player 
 becomes with each, the more at ease will he be, under what- 
 ever circumstances of count he may be placed. 
 
158 LAWN TENNIS AND ITS LAIVS. 
 
 The first plan is as follows : the first stroke won counts 
 for the player winning a score of 15 ; the second stroke won 
 by same player counts for that player an additional score of 
 15, making a total of 30; the third stroke won counts for 
 him an additional 10, making the score 40. Unless there is 
 a tie at 40, the fourth stroke won by that player entitles 
 him to score game. 
 
 If, however, both players have won three strokes, the 
 score is called deuce^ and the next stroke won by either 
 player is scored advantage for that player. The term advan- 
 tage simply means that the player has a tie and one stroke 
 advantage. If the same player wins the next stroke, he 
 wins the game ; if he loses the next stroke, the score is 
 again called deuce ; and so on until at the score of deuce 
 either player wins two consecutive strokes, when the game 
 is scored for that player. Six games constitute a set ; and 
 the player who first wins them wins the set, — unless in 
 case both players win five games, when the score is called 
 games-ally and the next game won by either player is scored 
 advantage-game for that player. If the same player wins 
 the next game, he wins the set: if he loses the next game, 
 the score is again called games-all ; and so on until at the 
 score of games-all either player wins two consecutive games, 
 when he wins the set. An exception to this is where an 
 agreement is entered into not to play advantage-set, but to 
 decide the set by one game after arriving at the score of 
 games-all. In this mode of scoring, both the server and the 
 striker-out are entitled to count, while in the alternative 
 method it is different. 
 
 An alternative method of scoring is as follows, in which 
 the term hand-in is substituted for server, and hand-out for 
 striker-out. In this system the hand-in alone is able to score. 
 If he loses a stroke, he becomes hand-out, and his opponent 
 
LAIVN TENNIS AND ITS LAWS. 1 59 
 
 becomes hand-in^ and serves in his turn. Fifteen points won 
 constitute the game. 
 
 If both players have won 14 points, the game is set to 3, 
 and the score called love-all. The hand-in continues to 
 serve, and the player who first scores 3 points wins the 
 game. 
 
 In the three-handed or four-handed games of this mode of 
 scoring, only one partner of that side which is hand-in shall 
 serve at the beginning of each game. If he or his partner 
 loses a stroke, the other side shall be hand-in. During the 
 remainder of the game, when the first hand-in has been put 
 out, his partner shall serve, beginning from the court from 
 which the last service was not delivered ; and, when both 
 partners have been put out, then the other side shall be 
 hand-in. 
 
 The hand-in shall deliver the service in accordance with 
 the restrictions mentioned for the server; and the opponents 
 shall receive the service alternately, each keeping the court 
 which he originally occupied. In all subsequent strokes the 
 ball may be returned by either partner on each side. The 
 privilege of being hand-in two or more successive times may 
 be given. 
 
 What has been said of double-handed games applies 
 equally well to the three-handed and four-handed games, 
 except {a) in the three-handed game the single player shall 
 serve in every alternate game, {b) in the four-handed game 
 the pair who have the right to serve in the first game may 
 decide which partner shall do so, and the opposing pair may 
 decide similarly for the second game. The partner of the 
 player who served in the first game shall serve in the third, 
 and the partner of the player who served in the second game 
 shall serve in the fourth, and so on, in the same order, in all 
 the subsequent games of a set or series of sets, if) The 
 
l60 LAWN TENNIS AND ITS LAWS. 
 
 players shall take the service alternately throughout each 
 game ; no player shall receive or return a service delivered 
 to his partner; and the order of service and striking-out, 
 once arranged, shall not be altered, nor shall the strikers- 
 out change courts to receive the service before the end of 
 the set. 
 
 The players change sides at the end of every set. When 
 a series of sets is played, the player who was server in the 
 last game of one set shall be striker-out in the first game of 
 the next. 
 
 Experience at play works so greatly to the advantage of a 
 player, various modes of equalizing the parties are in vogue 
 where those of much less experience become participants. 
 Allowances for this purpose are termed odds. 
 
 A bisque is one stroke, which may be claimed by the 
 receiver of the odds at any time during a set, except {a) a 
 bisque may not be taken after the service has been delivered, 
 (b) the server may not take a bisque after a fault, but the 
 striker-out may do so. One or more bisques may be given 
 in augmentation or diminution of other odds. 
 
 Half-fifteen is one stroke given at the beginning of the 
 second and every subsequent alternate game of a set. 
 
 Fifteen is one stroke given at the beginning of every game 
 of a set. 
 
 Half -thirty is one stroke given at the beginning of the 
 first game, two strokes at the beginning of the second game, 
 and so on alternately in all the subsequent games of a set. 
 
 Thirty is two strokes given at the beginning of every 
 game of a set. 
 
 Halfforty is two strokes given at the beginning of the 
 first game, three strokes at the beginning of the second, and 
 so on alternately in all the subsequent games of a set. 
 
 Forty is three strokes given at the beginning of every 
 game of a set. 
 
THE ART AND SKILL OF LAWN TENNIS. l6l 
 
 Half-court. The players having agreed into which court 
 the giver of the odds of half-court shall play, the latter loses 
 a stroke if the ball returned by him drops outside any of the 
 lines which bound that court. 
 
 Still another device is to stretch a cord between the posts, 
 at a height of seven feet or any other agreed height ; and 
 the giver of odds shall play every ball over the cord, or lose 
 a stroke. 
 
 If the game is to be umpired, there should be one for each 
 side of the net, who shall call " Play " at the beginning of a 
 game, enforce the rules, and be sole judge of fair and unfair 
 play, each on his respective side of the net. 
 
 It has been usual to discountenance every thing like a 
 wager in the game of lawn tennis ; and it is to be hoped that 
 it will be a long time before any such practice shall attach 
 to this pastime, at least in such measure as to mar it. 
 
 The former side nets or wings were found an obstruction, 
 and have accordingly been dispensed with in the game as at 
 present arranged. 
 
 The exercise required to enjoy the game should not and 
 need not be in any way of an exhausting nature, and affords 
 a training in graceful and charming movements. If the 
 ground be dry, this recreation may be continued far into 
 the winter, and will be found quite pleasurable. 
 
 THE ART AND SKILL OF LAWN TENNIS. 
 
 BY A MEMBER OF PRINCE'S CLUB, LONDON. 
 
 Lawn tennis, when it was first introduced, was a mere pas- 
 time, involving little more skill than battledoor and shuttle- 
 cock. None of the science exhibited in cricket, croquet, or 
 billiards, was required. The game has, however, progressed 
 
1 62 lAPVA' TEI^ms AISTD ITS LAtVS. 
 
 rapidly. Every succeeding tournament at Wimbledon has 
 witnessed the introduction of some new play, until the 
 game promises to become more scientific than any of its 
 predecessors. The previous chapter, taken from " Harper's 
 Bazar," No. 44, vol. xiii., contains a full description of the 
 rules and details of the game and a drawing of the court. 
 Some slight alterations have been made in the service-courts 
 and in the rules, to which we shall refer ; but in all other 
 points the description there given holds good. It is now 
 proposed to supplement our former article by some practi- 
 cal observations on the science and skill of the game as now 
 played; the object being twofold, — first, to assist begin- 
 ners to adopt the best form and style ; and, second, to enable 
 our readers to thoroughly appreciate the beauty of the game 
 when they participate in it as spectators only. 
 
 Holding the Racket. — For ordinary play, the racket 
 should be held short, in fact, close up to the body. It 
 should be grasped vigorously ; the muscles of the wrist and 
 fingers being firm, not limp. Many a miss is made from 
 this cause. For instance, when taking a volley, or swift 
 ball, the racket is knocked back in the hand, or partially 
 turned, the ball expends its force without rebound, and the 
 force of the stroke is lost, causing the ball to drop into 
 the net. With a firm grip, much less force need be put 
 into the blow from the shoulder. 
 
 The Serve. — There are three serves, — the high serve, 
 the overhand serve, and the underhand serve. The high 
 serve is made at the full stretch of the arm over the head. 
 Sometimes the ball is thrown up, and struck as it descends. 
 The difficulty in that case is to throw it up perpendicularly. 
 Beginners who want to adopt this play should practise toss- 
 ing the ball up until they can do so with perfect accuracy. 
 It should fall in a line with the striker's right arm. The 
 
Ttik Akt AND SKILL OP LAWN TENNIS. 1 63 
 
 overhand serve is made with the racket held above the 
 wrist. The ball is held in the left hand, about level with 
 the shoulder, and dropped on to the face of the racket in the 
 act ot striking. If the ball be struck with the racket 
 slanted to about thirty degrees, and very hard, it will give 
 two motions to the ball, — a forward movement and a rota- 
 tory motion, thus : — 
 
 Fig. 39. 
 
 This is called putting cut on the ball, and is a very puzzling 
 play to a beginner. The ball, on falling, will rise abruptly, 
 instead of following the normal angle. (See line a a a, Fig. 
 39, representing a cut service.) The overhand service, if 
 served with the racket face perpendicular, or nearly so, im- 
 parts a twist to the ball ; so that as it pitches it will twist 
 away to the adversary's right hand. (See Fig. 40. Line aaa 
 represents an overhand serve.) An underhand serve is played 
 by turning the body of the racket downward. Some players 
 stoop, and serve as near the ground as they can. If this 
 stroke be neatly played, it will give a left-hand twist to the 
 ball. (See Fig. 40, line <^ /^ ^.) 
 
 The server mav stand an v where on the base-line. If he 
 serves from K (see Fig. 40), he can send an oblique ball with 
 an outward twist — very difficult to return; if from / (see 
 Fig. 40), the line will be more longitudinal to the court ; but 
 fwift serves are safer from this point, as less likely to pitch 
 
i64 
 
 LAPVN TENNIS AND ITS LAWS. 
 
 W Bxss.nvn 
 
THE ART AND SKILL OF LAWN TENNIS. 1 65 
 
 out of court. Some players, however, prefer K. In Fig. 40 
 the footmarks denote the position of players' feet when 
 serving or taking. 
 
 The Take and the Return. — When a ball is served, 
 the striker-out should stand in the opposite corresponding 
 court. If the serves are slow, B and G (Fig. 40) are the 
 places; if swift, /^and H. It requires great skill to judge 
 where a ball will pitch, and how it will bound : nothing but 
 practice will give it. It is a subtle sense of twist and 
 momentum, which cannot be explained. Watch for an over- 
 hand or underhand serve, and proceed accordingly. If an 
 overhand twist, it will be to your right ; an underhand, to 
 your left. When taking a ball, recollect that the right 
 moment to do so is when it has pitched, bounded, and, hav- 
 ing exhausted its momentum, is about to fall, thus : — 
 
 Fig. 41. 
 
 The ball will leave the racket at an angle equal to that of the 
 incidence ; so that, instead of returning close to the net, you 
 will lob the ball up in the air. If you take at the point r, 
 the ball, having lost its momentum, will follow exactly the 
 line of your stroke, c D. 
 
 In order to take the ball well, you should be abreast of it : 
 it should be between you and the side-liue of the court, at a 
 right angle. Then, with the left foot forward, and the right 
 foot back, swing the shoulder well round, taking plenty of 
 time to the stroke. More mistakes are made by being too 
 
1 66 LAWN TENNIS AND ITS LAWS, 
 
 soon than too late. In fact, whenever you can, let your 
 racket hover (be it only the millionth part of a second) be- 
 fore you strike. There will then be no force in the stroke, 
 save that intended for the ball. If you have to run forward 
 for a ball, recollect to deduct the force of the run from the 
 force of the stroke : otherwise you will strike out of court. 
 The blow you give should be as much as possible from the 
 shoulder ; and you will find, if you try, that you can graduate 
 the force of a stroke so given with much more delicacy than 
 that of one from the wrist. 
 
 All the strokes played at tennis may be resolved into the 
 following : — 
 
 1. The fore overhand. 
 
 2. The fore underhand. 
 
 3. The high stroke. 
 
 4. The back overhand. 
 
 5. The back underhand. 
 
 6. Forward play, overhand. 
 
 7. Forward play, underhand. 
 
 8. Back stroke. 
 
 I. The Fore Overhand Stroke. — Hold the racket short 
 and firm, as in the overhand serve, and incline the face 
 slightly, about ten degrees, to the ball, as in Fig. 42. This 
 will give a slight twist, and tend to keep the ball from 
 going beyond the base-line, as whatever force is given to the 
 twist is deducted from the momentum. This is the most 
 useful way of taking a ball, and the other strokes should 
 only be adopted when this cannot be employed. When 
 you see the ball in the air, endeavor to place yourself so 
 that it shall pass you about eighteen inches off to your right, 
 and strike it as it passes you. The racket should take the 
 ball well in the centre of the gut. If it strike the wood, it 
 will most likely score against you. 
 
THE ART AND SKILL OF LA WN TENNIS. 
 
 167 
 
 2. The Fore Underhand Stroke is most used for taking 
 half-volleys, swift serves, or returns. The racket should be 
 held about one-third down the handle. The longer the 
 racket is held, the greater the leverage of the force of 
 the ball ; so that more swing should be given to this stroke. 
 
 3. The High Stroke. — This stroke is used where the ball 
 passes over the striker's head. Hold the racket long, and 
 remember to turn its face partly upward : if not, the angle 
 of incidence will carry the ball into the net. Many points 
 are lost in this way. 
 
 4. Back Overhand. — A difficult but useful stroke, often 
 requisite in taking a twist. Place the right foot forward, 
 left foot back, and hold the racket about half handle, as in 
 Fig- 43. 
 
 FlC 41. — FORB OVERHANP StrokR. 
 
 Fig, 43. — Back Overhand Strok* 
 
i68 
 
 LAWN TENNIS AND ITS LAWS. 
 
 5. Back Underhand Stroke. — Posture of feet, — right for- 
 ward, left back. Hold the racket long. In both these 
 strokes the body should be slightly turned in the act of 
 striking, so as to throw its whole 
 weight into the blow. The difficulty 
 is not so much in making them as 
 in getting into the right position in 
 time. For this purpose it is well to 
 practise numbers 4, 5, 6, 7, and 8; 
 getting some one to serve or pitch 
 the ball to you, so as to play these 
 strokes over and over again till they 
 can be played perfectly. By this 
 means the player is not clumsy when 
 the stroke has to be played in the 
 game. As none of these occur fre- 
 quently in games, they are not learned 
 by beginners, hence many a lost score. 
 6, 7. Forward Play y Overhand and 
 Underhand. — These, also, are useful 
 strokes when a ball twists unexpect- 
 
 FiG. 44. -Forward Plav, Over- g^Jy ^-q ^^C left, SO aS tO COme Straight 
 
 at the Striker. For the overhand, hold 
 the racket short, and, for the underhand, long, as in Fig. 45. 
 
 8. Back Stroke. — This is a very difficult stroke, and when 
 well played commands great applause. Sometimes a ball 
 twists so suddenly and unexpectedly that the player has no 
 time to change over for a back-handed stroke. In that case, 
 pass the racket behind the back, and take the ball, as in 
 Fig. 46. 
 
 Some players, instead of playing the back stroke or back- 
 handed, change the racket to the left hand. Left-handed 
 persons can do this with advantage. 
 
THE ART AND SKILL OF LAWN TENNIS. 
 
 169 
 
 After each stroke, the player should get back to the cen- 
 tre of his court, say about two feet behind the service-line, 
 unless he finds his opponent driving swift returns ; in which 
 case he should get back to the base-line. 
 
 Volleys and Half-volleys. — So far we have dealt with 
 strokes which take the ball on the bound. The volley is 
 where it is struck before the pitch. In volleying, the racket 
 should be held short, and the most general stroke is the for- 
 ward play overhand. A movement of three or four inches 
 with the racket is enough ; because the ball, coming full on, 
 possesses its own momentum, which is returned plus the 
 force of the stroke. The great art in volleying is to cut the 
 ball down. If you strike upward, it is sure to go out of court. 
 There are two styles of volley play, — volleying at the net 
 
 Fig. 45. — Forward Plav, Underhand. 
 
 Fig. 46. — Back Stroki. 
 
170 LAWN TENNIS AND ITS LAIVS. 
 
 and on the service-line. At the net is the easiest and yet the 
 most hazardous. It is rarely adopted by good players in two- 
 handed games, because the answer to it is so simple. It is 
 only to lob the ball up over the player's head ; in which case 
 it is almost impossible for him to get back to it. If, how- 
 ever, a cut, serve, or return is played up wind, and seems to 
 hang and fall very near the net, a smart player may reach it, 
 while still in the air, from the service-line, and cut it down 
 into the adversary's court. 
 
 The best place to cut such a ball down is either in a place 
 distant from where the adversary is standing, or exactly at 
 his feet. No return is so perplexing to play as one that 
 comes dead on the player's feet. It can be neither volleyed 
 nor played, but must be half-volleyed. The half- volley is 
 playing the ball near the ground when it is just pitching, or 
 has just bounded. It is not improperly called the stroke o{ 
 despair, and should never be played when any other stroke 
 is feasible. 
 
 Volleying from the service-line is the great art of the 
 game, combined with placing. It returns the ball so swiftly, 
 that the adversary has no time to pose himself for the stroke 
 If it is out of reach of the spot where he happens to stand, 
 it is all over with him. Most volleys at the service-lint, 
 have to be played forward play, underhand, as the ball i*- 
 beginning to drop. 
 
 Placing. — This is the strong rdle in tennis. It consists 
 in playing the ball where the adversary cannot take it, or 
 tiring him out by keeping him on the run till he misses. 
 Let us explain this from the non-server point of view. The 
 first serve is always from the right hand to the opposite- 
 right-hand court. The striker-out takes it, and returns inta 
 the left court, close to the net. This gives the adversary a 
 quick run to take it, and leaves him on the left line of the 
 
THE ART AND SKILL OF LAWN TENNIS. I /I 
 
 court. The non-server will then try and drive the ball to 
 the base-line, close to the right corner, and so keep his 
 adversary running backward and forward till he misses. 
 The more you give him to do with the difficulty of taking 
 his own balls, the less he will be able to think how to puzzle 
 you. 
 
 Forward and Back Play. — We shall have to speak 
 more of this when dealing with four-handed games ; but for 
 single-handed games, forward play, though it appears more 
 brilliant, and wins more applause, is in reality more hazard- 
 ous. By all ordinary players, games are more generally won 
 off an opponent's dekults than by clever strokes. Besides, 
 long rallies are more interesting and better exercise than 
 scores of one or two strokes on either side. The safest play 
 is well back, and drive as near your adversary's base-line as 
 you can without going out of court. 
 
 Four-handed Games. — On a reference to the plan of the 
 court given on p. 164, the reader will observe the dotted lines. 
 These represent the space added to the court for a four- 
 handed game. The serves, however, must be in the courts 
 as laid for a single-handed game. The service-line, it may 
 be observed, has been brought one foot nearer the net than 
 is sometimes done. This has been done to prevent swift 
 high serving from carrying every thing before it. 
 
 In four-handed games a great deal depends on the skill 
 with which partners supplement one another's play. It is 
 best for the non-serving partner to " stand up " nearer the 
 net in the other half of the court, but not too near, say, 
 about the service-line. In the right-hand half he should 
 stand near the half-court line, and, in the left-hand, near 
 the left line, so as to play a four-handed game as much as 
 possible. He should not try to volley every ball. In fact, 
 whenever a ball comes neatly over, pitching near the service- 
 line, he should leave it to his partner in the rear. 
 
1/2 LAWN TENNIS AND ITS LAWS. 
 
 When the partners are strikers-out, the position will 
 depend more on the nature of the serves. Swift serves 
 bring swift returns, and tend to keep all parties busy near 
 the base-line. Slow serves provoke lobs and slow returns, 
 and bring the players nearer together. It is better for one 
 player to be forward and the other back, as then they do not 
 interfere with one another. In such a case it is better for 
 the back player to cry out to his partner when he sees he 
 can best take a ball, as, "I've got it," or "Leave." The 
 back player should always support his partner, and be ready 
 to take a ball missed by him, especially in twisting balls. 
 Partners in tennis, as in business, are one in the eye of the 
 law. If one touches the ball, the other cannot take it. If 
 either strikes at a ball which falls out of court, it counts 
 against the side. 
 
 The two players should divide the play between them 
 somewhat in this fashion : the one standing up should 
 endeavor to puzzle the adversaries, while the back player 
 should give his attention chiefly to returning the balls. 
 Two inferior players, accustomed to play together, will often 
 beat superior opponents by the unity of their action. 
 (Memorandum. — The forward player should leave every 
 stroke his partner can play, and should only strike when he 
 sees he can do so effectually, or when the ball would not 
 reach his partner.) 
 
 There are one or two questions constantly arising in 
 tennis which it may be as well to answer here. 
 
 1. If a ball touches the net in passing over, and falls in 
 the right side, does it count "^ Answer. — Yes, except in a 
 serve. In that case, it is a '' let," and is not reckoned as 
 a fault. 
 
 2. In a four-handed game, if one partner strikes at a ball 
 and misses it, can his partner afterward take it ^ — Yes, if 
 not touched. If touched, it is a dead ball. 
 
THE ART AND SJCILL OF LAWN TENNIS. 1/3 
 
 J. May a player volley a ball before it has passed the net ? 
 — He must not touch the net : if he does so, it counts 
 against him. Otherwise he may strike where he likes. 
 
 4. If a ball falls out of court at which the player has 
 struck, but not touched, how does it count ? — It counts in 
 favor of the player who has missed it. 
 
 Elegance of Play. — Natural grace is not to be acquired. 
 It is born in the individual, and cannot be learned. Still, 
 grace may be cultivated. For a lady, the element of clothes 
 comes in, and the less free motion of the limbs limited by 
 the skirts. In traversing the court, try to do so with a swift, 
 gliding step, rather than a run. Be careful about the posi- 
 tion of the feet, and before striking throw the weight of the 
 body on the back foot, and in striking transfer it to the for- 
 ward foot. This will throw the weight of the body into the 
 stroke. The left hand may be placed open on the hip. Do 
 not whirl or wave the racket in play. The safest strokes 
 are those which are made from the shoulder or wrist. It is 
 no use attempting to play in a dress tied tightly back. 
 
 Slips and Falls. — The way to avoid these is always to 
 wear proper shoes. To play tennis on a nice lawn in heels 
 is an act of sacrilege for which the player deserves any thing 
 he gets. 
 
 Winter Tennis. — The game may be played all through 
 the winter under cover. The armories of New York and 
 Brooklyn and other cities afford excellent courts. A hard, 
 polished floor does not give the same opportunity for twists 
 and serves as turf, and less force should be put into the 
 strokes. 
 
 Wind. — In open-air play the court should be laid out 
 with the wind up and down. As the players change courts 
 every set, it is fair to both. In playing down wind, play 
 softly, and up wind play hard. Cuts are more easy down 
 wind. 
 
1^4 lAPVJV TENNIS AND itS LAtVS. 
 
 Seaside Tennis. — Many players at the seaside have a 
 difficulty in finding ground. They should know that a good 
 hard sand forms the very best ground. At Dinan, in Brit- 
 tany, much frequented by Americans, as many as fifteen 
 nets may be seen pitched on the sand in an afternoon. 
 
ARCHERY AND OTHER GAMES. I75 
 
 CHAPTER II. 
 
 ARCHERY AND OTHER GAMES. 
 
 So much of the pleasure of archery comes from competi- 
 tion, as well as from its social side, that it is never likely to 
 be a solitary amusement. The first instinct, as with lawn 
 tennis, is to form a club ; and, as all clubs require certain 
 rules, I give at the end of this chapter a list which has been 
 tested by long use, and which covers the ground as thor- 
 oughly as rules can. The club may have half a dozen mem- 
 bers, or five times as many ; but rules should be printed, and 
 strictly adhered to, m order that no cause for dispute or ill 
 feeling arise. A printed law by which all have agreed to 
 abide is much more dispassionate than personal judgment ; 
 and even where the umpire is an older person, he or she 
 will prefer to have their authority backed by formal law. 
 
 And now as to some of the first principles of archery, 
 though only short hints and directions can be written here ; 
 the names of trustworthy books on the subject being given 
 on p. 412, the most interesting as well as practical of all 
 being Maurice Thompson's "The Witchery of Archery," 
 which condenses in attractive form all the information 
 needed by the most ardent and persistent archer. 
 
 To begin with, being able to handle a bow at all presup- 
 poses a certain amount of health and strength, which this 
 exercise soon increases, as a reasonable weight for a lady's 
 bow is from twenty to thirty pounds. Bows made from a 
 single piece of wood, and called self-bows^ are best of all, as 
 
176 ARCHERY AND OTHER GAMES. 
 
 they are less likely to break, or be affected by moisture or ill 
 usage. ''The grain fibres of the wood should be parallel 
 with the bow longitudinally ; for, if the grain is cut across in 
 the making, the weapon is liable to snap or shiver under the 
 first strain." A lady's bow should be about five feet and six 
 inches long. The strength of a bow is measured in pounds, 
 and is found by drawing it with a spring scale, and noting 
 the number of pounds indicated when the string is twenty- 
 six inches from the inside of the bow, which is about the 
 "draw" of the twenty-eight inch arrow. The notch in the 
 horn of the shorter limb of the bow is called the lower nock, 
 and that in the horn of the longer limb the upper nock. 
 The English manuals call the rounded side of the bow the 
 belly, and the flat side the hack; but we say simply the inner 
 side and the outer side. The bow must always be h^xA^flat 
 side out. A cheap one is a poor investment, and it is best 
 to buy one as carefully made as means will admit. The 
 slenderer it can be at the handle, the better will be its shoot- 
 ing qualities ; for, if it is thick, the arrow is sure to incline to 
 the left, and miss the mark on that side. It should be bent 
 evenly, so as to form, when strung, or braced, a part of a 
 circle, a little flattened at the handle, the string standing out 
 about six inches from the inside of a five-foot bow. 
 
 If made in this country, the most valuable woods are in 
 the order named, — mulberry, sassafras, southern cedar, 
 black locust, black walnut, and slippery-elm ; but thus far 
 the foreign bows, made from lemon-wood, lancewood, yew, 
 and snake-wood, are far the best. Robin Hood preferred 
 yew, and his word is to be trusted in matters of archery if 
 nowhere else. 
 
 The bow must always be kept dry. " The better it is, the 
 more easily it is injured by dampness." Boiled linseed-oil 
 with a little beeswax in it, in the proportion of two ounces 
 
ARCHERY AND OTHER GAMES. 1 77 
 
 of yellow wax to one pint of oil, should be used for rubbing 
 it. A soft, thick woollen rag is best ; and it should always 
 be rubbed after using it, and before putting it away. Keep 
 it in a green baize bag in a dry room, but never near a fire. 
 
 The Bowstring. — This is made of hemp or flax, the 
 former being considered best ; and the material is waxed 
 and slack-twisted without doubling. The maker forms a 
 loop in one end ; and " both extremities are trebled in size, 
 forming a three-cord for about ten inches, gradually taper- 
 ing." A string with a heavy loop is best, as it will be found 
 easier to slip up the bow in stringing it. 
 
 Usually the bow is properly strung when bought ; but, if it 
 is necessary to do it yourself, fasten as follows : — 
 
 Slip the loop over the upper end of the bow, and make it 
 fast about two inches and a half below the nock. Stretch 
 the string taut, and " pass the loose end around in the nock 
 of the lower horn till it crosses itself in front of the bow ; 
 then pass the end thus brought across clear round under the 
 main part of the string, and back round itself twice, forming 
 a sort of slip-knot without really tying it at all. Cut off 
 whatever end may then hang loose, and wrap the stump to 
 keep it from fraying." The middle part of the string must 
 be wrapped for some six inches with waxed sewing-silk to 
 keep the arrow and fingers from wearing it out, and the 
 whole cord should sometimes be waxed. To keep the upper 
 loop from slipping down when the bow is not braced, many 
 archers draw a bit of green ribbon through a small hole in 
 the upper arm, and down through the loop, tying it in a bow ; 
 and the bow may then be carried in any position of the 
 manual used for parading. Silk or flax makes the best 
 home-made strings, shoemaker's thread twisted answering 
 nicely. When a good string begins to fray, wrap it with 
 heavy silk thread well waxed. Extra strings, looped and 
 
178 ARCHERY AND OTHER GAMES. 
 
 waxed, should always be carried to use in case of accident, 
 and they should always be kept perfectly dry. 
 
 The Arrow. — Two varieties of arrow are made, — the tar 
 get and the hunting arrow ; but we have to do simply with 
 those for target practice. The shaft, or wooden part, of an 
 arrow is called the " stele ; " and hard-seasoned pine or old deal 
 is the best wood. The steel head of an arrow is called the 
 " pile ; " and in a target-shaft it is round, and passes over 
 the end of the stele like a cap or thimble. It has a bevelled 
 point. The end of the shaft opposite the pile, there is a 
 deep notch, or nock, to fit the bowstring. Often in the best 
 arrows a notch is cut in a piece of horn set in the stele. 
 
 Feathering properly is next in importance to a good stele. 
 Three feathers are necessary ; and " they must be set on the 
 stele about an inch and a quarter from the nock, at an 
 angle with each other of about one hundred and twenty 
 degrees, or the third of a circle, and so arranged that one 
 feather is at right angles with the nock. This is called the 
 cock-feather, and is colored to make it conspicuous. It must 
 always be next to the thumb of the arrow hand in shooting." 
 For short range, accurate shooting, the stele must be heavy, 
 and the feathers broad. Highfield's arrows are the best, 
 but there are horn-pointed French arrows almost as good. 
 
 A shooting-glove is made, especially to protect the first 
 three fingers of the right hand. It is formed from three 
 thimbles of stiff smooth leather fastened to soft strips 
 attached to a wristband buttoning around the wrist. But 
 any close-fitting glove is better, and many use no glove at 
 all. 
 
 The quiver is merely a round tin tube, closed at the lower 
 end, covered with leather, and holding from three to six 
 arrows. It may be made as ornamental as desired. Where 
 worn with a belt, it must be well back on the right side. A 
 
ARCtiERV AND OTHER GAMES. 1 79 
 
 baldric is more picturesque, and is merely a broad strap worn 
 across the shoulder, and diagonally across the chest. A 
 large woollen tassel may do duty in wiping the arrows when 
 soiled ; and a small silver or ebony grease-cup may also hang 
 from the belt, holding a " composition of two parts lard and 
 one part white wax with which to touch occasionally the 
 string, the arrow at the nock, and the finger-tips. A bracer 
 is simply an arm-guard of heavy leather with elastic bands 
 holding it to the wrist and fore-arm ; but many archers use 
 none at all. 
 
 The Target. — The simplest target of all is what old Eng- 
 lish archers call a "clout," made of stiff white pasteboard, 
 divided like other targets. It should be from six inches to 
 a foot in diameter, and is merely, when used, slipped into a 
 cleft stick stuck in the ground. Straw targets are sold, and 
 a table is given of their diameters and the proper distance 
 from them. 
 
 DIAMETER. DISTANCE APART, 
 
 1 foot , . . . . • . . .15 yards. 
 
 2 feet 20 " 
 
 3 " 40 " 
 
 4 " . . . . . . . . . 50 to 100 " 
 
 Each target has a gilded centre called the "gold.'* 
 Around this, four rings are drawn, — red, white, black, white, 
 the red being next to the gold. 
 
 When the gold is hit, it counts . 
 When the red is hit, it counts 
 When the inner white is hit, it counts 
 When the black is hit, it counts . 
 When the outer white is hit, it counts 
 
 An excellent target is made from a shallow pine box, 
 perhaps four feet square, filled with well-packed earth, over 
 
l8o ARCHERY AND OTHER GAMES. 
 
 which a coffee-sack is tacked, on which a target-face is 
 fastened. This stops the arrow, and is as good as a butt or 
 straw target, which needs to be supported by an easel, or 
 tripod of wood. 
 
 How TO Shoot. — The targets must first be placed on 
 the stands, facing each other, and ten feet farther apart than 
 the length of the range to be shot. A mark must be placed 
 as a standing-point from which to shoot, ten feet from the 
 face of each target. " Now carefully brace your bow as 
 heretofore directed. Put the arrow-nock on the string at 
 the place marked for it, with the cock-feather out to the left. 
 This is done with your right hand, whilst your left tightly 
 grasps the handle of the bow, holding it nearly horizontal. 
 Now, with the nock thus on the string, hook the first, sec- 
 ond, and third fingers under the string, taking the arrow 
 between the first and second. Turn the bow to the left with 
 the left hand, until it stands nearly vertically in front of you, 
 your left arm extended towards the gold of the target. Draw 
 with your right, and push firmly with your left hand, until 
 your arrow's head rests on the lowest joint of your left fore- 
 finger. Your right hand will now touch your right ear. 
 Look straight and hard at the centre of the target's gold, but 
 do not even glance at your arrow. Blindly direct your arrow 
 by the sense of feeling. Let go the string. There is no 
 such thing as 'taking aim' with an arrow. He is a bungling 
 archer who attempts it. Shoot from the first by your sense 
 of direction and elevation. It will surprise you at first to 
 see how far you will miss, but soon you will begin to close 
 in with your arrows towards the gold. . . . The quicker shot 
 you are, the better for you, but be careful not to make a 
 little snatch and jerk when you loose the string. The posi- 
 tion in shooting should be graceful, easy, and firm. To this 
 end advance the left foot a half-pace, the toe turned towards 
 
RULES FOR TARGET-SHOOTING, 
 
 l8l 
 
 the target, the knee of the left leg slightly bent. Fix the 
 right foot nearly at right angles with the left, the right leg 
 straight. Look directly over the left shoulder at the target. 
 This position is called, * putting the body into the bow,' and 
 will lead to powerful shooting." 
 
 RULES FOR TARGET-SHOOTING. 
 
 " I. That each archer have a scoring-card or paper on which 
 to mark score, as follows : — 
 
 Shooter's Namb. 
 
 Hits. 
 
 Number Scored. 
 
 Distance. 
 
 Mary Smith 
 
 istEnd 
 
 I 
 o 
 I 
 
 7 
 O 
 
 9 
 
 40 yards. 
 
 2 
 
 i6 
 
 " II. That a captain be elected to superintend the scoring, 
 and to settle disputes as to what a shot shall count. 
 
 "III. That all persons, whether archers or not, shall keep 
 behind the person shooting. 
 
 " IV. The range shall be, say, sixty yards for gentlemen, 
 and for ladies, say, thirty yards. 
 
 " V. There shall be two targets, one at each end of the 
 range. Each shooter shall let go three arrows, and this 
 shall be called an end. Then all persons, excepting the 
 marker, shall walk to the other end of the range, extract 
 their arrows, regard score, and shoot three arrows back at 
 the first target. 
 
 " VI. The number of ends for a game shall be thirty ; that 
 is, ninety shots for each archer. 
 
l82 ARCHERY AND OTHER GAMES. 
 
 " VII. That the rings on the targets score as follows : — 
 
 Gold 9 
 
 Red 7 
 
 Inner White 5 
 
 Black 3 
 
 Outer White i 
 
 "VIII. That the archer getting highest total score shall 
 be winner. 
 
 "IX. In case two or more archers are even in total score, 
 the one having the greatest number of hits shall win. If 
 the hits are equal also, then the one having the greatest 
 number of gold hits, or hits nearest the gold, wins ; or, if 
 the equal archers choose, they may shoot three arrows each 
 to settle the Hie.' 
 
 " X. That *hits ' and * scores ' are to be counted and kept 
 separately. 
 
 " XL That the winners of first prizes shall not afterwards 
 compete for the lesser prizes of the day, unless they agree 
 to allow to each competitor the difference between his and 
 their score as a handicap. That is, if the winner of the open 
 first prize beat A, B, and C respectively ten, twenty-five, 
 and forty points, then on the new score, for the second prize, 
 A, B, and C shall have respectively ten, twenty-five, and 
 forty points the advantage of him to begin with. 
 
 "XII. That an arrow breaking two rings shall be s-^-jred 
 for the higher ring. 
 
 " XIII. Any arrow rebounding from the target shall not 
 be scored. 
 
 "XIV. If an arrow *flip* from the string, and the archer 
 cannot reach it with his bow, it shall be counted 1 shot, 
 scoring nothing. 
 
 " XV. Each arrow shall be distinctly marked with the 
 owner's name. 
 
 " XVI. That no arrow be drawn from the target before it 
 is scored : otherwise its score to be lest. 
 
CROQUET POOL. 
 
 183 
 
 " XVII. That each archer shoot no bow or arrows except 
 his own. 
 
 "XVIII. That the scorer keep each archer's score, as 
 follows : " — 
 
 SCORE-BOOK. 
 Juney 188S. 
 
 Number of 
 Ends. 
 
 Gold. 
 
 Red. 
 
 Inner 
 White. 
 
 Black. 
 
 Outer 
 White. 
 
 Hits. 
 
 Score. 
 
 1st . . 
 
 
 
 
 
 
 
 
 2d. . . 
 
 
 
 
 
 
 
 
 3d. . . 
 
 
 
 
 
 
 
 
 4th . . 
 
 
 
 
 
 
 
 
 5th . . 
 
 
 
 
 
 
 
 
 6th . . 
 
 
 
 
 
 
 
 
 
 
 CROQUET, BADMINTON, ETC. 
 
 Croquet is too well known to need any description ; but a 
 new form of it is not so much so, and makes a pleasant 
 variety. This is called 
 
 CROQUET POOL, OR ADDITION AND SUBTRACTION. 
 
 This game is the same in principle as bridge at bagatelle. 
 Nine hoops are fixed in a horizontal line, thus, — 
 
 nnnnnnnnn 
 
 1 3 5 7 9 7 5 3 1 
 
1 84 ARCHERY AND OTHER GAMES. 
 
 The striker, who plays the eight balls one after another, 
 stands at any agreed number of yards from the hoops, and 
 aims at the centre one, scoring for his stroke according to 
 the hoop which he goes through. Should he miss the hoops 
 altogether, a deduction of three is made from his score. 
 Should he hit the wire, and so fail to go through, he scores 
 the same as though he went through the lower of. the two 
 hoops separated by the said wire. Should he strike the out- 
 side wire of hoops No. i, he scores nothing, but is not 
 punished by the score of minus three. The game may be 
 played by sides, or by a general competition for the highest 
 score. 
 
 BADMINTON. 
 
 Badminton is a game suited either for indoor or outdoor 
 recreation : it may be played in the hall, or on the grass-plot 
 or lawn. The dimensions of the ground for outdoor play 
 should be 60 feet long by 30 fe^t wide (the proportions of 
 an ordinary billiard-hall) ; but the game is occasionally 
 played on one 80 feet by 40 feet. Whatever size, however, 
 the ground may be, the same relative proportions should 
 be adhered to. The net sold with the implements is to be 
 stretched across the hall or lawn (hanging vertically) ; and 
 the cord, having been affixed at top and bottom to the 
 standard, is to be secured to a stake or peg driven into the 
 ground at each end of the net. (See plan.) The net divides 
 the players into two sides ; and each side should be further 
 divided into two courts, shown respectively at A B and C D. 
 In order to define the courts, a cord may be drawn through 
 the centre of the net, or they may be marked out by means of 
 chalk upon the turf. At three feet distance each side of the 
 net a line is to drawn, and this is termed the serving-crease. 
 The game may be played by any number of persons, not ex- 
 
BADMINTON. 
 
 185 
 
 ceeding eight on each side ; but four players on each side is 
 the usual number. 
 
 The first side to serve is to be determined by lot ; and, 
 in order to equalize the chances, only half the number of 
 
 Fig. 47. 
 
 players on this side serve in the first innings. After the 
 first innings, all the opponents serve, then all the others, 
 and so on in rotation ; and the side which first scores 21 or 
 29 (according to the number playing) becomes the winner 
 of the game. When the players do not exceed two or four 
 on each side, the game consists of 21 points; but, if more 
 than four, 29. 
 
 The game is commenced by one of the players standing 
 in one of the courts, say in B, and serving the shuttlecock to 
 that player stationed in the opposite court diagonally to that 
 in which the server is ; viz., in C. Serving the shuttlecock 
 is an important feature in the game, and the rules in regard 
 to it must be rigidly adhered to. It is performed thus : the 
 player, termed the server, takes the shuttlecock in the left 
 hand, and strikes it with the battledoor in his right over the 
 net, and beyond the serving-crease on the other side ; but, in 
 
1 86 ARCHERY AND OTHER GAMES. 
 
 serving the shuttlecock, the battledooi must never be raised 
 higher than the elbow, and it must invariably be struck 
 underhand. At other times it may be struck at either over 
 or under, but only the latter when serving. If the adversary 
 in court C, termed the servee, miss it (the shuttlecock having 
 been fairly served), then the player in court B scores i ; but 
 if he strike the shuttlecock back, and the server's side miss 
 it, then the latter is out (this is termed a hand-out), and an- 
 other player on the same side becomes server in his place, 
 the side served scoring one point. 
 
 After the first serving, the players on either side are not 
 compelled to keep in their respective courts, but may strike 
 the shuttlecock from any part they choose, so long as they 
 keep within the boundaries. 
 
 If the server miss the shuttlecock in the act of serving, or 
 strike it overhand, in each case he is out. 
 
 If the shuttlecock does not clear the net, or if it fall within 
 the serving-crease on the other side, he is out ; or if served 
 into the wrong court, or beyond the bounds of the ground, 
 he is likewise out. 
 
 When the server's side makes a point, Le., scores i, he 
 (the server) must at once move into the court to the left of 
 that in which he stands ; thus from court B he would move 
 into A, or from C into D, according to the side in. Another 
 server then takes his place, or, if all on one side have served, 
 then the opponents in their turn become the servers. 
 
 The side serving makes a point if the shuttlecock is 
 missed by the adversary, or if it is not struck back entirely 
 clear of the net, or if struck beyond the bounds of the game. 
 
 A player is not compelled to accept the serving if the 
 shuttlecock be served into the wrong court, or beyond the 
 bounds of the ground ; but if the player strikes at the shuttle 
 cock, it counts. 
 
SHIP-COIL, 187 
 
 The players change into the opposite court at the termina- 
 tion of each game, and the winners of the last game become 
 first servers in the next. 
 
 LAWN BILLIARDS. 
 
 This is an agreeable outdoor amusement. A ring which 
 turiis is placed in the centre of the lawn, and each player 
 has one ball and a cue. They commence by bowling the 
 balls as near the ring as possible, and the nearest ball plays 
 first. The object is to throw the ball with the cue (which is 
 shaped something like a ladle or spoon) through the ring. 
 Each time this is successfully done, the player scores i, 
 and continues playing until he misses ; and then the next 
 player goes on. It is played with sides, like croquet. 
 
 SHIP-COIL. 
 
 This is a favorite game on ship-board in long voyages, and 
 was made known to us years ago in Mrs. Whitney's "We 
 Girls." Ten rings are made from rope, each ring eight or 
 ten inches in diameter ; and the object is to throw all over a 
 stake set up at just the right throwing-distance, this depend- 
 ing something on the player, though eight or ten feet is the 
 usual allowance. Each player throws all the rings at one 
 turn, each ring that falls on the stake counting ten. What- 
 ever number is made counts up on the player's side, and the 
 game includes as many rounds as may be agreed upon. 
 Sets are now sold in large toy-stores, but they are easily 
 made at home ; and the game, though simple, is graceful and 
 pleasing. The rings can be brightened by winding them 
 with strips of gay woollen, and finishing each with a bow 
 tightly sewed on. 
 
1 88 ARCHERY AND OTHER GAMES, 
 
 ROUNDERS. 
 
 Any number may play at this game. Two are selected to 
 choose sides. Five points in the field are then marked out 
 with stones or sticks, one for a home, the others for resting- 
 places. One of the players from the side chosen to begin 
 holds the ball (which should be a soft India-rubber one) and 
 a netted battledoor with which to strike it. One of the 
 players on the opposite side must stand near, in order, if 
 possible, to catch the ball ; and if she succeeds in doing 
 this, the opposition side are out. The moment the ball has 
 started, the player runs round the course marked : if she is 
 hit by the ball, she cannot again play until three rounders 
 are accomplished by some of the players on her side. If the 
 ball strikes the runner when she has arrived at the post or 
 the home, it does not count. 
 
A HOME SWIMMING-SCHOOL, 1 89 
 
 CHAPTER III. 
 
 A HOME SWIMMING-SCHOOL. 
 
 Hardly a village in the land but owns a fresh-water pond, 
 or small stream, where swimming could easily be learned. 
 And before any one ventures into a boat, or makes even the 
 shortest journey by water, swimming should have been 
 learned so thoroughly, that, no matter how hampered by 
 clothing, presence of mind will not be lost in case of acci- 
 dent, and, even if thrown suddenly into the water, there 
 will be no fear. " Can you swim } " ought to be painted in 
 large letters on every boat-house in the land ; and every one 
 who sails or rows, taught how to support themselves in the 
 water, if nothing more. Swimming is an instinct with all 
 young animals, and would seem to be so with one variety 
 of the human animal ; the South-Sea-Islander babies being 
 tossed into the water before they are a year old, and, by the 
 time they are three or four, being as much at home in the 
 water as on the land. Climate makes this more agreeable 
 for them than it would be for us : but our long summers give 
 ample time for learning ; and, once learned, there is no more 
 fear of the water, and boating follows naturally. Certainly 
 it should never begin till swimming has been learned. 
 
 It is wiser always to begin under the direction of an 
 older person/ Swimming may be self-taught, as it often is 
 among boys ; but a strong father, or older brother, can give 
 you hints that no written directions will hold as well. A 
 flannel bathing-dress is the best costume ; and, if you do not 
 
190 A HOME SWIMMING-SCHOOL, 
 
 want to wet the hair, wear also an oil-silk cap, with a close- 
 fitting elastic run in the edge. A swimming-tank, of course, 
 gives one a far greater sense of safety, but this requires a 
 building expressly for the purpose ; and a pond, or still water 
 by the seashore, where there is an experienced person to 
 direct matters, will, as soon as the first fear is over, be far 
 pleasanter. Never swim directly after eating, or when over- 
 heated, and let the first step be to wet the head, as this 
 jprevents headache. 
 
 ? Remember first, that, when a human body is immersed in 
 water, one-eleventh of its weight remains above the surface 
 in fresh water, and about one-tenth in salt. One who is 
 afraid of sinking stretches out the arms to catch at some- 
 thing ; and thus the head immediately goes under water, as 
 the head and arms exceed greatly one-tenth of the weight of 
 the body. If a swimmer turns on the back, the head thrown 
 back, so that the face is turned upwards, there need never 
 be fear that the water will come over the mouth, although, 
 at each inspiration and expiration of breath, the face rises 
 and sinks one inch. 
 
 It is better always to dispense with corks, or floats of any 
 sort. You should wall^ in on a clear and gradually shelv- 
 ing bottom, until the water reaches the breast ; then turn 
 to the point of entrance, draw a full, deep breath, close the 
 lips, and rest on the water, letting it rise to the chin, and 
 gradually, as this is done several times, letting more and 
 more of the head be covered. If there is fear, and an invol- 
 untary throwing out of the arms, let some one support you 
 a moment or two, till it is proved that you need not sink. 
 But decide in the beginning not to be afraid, and not to 
 mind it if you do sink once or twice, or if the water dashes 
 in your face. You will very quickly see that you are far 
 more secure than you dreamed you could be ; and, as soon 
 
A HOME SWIMMING-SCHOOL. I9I 
 
 as you have gained this confidence, the rest is easy and 
 pleasant. Then comes the question of attitude, which is a 
 very important one. The head must always be thrown back, 
 the chin raised, the breast set well forward, and the back 
 hollowed and kept steady. 
 
 The position of the hands is quite as important. The fin- 
 gers must be kept close together ; for, if separated, they break 
 the surface of the water, and spoil the stroke. The thumbs 
 must lie closely to the forefingers, and the hands be hollowed 
 
 Fig, 48. — Swimming on the Chest. 
 
 a little, but very little, as, if they are too much curved, the 
 stroke loses power. 
 
 For the stroke, let the fingers be raised three or four inches 
 higher than the thick part of the hand, and let the outer 
 or little-finger side be a little higher than the inner edge. 
 Then project the hands forward to their utmost extent, and 
 then let them fall on a line with the hips, but at some 
 distance from them. Then raise the hands to the breast by 
 a turn of the wrist, and they are ready for another stroke. 
 This motion should be easy and regular, and can be prac- 
 tised before entering the water at all, one arm at a time 
 being exercised, and then both together. 
 
192 A HOME SWIMMING-SCHOOL, 
 
 It is the feet and legs which do the chief part of the work, 
 as they are so much larger and stronger ; and many of their 
 motions, too, can be practised in one's room, one arm resting 
 on top of a chair, while the opposite leg is exercised. The 
 first motion is to draw one leg up as high as possible (the 
 knee inclining inward, and the ankle a little turned, so that 
 the sole of the foot is outward), then throw the foot out to 
 the full extent of the leg. If in the water, both feet are 
 drawn up at once, and then thrust out strongly, and as widely 
 from each other as possible, bringing them together briskly 
 and closely, to be ready for another stroke. 
 
 The legs and arms must do their work alternately, the 
 arms descending while the legs are rising. At first it is 
 easier to let them work together ; but, as soon as confidence 
 is gained, the alternate movement must be learned. A quick 
 stroke is tiresome ; and a long, steady one will take the learner 
 over a hundred yards, where a quick one would tire out in 
 twenty-five. 
 
 How to breathe is one of the most troublesome points. 
 " The breath should be drawn in at the moment when the 
 body is elevated by the hands descending toward the hips, 
 otherwise the mouth will probably become filled with water. 
 The breath should be expired while the body is sent forward 
 by the action of the legs. The head is the principal regula- 
 tor of the movements in the water," and the least change in 
 its position affects the position of the body. 
 
 Floating is often learned before swimming. For this, 
 turn on the back, and let the crown of the head sink deeper 
 than usual ; raise the chin above the line of the forehead ; 
 cross the hands on the breast, or place them, about a foot 
 apart, at equal distances from the head ; and let the feet be 
 close together. This is often a rest when tired of swimming. 
 
 Treading zvater is also a change. Here only the legs are 
 
MISCELLANEOUS INSTRUCTIONS. 
 
 m 
 
 I ied ; the arms being folded on the chest, or pressed against 
 the hips. The stroke with the legs is the same, save that 
 it is made in half the usual space of time. The swimmer 
 is practically standing in the water, and, if the stroke were 
 as slow as usual, would sink too low in the interval between 
 them. 
 
 Fig. 49. — Swimming on the Side. 
 
 In swimming on the back, the body rests at full length, 
 really gently lying down on the water, with very slight motion 
 of the feet ; but, for this, finning^ winging^ and the countless 
 ways in which an accomplished swimmer varies the sport, it 
 is necessary to have personal teaching, though strokes and 
 methods are carefully described in a swimming-manual, men- 
 tioned, among other books of reference, at the end. 
 
 MISCELLANEOUS INSTRUCTIONS. 
 
 In the first place, practise every possible method of keep- 
 ing afloat under disadvantageous circumstances ; so that, if 
 any accident should happen, you may always know instinc- 
 tively what to do, and may do it without having to think 
 about it. 
 
194 ^ HOME SWIMMII^G-SCHOOL. 
 
 That terrible swimmer's bane, the cramp, is always to be 
 dreaded. Perhaps more good swimmers have been drowned 
 by cramp than by any thing else, and only those who have 
 suffered from it can conceive its fatal power. Strong men 
 and good swimmers, when seized by the cramp, have been 
 known to sink instantly, overcome with the sudden pain ; 
 and nothing can save the victim but the greatest presence 
 of mind. 
 
 The usual spot where the cramp is felt is the calf of the 
 leg, just below the knee ; and it sometimes comes with such 
 violence, that the muscles are gathered up into knots. 
 
 There is only one method of proceeding under such cir- 
 cumstances. Turn on the back at once, kick out the leg in 
 the air, disregarding the pain, and rub the spot smartly with 
 one hand, while the other is employed in paddling towards 
 shore. 
 
 These directions are easy enough to give, but most diffi- 
 cult to be obeyed. Cramp seems to deprive the sufferers 
 from it of all reason, for the time, and to overpower them 
 with mingled pain and terror. Still, there is no other hope 
 of reaching shore than that which is here given. 
 
 The causes of cramp are generally twofold. The princi- 
 pal cause lies in indigestion, for it is seldom that a person in 
 really good health is attacked by this malady. The second 
 reason is over-exertion of muscles that have been little used ; 
 and therefore too strong a leg-stroke should always be avoided. 
 
 Another thing which demands great practice is the method 
 of saving a drowning person. The chief difficulty lies in 
 the fact that a person who cannot swim feels, in deep water, 
 much as if he were falling through air, and consequently 
 clutches instinctively at the nearest object. And, if he suc- 
 ceeds in fixing a grasp upon the person who is trying to save 
 him, both will probably sink together. 
 
MISCELLANEOUS INSTktJCTIONS. I95 
 
 Therefore, every precaution should be taken to prevent 
 such a misfortune ; and the drowning man should always be 
 seized from behind, and pushed, as it were, in front. Should 
 he succeed in fixing his grasp, the only remedy is to dive, 
 when it will be found that he will loosen his hold on finding 
 himself below the surface, and will allow his rescuer to take 
 a better position. This art has often been practised by a 
 swimming party ; each, in turn, enacting the part of a drown- 
 ing person, and trying to grasp a companion who was trying 
 to bring one ashore. It is capital practice, and one that is 
 much to be recommended. 
 
196 BOATING FOR GIRLS. 
 
 CHAPTER IV. 
 
 BOATING FOR GIRLS. 
 
 Swimming having been mastered, there are few as pleas- 
 ant forms of gymnastics as a row in a light and well-made 
 boat. The dress should be light and loose ; dark flannel 
 being the best, or some wash goods, as the bottom of a boat 
 is always more or less dirty, and the skirt is always in con- 
 tact with it. The jersey at present worn makes a pretty 
 boating-dress with a dark skirt, as, while fitting well, it yields 
 to every motion. Freedom for the arms must be insisted 
 on. The sleeves themselves need not be very loose; but 
 the seams where they are joined to the body must be made 
 so as not to chafe at all, or in a very short time your arm 
 will be too sore to row with. Shoes with rubber soles are 
 convenient and comfortable in a boat : such as are worn for 
 tennis are the right kind. A shady straw hat will be found 
 a useful preventive of sunburn ; but I am afraid that rowing 
 is not a pursuit for those who are very particular about their 
 complexions. Do not wear any thing very tight round the 
 waist. 
 
 Blisters are a great nuisance when you begin rowing : you 
 may prevent them by rowing in gloves. You need not be 
 ashamed of this, as many good oarsmen do it. Cutting off 
 the tops of the fingers and thumb makes the glove cooler, 
 and does not impair its usefulness. Always take off your 
 rings before you begin to row : you will be sure to blister 
 your hands if you keep them on. 
 
PARTS OF A BOAT, OARS, ETC. I97 
 
 Learn all the parts of a boat thoroughly in your first les- 
 son or two, which ought to be taken from some experienced 
 person, in order to avoid forming bad habits which it may 
 be hard to get rid of later on. 
 
 PARTS OF A BOAT, OARS, ETC. 
 
 The fore-part of a boat is called the bows ; and the aftdr- 
 part, the stern. To a ring in the bows is generally attached 
 the painter y — a short rope which serves to tie up the boat 
 when not in use. It should be coiled up carefully in the 
 bows when the boat is under way : it looks very slovenly 
 when allowed to trail overboard. 
 
 The thwarts are boards which cross the boat, and strength- 
 en it, besides forming the seats. The fore-thwart has often 
 a hole in it, in which the mast may be stepped. Small 
 mats are often tied on the thwarts to sit on, but are quite 
 unnecessary. 
 
 Tho. gunwale (pronounce "gunnel") is the top of the side 
 of the boat, and on it are fastened the rowlocks (pronounce 
 " rullocks "), in which the oars rest when rowing. They are 
 either fixed directly on the gunwale, or, in the case of nar- 
 row boats, are supported outside by iron outriggers : this is 
 to give the rower sufficient leverage. A boat thus fitted is 
 said to be outrigged. 
 
 The use of the word oar is (or ought to be) confined to 
 the larger kind, which are used with both hands : sculls 
 are used one in each hand. Both have a button of leather 
 fastened to them to prevent them from slipping out through 
 the rowlocks. 
 
 The rudder is the means of steering the boat, and is 
 worked by lines attached to the yoke, or crosspiece at its 
 head. See that the lines are not crossed behind your back. 
 You have to pull the line on the side to which you wish to go. 
 
198 BOATING FOR GIRLS. 
 
 The boat-hook is an invaluable aid when setting out, or 
 coming to shore. There should be two, especially if there 
 are locks to be passed ; and they should be kept, ready for 
 use, in the bow and stern. The kind of boat-hook with a 
 paddle on it is often useful in getting out of a lock. 
 
 A convenient boat for general use would hold about five, 
 — two seated in the stern (one of whom steers), one on each 
 of the two thwarts, and one reclining in the bows. The two 
 who are engaged in rowing may each use, either one oar or a 
 pair of sculls : the latter arrangement is termed double scull- 
 ingy and is often adopted on the Thames, especially by ladies, 
 who do not seem to take to an oar as easily as to sculls. 
 
 At the same time such a boat will not be too large for one 
 person to scull about easily, and it may be perfectly safe 
 without being at all cumbrous. 
 
 What is called a Randan is a very popular way of arran- 
 ging the work in a rather large boat. In this case there are 
 three rowers ; the one in the middle using a pair of sculls, 
 and the others an oar each. 
 
 The oarsman next to the cockswain is called strokcy and it 
 is he who gives time to the others. The one in the bows is 
 termed bow. If there are more than this, as is usually the 
 case in boating-clubs, as at Vassar or Wellesley, they are 
 numbered, the one next to bow being two ; and so on until 
 the one next to stroke is reached : in an eight-oar this would 
 be seven. 
 
 A few short rules sum up the necessary points in all boat- 
 ing. 
 
 1. Straighten the arms before bending the body forward. 
 
 2. Drop the oar cleanly in the water. 
 
 3. Draw it straight through at the same depth. 
 
 4. Feather neatly, and without bringing the oar out before 
 doing so. 
 
PARTS OF A BOAT, OARS, ETC. I99 
 
 5. Use the back and shoulders freely, keeping arms as 
 straight as possible. 
 
 6. Keep the eyes fixed on the rower before one, and avoid 
 looking out of the boat ; as, if one does, the body will not 
 swing backwards and forwards in a straight line. 
 
 The first thing to do after seating yourself in the boat is 
 to see that your stretcher is of the right length. (The 
 stretcher is a board against which your feet press.) It should 
 be adjusted so that your knees are only slightly bent. Then 
 see that the oar is well greased where it works in the row- 
 locks, or it will creak in a very unpleasant way. 
 
 The hands should grasp the oar easily and naturally while 
 its blade lies flat on the water. The head must be kept up- 
 right, and the elbows close to the side. When you are ready 
 to begin, lean forward as far as you can, with your arms quite 
 straight in front of you, still keeping the blade flat. When 
 you are quite forward, turn the hands down from the wrist 
 (this will turn the oar so that the blade will be at right angles 
 to the water) : at the same time dip the blade by slightly 
 raising the hands. The blade must be only just covered : 
 any excess in this direction is called rowing deep. The blade 
 is then to be pulled through the water by throwing the body 
 back as soon as the oar dips. The arms are to be kept 
 quite straight, and the pull done with the body only, until 
 you are nearly at the end of the stroke, when the arms may 
 be bent to pull the remainder.' 
 
 When the stroke is over, drop your hands, still grasping 
 the oar, into your lap, at the same time turning them up 
 again, so that the blade will come forward edgewise, or 
 feathered, when you shoot them out. You must get out 
 your hands as quickly as possible, and, when your arms are 
 
 * Cuts of the various strokes, etc., can be found in any manual of boating. Routledge 
 has one. 
 
200 BOATING FOR GIRLS, 
 
 Straight, come forward with your body, and repeat the whole 
 series of movements. 
 
 You can row in as slow time as you like, but the whole 
 motion must be continuous. There must be no pause at the 
 end of the stroke, but you must come forward directly for 
 the next : nor must you wait after you have come forward ; 
 this fault is called hanging over the stretcher. 
 
 Backing water is a very necessary stroke if there is any 
 danger of coUision, or where the space to be entered or left 
 is very narrow. It is simply reversing the stroke, which, of 
 course, sends the boat in an opposite direction from the one 
 it has been heading. Where there is no rudder, steering 
 is also done in this way, using but one oar. 
 
 For girls, who may not care to aim at any very scientific 
 rowing, the main fault to be avoided is "rowing with the 
 arms." This may sound rather a paradox; but it means only 
 that the chief pull is to come from the back, the leverage 
 being gained by pressing the feet against the stretcher, and 
 the arms serving, for the greater part of the stroke, merely 
 to transmit the power from the back to the oar. 
 
 Nothing is more ludicrous to any one who knows what 
 rowing ought to be than to see a girl sitting upright in a 
 boat, and working entirely with her arms. 
 
 Most of these remarks apply also to sculling. You will 
 find, that at the middle of the stroke your hands will overlap 
 each other, and you must take care at first that you do not 
 hurt your fingers. Do not scull at first with your thumbs 
 on the end of the sculls, or you will be likely to bruise them 
 seriously : when you have gained a mastery over the thing, 
 you may put your thumbs where you like. 
 
 Of course, when your hands overlap, they must be one in 
 front of the other, and not one over the other, which would 
 dip one blade deeper than it should be dipped. It is imma- 
 terial which hand is first. 
 
PARTS OF A BOAT, OARS, ETC. 20I 
 
 Rowing-boats are often fitted with a mast and sail, and 
 though their performance under sail is, as a rule, extremely 
 bad, it may be as well to speak of the care which should be 
 taken under these circumstances. They are, as a rule, very 
 dangerous ; as they are not meant for sailing, and have no 
 keel worth mentioning. This defect, besides rendering them 
 liable to upset, makes beating against the wind an impossi- 
 bility ; and it will be found no saving of time or labor to 
 hoist sail in a rowing-boat, unless the wind is very nearly 
 dead astern. 
 
 The rope by which the sail is hoisted is called the hal- 
 liards (pronounce halyards) ; and it should be pulled quite 
 tight, or the sail will not set properly. The rope fastened 
 to the foot of the sail, by which it is regulated according to 
 the direction of the wind, is called the sheet. It is the 
 incautious fastening of this rope which leads to many acci- 
 dents, even in boats intended specially for sailing. It should 
 be generally held in the hand, or, at any rate, so fastened 
 that it can be let go at a moment's notice. The wind is 
 powerless to upset the boat when this rope is let go, as the 
 sail then is edgewise to the wind, which has no action on it. 
 In rivers especially, this caution is required, as the wind 
 there is generally unsteady and in puffs, owing to the trees, 
 houses, etc., on the bank. 
 
 In rowing on large rivers near cities, as on the Hudson or 
 Potomac, great care must be taken in looking out for other 
 boats. The swell of a large steamer sometimes swamps a 
 small boat, and often one is likely to be run into by begin- 
 ners who cannot manage a boat. Quiet streams in the 
 country are safest in every way. In a long expedition it is 
 often very convenient to tow, instead of rowing, especially 
 when the boat is heavily laden, or the stream very strong. 
 At such times, one person walking on the bank can tow, with 
 
202 BOATING FOR GIRLS. 
 
 very little exertion, a boat which would hardly make any 
 way with several rowing. The line for towing should be 
 long (fifty yards or more), as the towing-path is often not 
 quite close to the river ; while at times the boat has to sheer 
 out to avoid shallow water, other boats, and the like. It 
 need not be thick or heavy, as but little strain is put on it 
 if the starting be done gradually ; and a very light line will 
 tow a very heavy boat. To one end is attached a shoulder- 
 strap of webbing : this is put on over the shoulder farthest 
 from the water. The other end is fastened to the boat, and 
 there ought to be a towing-mast for this purpose. It should 
 be about five feet long, the lower end passing through a hole 
 in the fore-thwart, and fitting into a step^ or square hole, in 
 the bottom timbers of the boat. The upper end has a hole 
 to receive the tow-rope, which is passed through it, and fas- 
 tened to the fore-rowlock on the side away from the towing- 
 path. It should be tied in a knot which will come undone 
 with a pull at the loose end, as it is often necessary to cast 
 it o£F at a moment's notice. 
 
 While towing, the boat must be carefully steered. Keep 
 as near to the bank as you can ; for this materially lightens 
 the work, which will be a very pleasant change after the 
 monotony of a long row, especially if the accommodation in 
 the boat is at all limited. When the rope has to be cast off, 
 it had better be done from the boat, and not from the shore. 
 It should then be coiled in neatly by the tower, ready to 
 throw to the boat again if wanted, or to stow away ready 
 for use on the next occasion. Never put away a rope in a 
 tangle, which means a great deal of trouble the next time 
 you want it. 
 
 Always be careful to see that every thing you may want 
 is in the boat before you start. . It is best to have a list for 
 this purpose. If you leave the boat anywhere, tie it se- 
 
PARTS OF A BOAT, OARS, ETC. 203 
 
 curely, and turn the cushions upside down in case of rain. 
 A rowing-tour can be very delightful, and a week spent in 
 this way can include many pleasant things. Camping may 
 form part of it, or stops may be made at villages for the 
 night. The Upper Connecticut has been explored in this 
 way by a party of girls, who came home sunburnt, but run- 
 ning over with health and pure happiness from the lovely days 
 they had had in secret wild places. Happiness and sound 
 health are tolerably certain to go hand in hand, and plenty 
 of outdoor life means both one and the other. 
 
204 HINTS ON MAKING SMALL COLLECTIONS. 
 
 CHAPTER V. 
 
 HINTS ON MAKING SMALL COLLECTIONS. 
 
 The insects which are generally collected by girls and boys 
 are butterflies and moths, and it is to these chiefly that this 
 article will be devoted. This preference arises from several 
 reasons. In the first place, these insects are attractive in 
 themselves, and there is nothing repulsive about them ; then, 
 many of them are common, and easily obtained, and do not 
 require the collector to search all manner of unpleasant places. 
 
 Perhaps the first fact which forces itself upon us in con- 
 nection with butterflies and moths is, that very few know 
 exactly how to distinguish accurately between them. To 
 such people, a butterfly is a brightly colored insect which 
 flutters about, and leaves a quantity of feathery dust on your 
 hands when you attempt to catch it. It is harmless and 
 pretty. A moth, however, is neither. It is a dingy insect, 
 with a propensity for devouring clothes ; and grave doubts 
 are entertained as to its biting and stinging powers. Some 
 of the moth tribe bear, at first sight, a striking resemblance 
 to wasps and bees ; and it is possible that the idea that they 
 are able to sting arose from this likeness. When, however, 
 we examine these insects more closely, we find that the bodies 
 are covered with the usual fine, feathery powder, and that the 
 wings are not transparent all over, as in the case of bees. It 
 is, perhaps, hardly necessary to say that all moths and butter- 
 flies are absolutely harmless, and may be handled with perfect 
 impunity. 
 
HINTS ON MAKING SMALL COLLECTIONS. 205 
 
 The scientific name for moths and butterflies is lepidoptera, 
 or scale-winged insects, and is derived from the feathery pow- 
 der before alluded to, which covers the body (and, in most 
 cases, the wings), and under a moderately powerful micro- 
 scope is seen to consist of small scales. 
 
 Most of you must have noticed the small ** feelers" (as 
 they are sometimes called) which project from the head of 
 an insect. These are scientifically called " antennae ; " and 
 much time and ingenuity have been employed in discussions 
 as to their use to their owners. The point is not yet settled. 
 But they have a value to the collector, as they form the most 
 obvious distinction between a moth and a butterfly. The 
 latter have always small knobs on the ends of the antennae ; 
 the former, never. There are many other differences. A 
 moth often hides its antennae under its wings : a butterfly 
 cannot do this. A butterfly cannot fold its hind wings, but 
 sits with its wings erect over its back ; while a moth folds 
 the hind wings, and covers them with the front pair, which 
 are flat against any surface it may be resting on. 
 
 It is well known that these insects pass through four stages 
 of existence, — the ^^'g, the chrysalis, the caterpillar, and 
 the perfect insect ; and in each of these stages they may be 
 sought for by the collector. 
 
 The eggs are deposited on the trees or plants which form 
 the food of the future caterpillar. They are extremely dif- 
 ferent in shape and size, even when belonging to insects, 
 which, in the perfect state, closely resemble one another. 
 The substance of the egg-shell is peculiar, but alike in all 
 species. It resembles thin horn, and is very tough, elastic, 
 and pliable. 
 
 This shell is transparent ; and, when the caterpillar ap- 
 proaches the time of emerging, its color becomes plainly 
 visible. Before this time the color of the eggs is generally 
 pale green or yellow, but in some cases pure white. 
 
5o6 H/JVTS OjV MAKlh'G SMALL COLLECTION^, 
 
 When the caterpillar (scientific name, larva) emerges, it 
 often eats the egg-shell which it has just left, and then pro- 
 ceeds to its natural food. The amount which it will eat is 
 truly enormous, — often many times its own weight in a day. 
 But its life is not one unbroken feast ; for it is subject to 
 periodical attacks of illness, arising from the fact that the 
 body grows too large for the skin, which must therefore be 
 got rid of. This occurs from three to six times during its 
 existence, and often proves fatal. We can hardly wonder at 
 this when we consider that not only does the caterpillar shed 
 its skin, but also a horny covering from the head and throat, 
 and the lining of its stomach and lungs, together with the 
 air-passages attached to the latter. It aids itself in this sort 
 of moulting by spinning a small carpet, to which it attaches 
 itself by two hooks, with which its last segment is furnished. 
 After the skin is cast, it remains for some time in a very 
 weak state ; but the new skin soon attains the hardness of 
 the old one, and the insect falls to its food with renewed 
 appetite. 
 
 Finally it changes to the chrysalis, ox pupa as it is usually 
 called by entomologists ; and in this state it is either bare, 
 or enclosed in a silken cocoon. The last skin is found rolled 
 up inside the cocoon. The chrysalis of a butterfly is found 
 in one of three situations : — 
 
 1. Suspended by the tail, with the head downwards. 
 
 2. Attached to grass or twigs by the tail, and also sup- 
 ported by a silken thread round the body : in this case the 
 head is uppermost. 
 
 3. In a silken cocoon. 
 
 All these should be sought for on or near the food-plant. 
 If a wall is at hand, the caterpillars are very likely to crawl 
 up it, and attach themselves to the under surface of the pro- 
 jection of the coping-stone or other masonry. The pupae 
 
HINTS ON MAkING SMALL COLLECTIONS. 20'jf 
 
 of moths are found either in a cocoon, or unprotected. In 
 addition to the silk, of which the cocoon is spun, many spe 
 cies cover the outside with earth, bark, leaves, etc. ; and this 
 renders it often extremely difficult to distinguish it from the 
 surrounding objects. They may be found almost anywhere, 
 — under moss, in decayed stumps of trees, behind loose bark, 
 or between dead leaves ; but by far the most important, and 
 those which chiefly interest the collector, are found buried 
 in the earth at the foot of trees. The caterpillar, when 
 ready to effect the change, descends the trunk, and burrows 
 into the earth, where it either spins a cocoon, or becomes a 
 chrysalis without this protection. The search for these is 
 called " pupa-digging," and should be conducted among 
 the moss and loose leaves at the foot of the tree, and in the 
 earth for about four inches deep. 
 
 This is a most excellent way of obtaining specimens, but 
 you must be prepared to undergo very many disappointments 
 before you become proficient. You must carefully examine 
 all the debris first, then turn up the earth, paying special 
 attention to the portions nearest the tree. Each sod must 
 be carefully tapped with the trowel (pupae will sometimes fall 
 from it during this process) : it must then be carefully torn 
 asunder by hand, and every portion of it scanned with the 
 utmost attention. 
 
 The north side of a tree will be found the most produc- 
 tive. The reason for this may be, that, in descending the 
 tree, the caterpillar avoids the wind, and, our prevailing 
 wind being the south-west, he descends on the north side. 
 This, however, is merely conjecture ; but the fact remains, 
 and is undoubted. Solitary trees will be found best for the 
 purpose ; and this mode of collecting has the advantage ';hat 
 it may be carried on during the winter, when neithei the 
 larva nor the perfect insect can be obtained. 
 
208 HWTS ON.MAk'ING SMALL COLLtCTlONS. 
 
 The collector may, if she pleases, search for eggs on the 
 leaves of the food-plant, bearing in mind that they are 
 almost always deposited on the under side of the leaf. This 
 method of collecting is by no means easy, as the eggs are 
 with difficulty distinguished ; and it is doubtful if it repays 
 you for the trouble taken. Moreover, the caterpillars, on 
 their first appearance, are so small that the difficulty of 
 successfully rearing them is immense. 
 
 Searching for caterpillars is a first-rate way of getting 
 specimens, a.nd opens a large field of operations to the col- 
 lector. You may search either by day or night, and, if 
 careful, will seldom fail to find a sufficiency on almost any 
 shrub. The examination of grass will also prove profitable. 
 Much depends on quickness of eye, which will wonderfully 
 improve by practice. But there is a method which does not 
 demand such skill, and is even more advantageous : it is 
 known as ** beating." The process is carried on by beating 
 the bushes with a stout stick, while an open umbrella is held 
 inverted beneath in order to catch the falling larvae. 
 
 In the umbrella will be found a mixture of dead leaves, 
 earwigs, bits of stick, spiders, beetles, and caterpillars. The 
 latter must be carefully picked out, and placed in boxes to 
 be taken home. The umbrella used for this purpose should 
 be of some stout material, or it will soon become torn and 
 useless. In rearing the caterpillars they must be kept in 
 a cool place, well supplied with air : any box covered with 
 gauze will answer the purpose. They must be fed on their 
 proper food-plant, which should be gathered fresh, and con- 
 stantly changed. When they are about to become pupae, 
 some earth and moss should be placed in the box for them 
 to spin up in. The moss must be boiled, and the earth 
 baked, before using it for this purpose. The object of this 
 is to destroy insects, which would feed on the pupae. These 
 
HINTS ON MAKING SMALL COLLECTIONS. 209 
 
 latter require no attention beyond keeping in a cool place, 
 out of the reach of mice and insects : they will come out 
 in their proper season. 
 
 The great charm of rearing insects in this manner is the 
 perfection of the specimens obtained. A moth or butterfly 
 which is caught is seldom absolutely perfect, being generally 
 slightly rubbed, either by the means of capture, or from 
 some accident in its previous life. Sometimes one of the 
 antennae is missing, often the wings are torn ; and these 
 misfortunes become especially annoying when the insect is a 
 rare one. Often common moths are so rubbed, that a young 
 collector may easily mistake them for some great prize. 
 
 We now come to the methods employed in the capture 
 of butterflies and moths in the perfect state ; and for the 
 former we have only the net. Of course, this instrument is 
 also adapted for taking the few moths which fly by day, and 
 also for their capture, under certain circumstances, at night. 
 
 It is hardly necessary to give any description of this well- 
 known instrument. I will merely remark, that a home-made 
 one is perfectly satisfactory. The handle should be from 
 four to five feet long : the ring may be made of stout iron or 
 brass wire, and bound to the handle with waxed twine. The 
 net should be twice as deep as the ring is wide, and, if made 
 of any glazed or sized material, should be well soaked to get 
 rid of the stiffness. 
 
 As soon as a butterfly is caught, it should be rendered 
 senseless by a sharp pinch under the wings. This is done 
 through the net, and the insect may then be removed to a 
 closely-fitting box of tin or wood lined with cork. In this 
 box should be pinned a small bag of freshly bruised laurel- 
 leaves, which will stupefy and kill the insects if they are not 
 already dead. Each butterfly must be attached to the cork 
 by a fine pin : use for this purpose a much finer one than 
 
2IO HINTS ON MAKING SMALL COLLECTIONS. 
 
 the insect will finally be set on, as you can replace it when 
 you get home with one of suitable size. 
 
 Moths must not be pinched : they are, as a rule, better 
 kept, each in a chip pill-box until you return. 
 
 For the capture of moths at night there are several plans. 
 First, there are the natural attractions afforded by some 
 plants. I am speaking now of the large class of moths 
 called the noctuce^ which contains more than three hundred 
 species. Among the attractive plants may be mentioned 
 honeysuckle, privet, nettles, and especially ivy in bloom. 
 This last has such a charm, that in its neighborhood it is 
 useless to offer any other bait. When partaking of any of 
 these sweets, moths may be captured with the net, or even 
 boxed, without its aid, in one of the chip boxes before 
 mentioned. A lantern is, of course, indispensable. 
 
 As these natural sweets appeared irresistible, the happy 
 idea was originated of making an artificial bait on the same 
 principle ; and the following plan will be found useful : — 
 
 The process is called "sugaring." Procure some of the 
 strongest-smelling brown sugar, — that from the bottom of a 
 cask is best, — and mix it with beer or water until a very 
 stiff sirup is formed. Just before using this, add to it some 
 rum, — a wineglassful will be plenty for a pint of the mix- 
 ture. The mixture should be painted with a brush on the 
 trunks of trees, in patches about a foot square. This should 
 be done about dusk, and the patches may be visited at 
 intervals of half an hour. You will see plenty of moths 
 imbibing the sugar ; and they are mostly intoxicated by the 
 rum, and can be easily boxed. 
 
 It will be found useful to fasten with a tin tack a piece of 
 white card above every patch of the composition.' You are 
 thus able to see at a glance where to look, and it may also 
 attract the moths. 
 
HINTS ON MAKING SMALL COLLECTIONS. 2H 
 
 The sugar should be brushed on the side away from the 
 wind if there is any. Still, cloudy, and damp nights are 
 best : on moonlight nights it is no good at all. You can 
 continue to examine the sugar until ten o'clock, or later. 
 But there is another method which can be practised in the 
 evening ; and it is one which you will all know, though it 
 may have been to you, hitherto, rather an annoyance than 
 otherwise. 
 
 I allude to the attraction of a light. We all know that 
 in the summer evenings, when the lamp is lighted and the 
 window open, we are constantly annoyed by the incursions 
 of moths and other insects. If you open the windows wide, 
 and put the lamp near them, you will have as many as your 
 heart can desire ; and it is no easy work to secure them. 
 The net must be used for those which continue to fly about; 
 but some settle down, and may be boxed at once. You are 
 likely to get a great number of the same species ; but you 
 will soon be able to recognize them, even on the wing, and 
 not employ your time in the capture of those of which you 
 have already sufficient. 
 
 There has been much discussion on the question of how 
 to kill moths, and collectors differ much on this head. It is 
 to the interest of the collector (as well as of humanity), that 
 death, or, at any rate, insensibility, should take place as soon 
 as possible ; for the specimens would injure themselves by 
 struggling. I do not like to recommend poisons to young 
 collectors, however safe they may be in experienced hands ; 
 and perhaps the laurel-leaf plan is the best all round. But 
 for some of the larger moths it will only cause stupefaction, 
 and these should be then killed by a slight stab from a sharp 
 quill dipped in a saturated solution of oxalic acid. Chloro- 
 form is a favorite with some ; but it leaves the wingii stiff, 
 and is very expensive, besides evaporating easily. 
 
212 HINTS ON MAKING SMALL COLLECTIONS. 
 
 We are all familiar with the appearance of a moth when 
 set out in a cabinet, but it has to undergo careful treatment 
 before it reaches that perfection. It has first to be pinned 
 with an ** entomological " pin. These pins are made for 
 the purpose, and must be bought. The pin must be put in 
 very straight and with great care. Use too small a one 
 rather than too big, as a larger one can at any time be sub- 
 stituted ; and no doubt the pin was made to hold and show off 
 the moth, and not the moth to ornament and beautify the pin. 
 
 The insect is then pinned in a groove in a suitably sized 
 "setting board," which is simply a strip of deal with a 
 groove to receive the body ; while the wings are spread out 
 over the wood at each side, which should be slightly rounded. 
 The wings should be brought up a little in advance of the 
 head, and of course must be even with each other. They 
 are to be kept in position by small triangular pieces of card 
 pinned over them. 
 
 In pushing forward the wings, a small piece of apparatus, 
 which is most easily made, is invaluable. Take a bit of cork 
 about the size of a pea ; and run through it, at right angles to 
 each other, a pin and a long bristle ; then the thing is done. 
 By sticking the pin into the board, the bristle may be made 
 to press on the wings, which will hold wherever you put 
 them ; and they can thus be easily coaxed into their proper 
 place by the aid of a needle. 
 
 The antennae and legs must also be set, and the insect 
 left for some days to harden, or " set "as it is termed, tak- 
 ing care meanwhile that it is in a dry and airy place, and out 
 of the reach of mice, wasps, and cockroaches. It is then 
 ready for removal to the cabinet. 
 
 With regard to the cabinet, unless you can have a good 
 one, have none at all, and be content with keeping your 
 insects in corked boxes. In either case a plentiful supply 
 
HINTS ON MAKING SMALL COLLECTIONS. 213 
 
 of camphor must be kept with the specimens, or they will 
 soon fall a prey to "niites." This pest is a plague of small 
 insects, which devour the specimen ; and their presence 
 makes itself known by dust appearing under the moths. 
 Mites may be killed by inverting the drawer or box over 
 blotting-paper soaked in naphtha: it should be left in this 
 position for an hour or two. 
 
 Another plague which attacks the specimens is called 
 "grease." This is caused by the fatty matter in the bodies 
 of the moths extending over the wings, and completely spoil- 
 ing their appearance. Prolonged soaking in benzine will be 
 found a satisfactory cure for this unsightly disorder. 
 
 Many of our butterflies and moths are very common, and 
 the young collector will almost certainly get them in her 
 first season. Others are rare ; and yet any one may come 
 across them, and of these we have all an equal chance. 
 Indeed, many rarities fall to young collectors, owing to their 
 habit of catching every thing they see ; while an older hand 
 might fancy that he recognized it as something common, 
 and so let it escape him. But the insects which you will be 
 unable to get except by exchange are known as "local" 
 insects. These are often common enough in the place which 
 they inhabit, but are absolutely confined to that locality, or 
 to several localities resembling each other. 
 
 All specimens must be carefully labelled, and it is not 
 hard to identify them from the woodcuts in a book. I would 
 strongly recommend the use of books with uncolored illustra- 
 tions : the colors in others are always wrong, and serve only to 
 mislead. Any that you are doubtful about you should reserve 
 until you have an opportunity of comparing them with some 
 good collection, or getting them named by some authority. 
 
 When you have made your collection, you will have got 
 more than you are quite aware of. You will have accu- 
 
214 HINTS ON MAKING SMALL COLLECTIONS. 
 
 mulated a store of curious information about insects and 
 their habits, and your own powers of observation will have 
 been strengthened and sharpened by exercise. 
 
 Although the butterflies and moths are the prettiest, you 
 may wish to go farther in your researches. In this case 
 you will probably extend your collection to either beetles or 
 spiders ; and both of these classes arouse much enthusiasm 
 in their collectors. There are also many kinds of bees and 
 wasps, though the fear of getting a sting may deter you 
 from the pursuit of these. 
 
 Girls are extremely well suited to this class of work, as 
 they have, as a rule, the delicacy of touch which is necessary 
 in handling the small and fragile insects which must be 
 reared and set. The pursuit will also encourage careful and 
 orderly habits ; for, without a great deal of method and regu- 
 larity, any kind of collection becomes mere confusion. Nor 
 is the study of insects without its use. Many insects are 
 disagreeably known to us as preying on some plant which is 
 useful or necessary to us in our daily lives. Among such 
 may be noticed the phylloxera, which devour vines ; the 
 locust, mentioned in Scripture with such dread ; and, to 
 come to our own country, the larva of the cabbage-moth 
 and of the currant-worm, with many other pests peculiar to 
 special crops and regions. For books which will be great 
 helps in this direction see p. 412, 413. 
 
 Great honor and reward await any one who may discover 
 the means of destroying these pests, or alleviating the 
 destruction which they cause. And, to show that girls need 
 not consider themselves unfitted for success in this line, it 
 may be mentioned that our greatest authority on the subject 
 is a lady. Miss Ormerod, whose painstaking investigations 
 have won for her the admiration of all who take any interest 
 in such matters. 
 
THE AQUARIUM. 21$ 
 
 CHAPTER VI. 
 
 THE AQUARIUM. 
 
 Nothing gives more pleasure in some ways than the own- 
 ership of either a marine or fresh-water aquarium ; for, be- 
 sides the enjoyment of watching the small inhabitants, there 
 is the even greater one of collecting them. 
 
 The first thing to remember is, that the artificial home 
 must be as much as possible like the real one of the fish. 
 The high, narrow tanks sold for aquaria are made on the 
 worst possible plan ; for they give a very small surface for 
 the air to act upon, whereas there should be as much as 
 possible. A broad, shallow tank will give longer life to 
 every thing in it. With a well-made aquarium, where plant 
 and animal life is exactly balanced, the water need never be 
 changed. An excellent size for home use is one 24 inches x 
 7 inches x 16 inches. This can be made at home. Putty 
 will not answer for cement, as it crumbles when long in 
 water. At aquarium-stores one can buy what is called aqua- 
 rium cement, but the " Scientific American " gives a rule 
 which makes an excellent one. Bear in mind this is for a 
 fresh-water aquarium. 
 
 " Aquarium Cement. — Linseed-oil, three ounces ; tar, 
 four ounces ; resin, one pound : melt together over a gentle 
 fire. If too much oil is used, the cement will run down the 
 angles of the aquarium. To obviate this, it should be tested 
 before using, by allowing a small quantity to cool under water : 
 if not found sufficiently firm, allow it to simmer longer, or 
 
2l6 THE AQUARIUM. 
 
 add more tar and resin. The cement should be poured in the 
 corners of the aquarium while warm (not hot). It is pliable, 
 and not poisonous." 
 
 When the aquarium is firmly cemented, an inch of sand 
 and gravel must be put on the bottom. It is best also to 
 paint the back and sides with green paint, as it is sheer 
 cruelty to have the fish constantly exposed to a glaring light. 
 If a little rockery is wanted at one side, cement that from 
 various pebbles, but never bits of coral or shells, as the lime 
 in them is very bad for fresh-water fish. 
 
 To dredge up some water-plants from the nearest brook or 
 pond is the next step, — starwort, milfoil, pond-weed, blad- 
 der-weed, etc. Sometimes they grow on bits of stone, but 
 usually you will have to fasten the roots to small stones with 
 a thread. Fill the tank with water, and set it where it will 
 get light, but not strong sunshine. It will take about ten 
 days for growth to start well, and then you can put in the fish. 
 Gold and silver fish, pond-bass, crawfish, water-bugs of several 
 sorts, tiny turtles, little frogs and eels, all become more or 
 less tame. Dace, "killies," minnows, etc., may all be added ; 
 but remember that the dace, carp, or gold-fish must be much 
 larger than the perch, bass, and sunfish, else they will soon 
 find lodging inside the latter, who are always hungry. 
 
 The stickleback is one of the most interesting to watch. 
 He is a hard worker, and very pugnacious ; and whether 
 building a house, or fighting off his enemies, has a business- 
 like manner which he never lose^. 
 
 In feeding them, remember that they all have different 
 habits ; some being greedy, and some abstemious. Bread- 
 crumbs answer for carp, dace, etc. ; but very finely-cut meat 
 or worms must be given to bass, pickerel, or gars. No food 
 must be allowed to lie in the water, as it will contaminate it. 
 Prepared food is sold at aquarium-stores, and all of the fish 
 
A MARINE AQUARIUM. 21^ 
 
 will eat bread. Crawfish are almost as amusing as hermit- 
 crabs. ** They pull up the plants, upset the rockery, nip the 
 ends off the fishes' tails, crack the mussel-shells, pull out the 
 inmates and devour them, squeeze the caddis-worm from his 
 little log house, and in fact are incorrigible mischief-makers." 
 Tadpoles, too, are very interesting ; and a baby-turtle will eat 
 his own weight in flies every day. 
 
 A MARINE AQUARIUM. 
 
 This is made on much the same plan as the fresh-water 
 one, save that there should be a shallow, slanting, false 
 bottom. The glass is set in a grooved frame, as with the 
 first described ; but the cement used is different, a form 
 being given in the "Scientific American." 
 
 " Cement for Marine Aquaria. — Take ten parts by 
 measure, litharge, ten parts plaster-of-Paris, ten parts dry 
 white sand, one part finely powdered resin, and mix them, 
 when wanted for use, into a pretty stiff putty with boiled 
 linseed-oil. This will stick to wood, stone, metal, or glass, 
 and hardens under water. It resists the action of salt water. 
 It is better not to use the tank until three days after it has 
 been cemented." 
 
 Clean cinders make very pretty rock-work ; and it is well 
 to build and cement a small arch, through which the fish will 
 dart, and against which they can rub, using an old oyster- 
 shell for top-piece. At least an inch and a half of sand must 
 be put in the tank, which is then to be filled with salt water 
 from the sea, and not manufactured. 
 
 Let it stand a day or two, and then put in your plants, 
 selecting pebbles on which bright seaweeds are growing. 
 Too much light will kill them. The back and sides may 
 better be painted green, and never let the sun strike directly 
 upon the aquarium. Hermit-crabs and fiddlers, with their 
 
2l8 THE AQUARIUM, 
 
 one big claw always waving in protest or mischief, eels, the 
 beautiful sea-anemones, will give unfailing pleasure. 
 
 Tadpoles afford more amusement than any other speci- 
 mens, save hermit-crabs and sticklebacks, but need a vivari- 
 um, or a tank which is part earth, part water. I do not know 
 of any thing more interesting for the river aquarium or vi- 
 varium than to watch the metamorphosis of the tadpole 
 from the spawn to the fully developed frog, toad, or lizard. 
 The eggs may be found in ponds or ditches during the 
 months of March or April. The following is a drawing of 
 spawn found on the 4th of March, showing the different 
 stages of the larvae form. 
 
 First the external gills appear (tiny tufts on each side 
 of the head), then two legs sprouting near the tail ; after 
 that, the fore-legs make their appearance ; when the tail is 
 gradually absorbed into the body, and the little fellow hops 
 nimbly to the nearest leaf or rock, and finally quits the water 
 altogether. First, they breathe by external gills ; secondly, 
 by rudimentary lungs and gills ; thirdly, on leaving the water, 
 by lungs alone. In every form, these erratic " wriggle-woggle- 
 bobbas " are as active as interesting ; not the least so as a 
 microscopic object, the circulation of the blood in the tail 
 being a most exquisite and wonderful sight. 
 
 Do not overstock the aquarium, as then the inhabitants 
 will pine and die. Feed on finely chopped clams or oysters, 
 or raw meat, or prepared food, with which directions come. 
 If the water evaporates, remember that the salts in it do not, 
 and simply make up the loss with fresh water. Be careful 
 to skim out all uneaten food, and keep the top covered with 
 glass to keep out dust. Stir the water daily for a minute to 
 give more air. 
 
 Low tide at the seashore will give you many curious things. 
 Wear very old shoes (as salt water ruins good ones) and old 
 
A MARINE AQUARIUM. 
 
 219 
 
 clothes also. Carry wide-mouthed bottles or glass preserve- 
 jars in a basket, and use a little dip-net, which can be made 
 of mosquito-netting. Barnacles are very interesting ; for, if 
 you watch, they suddenly put out a curious hand-shaped part 
 that grasps after any thing near it. And in a morning you 
 can get enough of all sorts of things for a dozen aquaria. 
 
 Fig. 50. 
 
 Marine worms in these cases are very brilliant ; and you will 
 find the fullest description of this beautiful sea-life in a book 
 by the Rev. J. G. Wood, the full title of which is on p. 412. 
 Where a more elaborate tank is needed, the best form ever 
 made is that of the slope-back tank, — an English patent, but 
 for sale also in this country. Time, labor, money, and anxi- 
 ety are saved by their use. After many years' trial they 
 are proved to be lasting and satisfactory : they enable the 
 greatest number of animals to be healthily maintained in 
 
220 THE AQUARIUM, 
 
 the smallest space, and therefore at the least expense ; be- 
 cause the water is advantageously spread outj not piled up, 
 and every portion is turned to good account. One great 
 secret of success is the " dark-chamber " principle. Every 
 tank is provided with a sloping back, upon which the rockery 
 is cemented, for the accommodation of animals, plants, and 
 that portion of water visible to the spectator. The under 
 part contains water in a state of darkness, and therefore clear- 
 ness : the two are made to communicate by several small 
 holes ; so that the circulation of water is constant, though 
 slow. When we remember that an aquarium is a limited 
 portion of unchanged water containing animal and vegetable 
 life, which must necessarily throw off decaying matter, the 
 extreme value will be felt of a reserve store, within the tank 
 itself, of cool, clear water, which, being free from corrupting 
 animal and vegetable matter, keeps up a constantly purifying 
 influence upon the fluid in front. Should the water in the 
 outer chamber become foul, green, brown, or white, the pure 
 water behind may be made to take its place more actively 
 by a small pump or syringe inserted in a hole left in the 
 upper comer for the purpose. This hole must be always 
 carefully covered with a loose bit of stone, lest any animal 
 should enter, and destroy the object of the under partition, 
 which is " to allow no organic matter to enter, and to let no 
 light be admitted to it, so that any water placed there rap- 
 idly becomes deodorized and colorless." This arrangement 
 was considered by Mr. Lloyd (in 1861) next best to having a 
 constant stream in an aquarium. 
 
 The engraving is a sectional view of one of his slope-back 
 tanks, " the invention of which has largely helped to revolu- 
 tionize aquarium science." 
 
 a is the dark water-chamber ; b, aquarium proper ; r, plate- 
 glass front ; d, glass cover in two pieces, fitting in a groove 
 
A MARINE AQUARIUM. 
 
 221 
 
 on the top, leaving an inch of open space to allow a free 
 current of air ; e, hole for the syringe ; /, bottom and back 
 of slate. The two ends are of the same material, thus giving 
 strength and solidity to the whole ; and, being opaque, they 
 prevent the admission of light through the sides. 
 
 Aquatic organisms require modified light, always obtained 
 through the surface. Seas and rivers are illuminated in this 
 way ; and, as our 
 object is to follow 
 nature as closely 
 as possible, those 
 tanks which have 
 three sides opaque, 
 and one only of 
 glass (reserved for 
 the observation of 
 the contents), 
 must be better 
 
 than any other va- p,^, ^^ 
 
 riety. 
 
 Some of the accidents that may happen are given here, 
 and the rules that naturally made themselves as protection 
 against such catastrophes. 
 
 First, a thunder-storm turned the water white. Secondly, 
 fish and shrimps jumped out, apparently boiled. Thirdly, 
 •jpecial pets died the morning after a party. Fourthly, the 
 sand became black. Fifthly, stones fell down, and broke 
 the glass. Sixthly, creatures devoured or killed one another. 
 Seventhly, weeds died. Eighthly, confervcB choked the tank. 
 Ninthly, the water was often changed. Tenthly, the climax 
 was reached by the bursting of the largest bell-glass, in a 
 most mysterious manner, at six o'clock in the morning. All 
 I know is, that on the drawing-room carpet was a hetero- 
 
222 THE AQUARIUM. 
 
 geneous mass of frightened shrimps, fish, crabs, anemones, 
 starfish, sand, stones, glass, and ten gallons of sea-water. A 
 coroner's inquest was held on the remains. The verdict 
 returned (for want of further light on the subject) was, 
 " Spontaneous combustion." 
 
 Now you stand a much better chance of success. Have 
 we not learned how to avoid these calamities } 
 
 1. Do not overstock the tank. Keep the animal life at a 
 minimum rate, leaving a margin for emergencies. 
 
 2. Aerate the water in hot weather, always remembering 
 to syringe gently, so as not to disturb the animals, or to stir 
 up the sediment. Extreme cold also kills delicate animals. 
 
 3. Dissipation does not agree with " water-babies." If 
 you have an evening party, take them out of the room ; or 
 if that be impossible, and the room becomes heated with fire 
 and gas, keep a wet cloth round the tank, throw open the 
 window the last thing at night, give a dose of fresh air and 
 a few strokes with the syringe. 
 
 4. Watch the sand well. Do not allow any burrowing 
 creature to go away into a cranny to die. Remove the first 
 speck of black, or the least sign of white, film that some- 
 times spreads over the bottom. 
 
 5. Cement the rock work together when possible, or use 
 clinkers. Portland cement is sometimes employed, or white 
 lead putty covered with shellac dissolved in naphtha. Or, 
 better still, use a compound of red and white lead, litharge, 
 umber, and boiled oil. 
 
 6. Make a division of species. A small tortoise will kill 
 a large gold-fish ; fish eat tadpoles ; tadpoles eat any thing ; 
 sticklebacks eat (almost) every thing else that does not eat 
 them ; crassies and antheas sting and eat fish, shrimps, etc. ; 
 shrimps eat starfish ; starfish eat young anemones ; and so 
 it goes round. 
 
A MARINE AQUARIUM. 22$ 
 
 7. Never import plants, but allow them to grow of them- 
 selves, to purify the water, and keep the animals healthy : 
 grow enough for this, and no more. 
 
 8. Give little light. Shade with blue blinds or screens, or 
 curtains, and cover the tank entirely whilst the sun is out. 
 
 9. Choose the coolest and shadiest aspect available :. north 
 is the best, or even underground. Keep the temperature 
 from 45° to 60° F. ; but with a stream, fountain, or motion, 
 70° or even 80° need not be feared. Avoid sunshine, and 
 remove any dead or decaying matter. Keep a stick of char- 
 coal in the water : it acts as a deodorizer or purifier. Aim 
 at an even temperature, and avoid extreme cold. 
 
 10. Never use a bell-glass of great size, but employ shal- 
 low vessels, and tanks with only one side of glass, and the 
 other three opaque, made of some non-corrosive substance, 
 such as enamelled slate ; avoiding all metallic materials, 
 such as bronze, iron, lead, etc. 
 
 11. Never change the water : regard it as an indestructible 
 medium for sustaining life. Find out how much it will main- 
 tain under given circumstances ; keep that much, and no 
 more. A small still aquarium can be self-sustained as well 
 as larger ones with a large service of water and circulating 
 machinery. 
 
 12. The best proportion for a tank is that having the lar- 
 gest surface and smallest depth proportionate to the size of 
 the animals. It does not matter so much how the aeration 
 is obtained, as long as it is sufficient. 
 
 For small domestic aquaria, five or ten minutes* daily 
 attention, paid regularly, is enough to keep any well-regu- 
 lated tank in order. Besides this, I used to give mine about 
 an hour once a week. Skim the surface with a cup, strain 
 it through muslin, add the amount of fresh watei necessary 
 to supply the loss by evaporation, mix the frcsi well with 
 
224 ^^^ AQUARIUM. 
 
 the salt water, and before returning it to the tank rub the 
 glass side or sides to keep down the growth of weed, which 
 is sure to obscure the glass unless frequently rubbed off. A 
 bit of sponge or rag tied firmly around a stick answers per- 
 fectly. For feeding anemones, etc., a small pair of wooden 
 forceps are desirable. Never handle or tease any of the 
 creatures. 
 
WALKING-CLUBS AND CAMPING OUT, 22$ 
 
 CHAPTER VII. 
 
 WALKING-CLUBS AND CAMPING OUT. 
 
 It is a real walking-club of, on the whole, very sensible 
 girls, whose experience follows here ; and it may stand as 
 that of many who have attempted the same thing, and failed. 
 
 There was once a party of girls who read a certain fasci- 
 nating book about gymnastics and out-door exercise, known 
 as Dr. Blaikie's " How to get Strong," and who resolved to 
 get up a walking-club. Eight members were allowed. They 
 chose an even number as pleasanter, because pairing off 
 exactly. Twice a week, at two in the afternoon, the eight 
 met and sallied forth ; and for each excursion a leader was 
 chosen, who had arranged the route beforehand. 
 
 The season was autumn, when everybody longs to be in 
 the fields, or rustling through the dry woods ; and the eight 
 discovered all the best views, and all the wood-nooks where 
 ferns bleach in the green darkness, and all the hidden springs 
 where the brooks begin ; and they came home laden with 
 trophies. 
 
 Yet the club lived only a month or two, when it was in- 
 terrupted by Christmas-gift work, and never resumed. Can 
 you guess why ? Remember, these girls were not, as you 
 might suppose, of the " fickle crewe," who take up one pur- 
 suit after another, only to tire of each after a short trial, 
 although a large and thriving family of such exist in the 
 land. They were healthy-minded Massachusetts girls, hon- 
 estly anxious to seek fresh life and knowledge from the great 
 
226 WALKING-CLUBS AND CAMPING OUT. 
 
 Store that Nature has hidden away in the fields and woods 
 and rocks. The result of their experiment discouraged them. 
 Perhaps they were too easily discouraged. 
 
 In the first place, none of them were accustomed to long 
 walks ; for, like most American girls, they had never culti- 
 vated the habit. The club began where it should have left 
 off (provided it left off at all), — by taking long tramps of six 
 or eight miles, from which it returned tired almost to death, 
 although not one of them could have been brought to say so : 
 it is so humiliating to admit that we have undertaken more 
 than we can carry through. 
 
 Our poor little walking-club fixed the hour of starting too 
 soon after the mid-day dinner, and some of the members felt 
 pangs of indigestion which even the fresh air could not cure. 
 
 Their boots, which had seemed a perfect fit, shrunk unac- 
 countably after an hour's walking, and pinched their feet ; 
 which was bad enough. But one girl, whose little French 
 heels curled inward till they ended under her instep, fared 
 worse ; for, in jumping over a brook, she sprained her ankle, 
 and suffered for weeks with the pain. 
 
 She never rejoined the club, for her mother objected to 
 such violent exercise ; and I regret to say that she still wears 
 French heels on her boots. As if the question of boots 
 were never to be settled, the untidy girl next had an adven- 
 ture, although it should be added that adventures were very 
 common in her career. One layer of sole on the untidy girl's 
 boot, after being wet in a swampy place, split off all along 
 the toes, and flapped up and down as she walked. She stuck 
 it together with a gumdrop ; but, as you may imagine, the 
 remedy was not complete, and the remainder of the walk was 
 a failure. The untidy girl wore a flounced skirt, not very 
 stout, nor securely sewed ; and she seldom returned to town 
 without some lamentable tatters. 
 
WALKING-CLVBS AND CAMPING OUT. 22^ 
 
 But hers was an example without followers ; for most of 
 the club wore plain skirts, which did not easily tear nor soil, 
 made sufficiently full to enable them to jump a ditch, or climb 
 a fence, if the necessity arose. 
 
 Little by little the girls lost enthusiasm, and felt less in- 
 clination for the inevitable effort required to take them 
 through the long tramp marked out. The result of over- 
 exertion had been, as it always is, a loss of muscular strength 
 rather than a gain ; and the girls found themselves at the 
 end no better walkers than they were when they started. 
 
 To make of your walking-club a lasting success, a few 
 practical resolves are necessary : — 
 
 Wear broad-soled, low-heeled, stout boots, that fit easily, 
 but not too loosely, and your feet will not swell, nor your 
 back ache, after the exercise is over. Begin moderately, and 
 increase your number of miles gradually ; for muscles must 
 be trained by slow degrees to unaccustomed work. English 
 girls, as nearly every one knows, are good walkers, and think 
 nothing of a ten-mile stretch in a morning before lunch ; but 
 of course they have been trained to it from childhood. The 
 climate of England is more favorable to walking than ours, 
 — more moist and equable. It is therefore necessary to warn 
 those who mean to emulate their British cousins, that they 
 must avoid overheating, the danger of sunstroke, and the 
 chill that strikes into the very marrow sometimes, while rest- 
 ing, after exertion, on the summit of a hill where the keen 
 breeze sweeps unchecked. 
 
 Unless girls are satisfied simply to be abroad in the fresh 
 air, they will want some object or employment in these per- 
 petual long walks ; and nothing will better keep their enjoy- 
 ment fresh than botanizing, geologizing, or the study of 
 entomology. The many treasures of the woodland — ferns, 
 cones, lichens, bits of fungous growth — may all be used to 
 
228 WALKING-CLUBS AND CAMPING OUT. 
 
 beautify your homes ; and the process by which it may be 
 done is described in the following chapter. 
 
 Or if you have bottled up your animal spirits in a school- 
 room all the morning, until uncorking has become a neces- 
 sity, the lonely fields offer a clear space for a healthy 
 romp. 
 
 A walking-club grows naturally, like any healthy organiza- 
 tion, and, from short tramps about the neighborhood, expands 
 into longer excursions, even into walking-tours covering a 
 week's time, and more. 
 
 Where a prolonged trip is planned, each girl should put 
 what she needs for the journey in a shoulder-bag, which 
 means simply a small satchel hung by a long strap from 
 the shoulder. Carry nothing that is not essential, for even 
 a small weight borne constantly will grow irksome. 
 
 A tour of this kind is one of the pleasantest outings that 
 can be devised by a party of lively girls. In its slow prog- 
 ress the members of the club learn the country thoroughly ; 
 and, if they desire to make collections, there is plenty of 
 time. Powers of observation develop, which lend an inter- 
 est to the lowliest object, and will fill with events the least 
 adventurous day. Passers-by along the road look kindly 
 upon the little party ; and at the farmhouses the women are 
 glad to offer draughts of foamy milk, listening with wonder 
 and amusement to the history of the walking-club, which 
 will long be repeated by the firesides of the neighborhood. 
 
 The nights may be spent in different towns on the route, 
 in which case a careful calculation is necessary, making sure 
 that the distance allowed for each day is not too much, and 
 leaves a margin for possible accidents. 
 
 More liberty is permitted where the party arranges to 
 camp out, and starts supplied with food, blankets, and the 
 -Other essentials for camping. In this case the club may calJ 
 
WALKING-CLUBS AND CAMPING OUT. 229 
 
 a halt when it pleases ; the only requisites for a camp being 
 solitude, kindling-wood, and a neighboring spring. 
 
 It is best that in camping out the club should be provided 
 with a parent or an older brother, both for the help of a 
 strong arm in struggling with natural difficulties, and in 
 order that anxious friends may be re-assured. But that it is 
 possible for girls to go alone, without danger or annoyance, 
 has been proved by more than one pioneering party, — nota- 
 bly that of the girls who " did " the North-Carolina moun- 
 tains last summer (1882). 
 
230 LIGHT GYMNASTICS, 
 
 CHAPTER VIII. 
 
 LIGHT GYMNASTICS. 
 
 It is so well understood that health and happiness depend 
 on bodily vigor, that no girl of the present age can afford 
 to be ignorant of the value of gymnastics. Our maiden can, 
 either alone or with one or more friends, arrange a course 
 of games and exercises which will send the currents of life 
 tingling joyously through her veins, bring a sparkle to her 
 eye, and a glow to her whole being, such as can come only 
 through the easy play of every organ and muscle. She will 
 understand, also, why the fragility of the past is no longer 
 recognized as a mark of refinement and beauty. 
 
 In order to practise gymnastic exercises properly, the 
 amateur will use a dress with a French waist, worn without 
 a corset, and the belt two inches longer than the waist- 
 measure when the lungs are fully expanded. The armholes 
 are to be large and easy ; the skirts suspended from the 
 shoulders, and not quite reaching the ankles ; and every 
 part of the clothing fitted so free that there is absolutely 
 no restraint on any portion of the person. Equipped in this 
 way, gymnastics will be greatly enjoyed during those winter 
 storms when open-air exercise is impossible. 
 
 One of the best games invented by Dr. Dio Lewis, who 
 has do«e so much to make these exercises popular, is the 
 throwing of bean-bags. These are made out of strong bed 
 ticking, eight inches square, filled about two-thirds full of 
 well-washed beans, The gymnasts arrange themselves in two 
 
LIGHT GYMNASTICS. 23 1 
 
 rows, face to face, and six feet or more apart. While count- 
 ing in unison i, 2, 3, 4, or with some one playing a simple, 
 strongly marked air on the piano, at a given signal all 
 "throw and catch," each with her opposite neighbor; the 
 bag thrown, not tossed, from a position on a level with the 
 chin. The movements may be gradually quickened, and a 
 friendly contest maintained by each couple trying to outdo 
 the others in number of throws. As a variation, throw the 
 bag, with arms stretched at full length above the head, or 
 from behind the neck ; all giving grand exercise to the 
 muscles of the upper portion of the body, and developing 
 those of the chest. Learning to throw and catch with the 
 left hand is an amusing feat ; also forming a circle, and each 
 player throwing the bag to her neighbor on the right with 
 the hand on that side, at the same time catching that thrown 
 by the player with that on the left. Any number of inter- 
 esting games can be devised by our ingenious youths. 
 
 Exercises with wands, rings, dumb-bells, and Indian-clubs, 
 are almost numberless. In most of these, the floor needs to 
 be marked, — if carpetless, with a small blotch of paint ; if 
 carpeted, by some white cloth sewn to measured distances 
 (which are to be four feet and a half either way), or by cer 
 tain figures on the carpet itself. In using rings these are 
 ignored, since the toes of the players are to touch ; but in 
 cases where exactness is required, the heels should be plant- 
 ed on either side this spot so marked. 
 
 Rings, about five inches across, are used by two persons, 
 each clasping the same pair by both hands, and '* see-sawing," 
 by thrusting one hand out horizontally to the full length of 
 the arm while drawing the other forward to the chest, with 
 the feet moving backward and forward in the same manner. 
 To vary this movement, swing the arms, joined by the rings, 
 hand-clasped as before, alternately up and down, or side- 
 
2 $2 LIGHT GYMNASTICS. 
 
 ways, meanwhile stamping out firmly with each foot, corre 
 sponding in movement with the arm above, with the heels 
 touching when drawn to the mark on the floor. Too many 
 movements to be described can be improvised, exhilarating 
 in proportion to the interest and spirit of the gymnasts and 
 the music with which they keep time. These must not be 
 languid and lagging, or the grace and value of the sport is 
 lost. 
 
 Wands, or straight, smooth sticks, four feet long and an 
 inch in diameter, are useful to cultivate flexibility of the 
 joints of the arm and shoulder, and to give symmetry to 
 the upper portion of the body. The veteran gymnast. Dr. 
 Lewis, who introduced the wand, used it in no less than 
 sixty-eight different movements, none of them severe for the 
 most delicate person. One of the best is to grasp it with 
 extended hands, and carry it back and forth over the head, 
 changing this to diagonal motions over either shoulder. Or 
 each couple, by seizing the extremities of two wands, can 
 invent a long series of exercises, each terminating by march- 
 ing while holding the wand in positions that are changed 
 according to the step. 
 
 Dumb-bells made of wood, and very light, are used in 
 various ways. Sometimes the girl, standing perfectly up- 
 right, extends her arms horizontally, with palms of the hands 
 outward. At the next bar of music she raises them straight 
 over her head, back to the first position, then drops them 
 to her side. Or she raises them at right angles with the 
 body, then up and down. The beauty of all these move- 
 ments consists in the perfect accord of the players, and the 
 zest with which they enter into the sport. 
 
 A thick cord of strong india-rubber, with wood handles 
 to stretch over the back and head, is a tonic to the muscles, 
 and increases the strength of the arms. A ring fastened by 
 
LIGHT GYMNASTICS, 
 
 233 
 
 a strong rope to a beam in the ceiling is often used by the 
 amateur to draw up the body by the hands. None of these 
 games should be carried to extremes, and so need not be 
 exhausting. They lose their value when they cease to be 
 amusements ; though they are really productive of health, a? 
 of entertainment, when undertaken with zest and discretion 
 
Part Third. 
 OCCUPATIONS FOR PLAY OR PROFIT. 
 
 CHAPTER I. 
 
 SEWING AND DOLL'S DRESS-MAKING. 
 
 Sewing as it is generally learned is always a great bug- 
 bear to a child, who is often made to sew an hour or more 
 on a dreary " over-and-over " patchwork-square. The sew- 
 ing-schools in our great cities have come to be much more 
 cheerful places than the room at home where tired and fret- 
 ful little bodies knot their thread, and grow crosser and 
 crosser with every stitch. In the sewing-school there are 
 songs that describe all the things that must be done, from a 
 hem or a fell to a patch, and a set of questions to which an- 
 swers are made in concert ; Mrs. Louise J. Kirkwood's little 
 sewing-primer giving them all, with many hints that mothers 
 or older sisters would do well to copy. Any little girl must 
 be patient, and willing to learn ; but very soon she will take 
 real pleasure in her work, above all when it comes to Christ- 
 mas or birthday gifts, or to doll's dress-making. Here are 
 some hints for the teacher. 
 
 If a child does not succeed satisfactorily at first with an 
 
 over-and-over seam, do not insist upon keeping her at it 
 
 until she is exact. She will have to sew upon many a patch, 
 
 perhaps, before she can make the stitches small, even, and 
 
 a34 
 
SEWING AND DOLL'S DRESS-MAKING. 235 
 
 close. But try her with a hem or a back-stitch : she will be 
 growing used to handling the needle ; and, after one or two 
 trials of this sort, she will go back to the over-and-over 
 seam with fresh interest. 
 
 Straight Lines. — Draw a line with a lead-pencil on the 
 strip of muslin which has been hemmed, and, with the needle 
 threaded with red cotton, show her how to stitch along the 
 line. The red cotton will be a novelty, and the pencil-mark 
 a new feature : she will be very likely to follow it to the end 
 with real pleasure. 
 
 Outline Pictures. — Draw some straight lines in the 
 form of a house or a barn, make the outlines of a crooked 
 tree by the doorway, make a chicken with two or three flow- 
 ing feathers in its tail, make a man with a rake in his hand, 
 above all things make an old lady with a high cap on and a 
 cane in her hand, and you will never have trouble to keep 
 the little ones busy. 
 
 They will very cheerfully hem round a square in the most 
 painstaking manner, they will even struggle patiently with a 
 fell seam across it, if at the end you will but promise to draw 
 a dear old grandmother with a cap and cane, that they may 
 stitch. 
 
 Then, too, you may write the child's name and age in a 
 fair, clear hand : you may add a motto, or some short line. 
 
 Get her to hem in a neat patch in a piece of cloth : she 
 will be proud to stitch her initials on it. Any thing of such 
 personal interest she will work at very gladly, and will all 
 the while be growing more and more skilful with her needle, 
 and captivated with its possibilities ; thus travelling, if not a 
 royal road to knowledge, at least a very pleasant one. 
 
 A child who has learned all the forms of plain sewing, and 
 wants to do nice work for her dolls, ought to have good 
 sharp scissors, a low table or little lap-board for cutting, 
 
236 SEWING AND DOLL'S DRESS-MAKING. 
 
 plenty of pins for pinning patterns to material, and a well 
 stocked work-basket, — all on condition that everything is 
 kept in order in its place. The chair must be low, so that 
 the feet rest comfortably on the floor ; and hands and nails 
 must be clean, so that the thread need not be blackened. In 
 plain sewing, the stitches used are overhanding, hemming, 
 running, back-stitching or stitching, gathering, overcasting, 
 buttonhole, herringbone, feather-stitch, and darning. 
 
 Work should always be carefully basted ; as, if this is not 
 done, the sewing will pucker it, and probably it will have to 
 be ripped out. In the sewing-primer already mentioned, the 
 questions and answers include a careful description of every 
 stitch, cuts of which are given here. 
 
 doll's dressmaking. 
 
 A doll is a nice present for any child, but is worth far 
 more if prettily dressed, and, above all, not only with clothes 
 that can be taken off easily, but with plenty of them ; so that 
 dolly can have her own little washing and ironing, and her 
 bureau-drawers or trunk in beautiful order. Nightgowns 
 are often forgotten, and the poor dolls obliged to sleep in 
 their clothes. We begin, then, with the nightgown ; the 
 little diagrams given here being hints for the shape. Pat- 
 terns for doll's clothes are sold now in several sizes by 
 the pattern manufacturers, and can be had of the Domestic 
 Sewing-Machine Company, and several fashion magazines, 
 " Harper's Bazaar," and others. 
 
 Nightgown. — Get some fine cotton cloth to commence 
 with, Lonsdale cambric being the best. Always use fine 
 stuff of every sort ; for, the dolls being so small, the clothes 
 sit very badly if made of thick material. Cut out the front 
 and back, as at Nos. i and 2 ; then the shoulder-piece. No. 3 ; 
 then run the front and back together under the arm, gather- 
 
DOLVS DRESS-MAKING. 
 
 m 
 
 HilHHHHHHHmHHHHll^^ 
 
 Fig. 52. — Basting. 
 
 Fig. 53. — Ovkrhanding. 
 Showing the seam opened, and on the right side. 
 
 / 
 
 ^<J 
 
 ED 
 
 Fig. 54. —Hemming. Fig. 55. — Running. 
 
 Showing the stitches on the right side of hem. Showing running-stitches, with the needle in 
 with the needle in position. position. 
 
 Fig. 56. — Felling. 
 A fell seam, showing the first line of sewing finished, the edges turned under, and partly hemm« 
 
 Fig. 57. — Stitching. 
 
 Fig. 58. — Back-stitching, 
 Showing the needle in position. 
 
238 
 
 SEWING AND DOLL'S DRESS-MAKINC. 
 
 Fig. 59. — Gathering 
 
 Showing gathering stitches, with the thread drawn, 
 
 and the needle in position. 
 
 Fig. 60. — Overcastincs. 
 
 Fig. 61. — Herringbone Stitches. 
 
 Fig. 62. — Feather Stitches. 
 
 
 ~yj o u u u •''^ 
 
 I 
 
 I 
 
 Fig. 63. — Showing a Patch 
 darned in. 
 
 Fig. 64. — Stocking-Darn. 
 
 Fig. 65. — a Tear 
 
 DARNED. 
 
 ing the back into the shoulder-pieces ; then join them over 
 the shoulder ; then put on them a small, narrow band, 
 slightly gathering the fronts into it, putting the pieces at the 
 back in plain ; and then the sleeves, No. 4. The trimming 
 is, of course, according to fancy. Some insertion up the 
 front, with very narrow ruffles up each side, looks very 
 nicely, also tatting or crochet; indeed, any thing of the 
 
DOLL'S DRESS-MAKir^G, 
 
 239 
 
 sort. But it certainly looks better trimmed. A great im- 
 provement to the nightgown is to cut the fronts too broad 
 
 Fig. 66. —Nightgown. 
 
 across for the doll, and run narrow tucks down to the waist ; 
 but this is, of course, more difficult, as the tucks want to 
 be run very evenly. 
 
 Chemise. — A doll's chemise is a very easy thing to make. 
 Cut out in fine cotton or cambric two pieces in the shape of 
 Fig. 6'j ; run them neatly together, and down the sides, and 
 over the shoulders ; then cut the front open a little way 
 down. Hem the neck and sleeves all round with a very 
 narrow hem, and make a broad one round the bottom of the 
 chemise. If trimming is required, a little lace round the 
 neck and sleeves makes a pretty finish. 
 
 Fig. 67. — Chemise. 
 
 Fig. 68, — Drawbrs. 
 
240 SEWING AND DOLL'S DRESS-MAKING. 
 
 Drawers. — Next the drawers. Cut out two legs similar 
 to the pattern given. Run them up ; then join the legs to 
 gether just at the top in front, only running them a very 
 short way down ; then make a very narrow hem round " each 
 leg, and a nice broad one at the bottom. Gather them into 
 a band, putting a button or strings to it. A little lace- 
 edging round the legs, or two or three narrow tucks, look 
 very nicely. 
 
 Waist for the Petticoat.' — A flannel petticoat is, of 
 course, a very easy thing to make. A piece of fine white or 
 red flannel herring-boned round the bottom, and gathered 
 into a band at the waist, with buttons or strings, is required. 
 For most of the underclothes I should recommend very 
 small pearl buttons, strings are so untidy. The white or 
 upper petticoat should be made of white cambric or twill, 
 
 Fig. 69 —Waist for the Petticoat. 
 
 rather full, with a broad hem at the bottom ; and a good 
 deep tuck makes the frock stand out well. The waist can 
 be made in two ways, either off the skirt, or on ; but it is 
 decidedly the best to sew it on. Cut it in three pieces, 
 as in Fig. 69 ; join them together under the arm ; make a 
 hem at the top of each of the pieces and the bottom ; then 
 sew the skirt (which must be gathered) on it, and run draw- 
 ing-strings in it. 
 
 Now that we have finished the under-linen, we must begin 
 about the dresses. Never make them of a thick stuff, and 
 always be sure to choose a small pattern, or, better still, no 
 
DOLL'S DRESS-MAKING. 
 
 241 
 
 pattern at all. Unless the doll is very large, it is always 
 best to make a low-necked waist, as it is so difficult to make 
 the neck set well. 
 
 Fig. 70. — Neck of Waist. 
 
 rz:] 
 
 Waist for Dress. — The skirt is, of course, as easy as 
 possible to make, — simply to run the seams, and make a 
 broad hem. A low-necked waist should be made in this 
 way : a long, narrow piece, with a place cut out for the 
 sleeves (see Fig. 70) ; hem up the backs ; then cut out the 
 sleeves, as in No. 2 ; run the seams of the sleeves, and then 
 sew them into the armholes, pla- 
 cing the seam of the sleeve even 
 with that of the body ; gather 
 the other end of the sleeve into 
 a little narrow band ; gather the 
 body at the top and the bottom 
 into narrow bands. Some white 
 lace in the sleeves and neck fin- 
 ishes it off very nicely, and a 
 sash always looks pretty. 
 
 The best way of making a 
 high waist is to cut it out simi- 
 lar to the patterns given in Nos. 3 and 4. Stitch them to- 
 gether under and over the arm. Cut out the sleeves, as at 
 No. 5, and sew them in the armhole, keeping the seam well 
 round to the back. Then put a very narrow band on the 
 neck. Hem up the backs, and put some tiny hooks on, and 
 make the loops. 
 
 Fig. 71 —Waist for Dress. 
 
242 
 
 SEWING A AD DOLL'S DRESS-MAKING, 
 
 Apron. — The prettiest kind of apron is, I think, at No. i. 
 This must be cut in four pieces, — the front, No. 2; the 
 backs, as at No. 3 ; and the apron, No. 4. Then join the 
 front and backs over the arms, also the apron and bib ; then 
 hem the backs, and all round the apron and the armholes 
 and neck, making these hems narrower. Stitch a piece of 
 tape along the front and along both of the backs, through 
 which run the string, and also run one round the neck. A 
 lace-edging all round the apron and round the armholes 
 looks very nicely. This sort of apron is best made in diaper 
 or fine linen : if the latter, substitute white braid for lace 
 edging. 
 
 m BiTr^ 
 
 n 
 
 Fig. 72. — Apron. 
 
 Fig. 73. — Another. 
 
 Another Apron. — Another sort of apron is made by 
 cutting out a plain, long front, as at No. 5 ; and back, as at 
 No. 6. Join them under and over the arm, and hem it all 
 round, running a string round the neck. It may be left 
 plain, or gathered in at the front, putting a small ornamental 
 piece on in front, trimmed with narrow lace. 
 
 Jackets. — Jackets are almost the hardest thing to make 
 for dolls, especially if they are made of velvet or a thick 
 cloth. The best material to make them of is, of course, 
 black silk. Cut the fronts out as at No, i, and the back as 
 in No. 2 ; the sleeves. No. 3. Then it is better to bind it 
 all round with braid, which sits better, and is less clumsy, 
 than a hem. 
 
 i 
 
DOLVS DRESS-MAKING, 
 
 243 
 
 Fig. 74. — Jackets. 
 
 Dresses for China Dolls. — The best way to make 
 little china doll's dresses is all in one. A long, straight 
 piece joined at the back, and hemmed round the bottom ,• 
 two holes cut for the arms, and then turned down at the 
 neck, and gathered, drawing it up, not tightly round the 
 neck, but just on to the shoulder, so that you can fasten it 
 off, and yet leave room 
 to pass it over the 
 head. Tie a sash 
 round the waist, and 
 the doll is dressed. 
 A petticoat made in 
 the same way is all 
 that is required. Any 
 thing else does not 
 
 sit ; the dolls being so small, it makes them look simply 
 like a bundle of clothes. A cloak is the best thing for this 
 sort of dolls for an outdoor garment. Cut this in the shape 
 of a half-moon, and in the middle of the straight side cut 
 out a small piece for the neck. Make this in red merino, 01 
 some soft thin material, and bind it round with narrow black 
 ribbon, without an edge. Hats can be made on a shape 
 made with cap-wire, and then trimmed ; but a very good 
 plan is to get the lid of a pill-box (of course it must fit the 
 doll's head), and cover it with black velvet, and it makes a 
 charming little turban-hat. 
 
 I have not as yet said a word about boy-dolls. There is 
 but one way in which they can be made to look nicely, — I 
 mean big dolls. 
 
 Boys* Knickerbockers. — A dark-blue serge, black vel- 
 vet, or (if in summer) holland, are the best stuffs to make 
 them of. I give a pattern of the knickerbockers at No. i, 
 Fig. 75. Each leg must be run up, and then joined to- 
 
244 
 
 SEWING AND DOLVS DRESS-MAKING. 
 
 gether at the top, making a hem round the bottom, in which 
 run some elastic. It is a very good way to sew them on to 
 a broad elastic band, which will, of course, stretch ; so that 
 the knickerbockers can be taken off and on. 
 
 
 Fig. 75.— Bovs' Knickerbockers. 
 
 Fig. 76. — Trousers. 
 
 A tunic is the best thing to make for boy-dolls ; and it is 
 best to cut it in two pieces, as in No. 2, Fig. 75. Join 
 the sides together, and hem it round the bottom. Put in the 
 sleeves, and cut an opening down the front, so that it may 
 be put over the doll's head. It is best to bind it with nar- 
 row braid round the neck, and down the front, which must 
 be buttoned with tiny buttons ; and then put a band round 
 the waist. 
 
 The men in the doll's house are very hard to dress ; and it 
 is, I think, almost impossible to make their things to come 
 off and on. The shirt must, of course, be thought of first. 
 But there is no necessity to make a whole shirt, — merely a 
 front, with two pieces to pass over the back. A small collar 
 must be attached to this, under which must be passed a nar- 
 row piece of ribbon to form a tie. The trousers must be cut 
 
COSTUME DOLLS, 
 
 245 
 
 in two pieces (Fig. ^6), and joined. The waistcoat is simply 
 two pieces crossed over from the back, with two or three 
 buttons, which are easily made with bits of black silk sewed 
 up into little rounds to imitate them. The coat is made in 
 the same way exactly as the one I described for the big doll, 
 of course altered as to size. It does not do to make either 
 the shirt or the waistcoat entirely, as it makes the coat sit 
 so badly. 
 
 COSTUME DOLLS. 
 
 Normandy Peasant. — The underclothing for this cos- 
 tume should be full, and reaching just below the knees ; the 
 dress petticoat of red merino or delaine, trimmed with three 
 rows of narrow black velvet at equal distances, and just a 
 little longer than the under petticoat ; black velvet bodice, 
 with long points behind and before, cut square, and laced 
 up the front ; white muslin sleeves, coming just below the 
 elbow, left loose, and rather full ; white muslin half-handker- 
 chief crossed upon the chest and over the bodice ; muslin 
 apron with pockets; gold beads round the neck, and gold 
 cross ; long gold ear-rings ; a rosary hung from the left side ; 
 thick shoes and white stockings, or, if it is a china doll, the 
 feet can be painted to imitate them. 
 
 Fig. 77. 
 
 If you are dressing a small china doll, take for the cap a 
 piece of stiff white writing-paper about an inch and a half to 
 
246 SEWING AND DOLL'S DRESS-MAKING. 
 
 an inch and three-quarters in depth. For the length, meas 
 ure round the doll's head, allowing a little piece on each side 
 to admit of the paper being bent up the back, as in Fig. "jj. 
 Cover the paper with muslin, and trim 
 round the forehead and up the ends with 
 very narrow lace. Sew up the cap at the 
 bend in the paper ; fill up the top to form 
 the crown with muslin gathered in. Press 
 out the flaps behind until they present 
 this appearance (Fig. jZ). 
 
 This completes the costume. If the 
 Fig. 78. ^^^ ^^ larger, of course the height of 
 
 the cap must be increased, as it is the chief 
 characteristic of the dress. 
 
 Italian Peasant. — The underclothing is the same as 
 for the Normandy peasant, except being a little longer. 
 Dress-skirt of blue or any bright-colored merino, trimmed 
 with three or four rows of different colored braids, either 
 vandyked, or straight round the skirt ; bodice of black vel- 
 vet, with small basque behind, cut low in the neck, and 
 open stomacher laced across with braids to match the skirt ; 
 the neck of the bodice to be trimmed, with a muslin tucker ; 
 white muslin sleeves to the wrist, either open or closed ; black 
 velvet ribbon round the neck, with a cross hanging on the 
 chest ; a rosary hung from the left side ; thin black shoes 
 and white stockings. 
 
 If the doll is the same size as the Normandy peasant, take 
 for the cap a piece of white writing-paper about two inches 
 in length and an inch and a half in width. Place it on the 
 doll's head lengthwise ; then bend the paper so as to make 
 it fall close to the back of the head. Cover the paper with 
 muslin, and trim round with lace. The cap may be kept 
 in shape by drawing your thread tightly from the crown to 
 the top of the flap behind, of course from underneath. 
 
COSTUME DCLLS. 247 
 
 The costume is now complete. If you are dressing china 
 dolls, the best thing to fasten caps on to the head is liquid 
 glue. 
 
 Spanish Dancer. — The underskirts are very short, and 
 several of them made of tarlatan, and pinked out ; muslin 
 drawers, wide and very full. The dress may be made of any 
 bright-colored silk or satin, trimmed with black lace flounces, 
 and short. The bodice should be a low square, and sleeves 
 to the elbow, trimmed with lace to match the skirt. On the 
 hands there should be long mittens ; and in the hair a high 
 comb and red rose, with a black lace mantilla thrown over 
 the comb, and fastened on the side with the rose. Either 
 boots or shoes may be worn, bronze or gold-color. 
 
 Marquise Dress. — To show off this dress the doll should 
 be of good size. Make the underclothing — consisting of 
 chemise, flannel petticoat, white petticoats — all very nice, 
 and very much trimmed. For the dress-petticoat have a 
 piece of white or rose-colored satin trimmed across the front 
 with lace ; for the train, a handsome piece of brocaded 
 satin, trimmed up the sides and round the train with lace. 
 The bodice is cut square behind, and sleeves to the elbow, 
 trimmed with lace. There should be a stomacher made of 
 the same material as the skirt-petticoat, all made of the 
 same brocade as the train. Shoes with high heels, roisettes, 
 and silk stockings. 
 
 To make the doll complete, she should have long, straight 
 hair, which must be rolled back from the forehead on a 
 cushion ; and the hair from the back of head must be rolled 
 up on another cushion, with a long curl hanging from the 
 left side, with a flat bow in the hair to match the skirt. The 
 hair must be powdered, and on the face two or three black 
 patches, — one on the forehead toward the left side ; one on 
 the chin, to the right ; and one on each cheek. This com- 
 pletes the dress. 
 
2^6 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 CHAPTER II. 
 
 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 The accompanying gifts have been chosen from a list of 
 two or three hundred, and many more could have been added, 
 equally pretty and desirable. There are books on needlework 
 of every sort, one or two of which are mentioned on p. 411. 
 But every ingenious girl will be likely to think out some ori- 
 ginal present for herself, one success being always sure to 
 suggest another. 
 
 SPECTACLE-WIPERS. 
 
 These are easy gifts for little fingers to make, and they 
 will please a grandmother or grandfather very much. Cut 
 two round pieces of chamois-skin an inch and a half across. 
 Bind each around the edge with narrow ribbon of any color 
 you wish, and fasten the two together at one side with a 
 pretty bow. 
 
 This little present will be useful as long as it lasts, and 
 that will be a long time. 
 
 BABY-SHOE PENWIPER. 
 
 Cut out of black cloth four circles three inches wide, and 
 pink the edges. Fold each one across ; then fold it again, so 
 that the shape is like a quarter-circle. Take a baby's shoe 
 of red or blue morocco, and fill it with the folded circles, 
 placing them so that the pinked edges project at the top. 
 
 A pair of shoes will make two penwipers, and they are 
 
LEAF PENWIPER. 249 
 
 very pretty. If liked, the shoe can be fastened to a larger 
 circle of pinked broadcloth. 
 
 Fig. 79. — Baby-shoe Penwiper. 
 
 LEAF PENWIPER. 
 
 Choose a pretty maple or oak leaf for the pattern of your 
 penwiper, and select cloth of a color that will suggest the 
 leaf, — reddish-brown for an oak, or yellow for maple. Take 
 a paper pattern of the leaf by laying it on stiff paper, tracing 
 the outline with a pencil, and then cutting it out with a pair 
 of scissors. Cut out two leaves of your brown or yellow 
 cloth, and three inside leaves of chamois-skin or broadcloth. 
 If you like, you can imitate the veins of a leaf by embroi- 
 dering them with silk in stem-stitch on the upper leaf of 
 the penwiper. 
 
250 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS, 
 
 SHAVING-PAPER CASE. 
 
 Tissue-paper makes the best shaving-paper : so you will 
 want to buy a half-dozen sheets of different colors. For a 
 pattern you can take a leaf, as you did for the leaf penwiper ; 
 but a large grape-leaf is of better size for the shaving-case. 
 
 Take a pattern of the grape-leaf, and cut out two covers 
 of green cloth or silk, the edges of which must be neatly 
 bound or overcast. Fold the sheets of tissue-paper four or 
 six times, until they are about the size of the pattern ; then 
 cut them out carefully, and fasten them between the covers 
 of your case. At the stem of the leaf sew a loop of ribbon, 
 by which it may be hung on a knob of papa's bureau, or from 
 the side of the shaving-glass. 
 
 GARTERS. 
 
 These are presents to be made only by little girls who can 
 knit ; but, if any little girl wishes to learn, a pair of garters 
 is good to practise on, and makes a very nice present. They 
 are prettiest knit of some bright color. 
 
 In their simplest form they are knit in one long strip, 
 which is wound round and round the leg, and the end tucked 
 in. But an improvement is to make a loop in the strip, 
 through which the end of the garter may pass before it is 
 tightened. And this is the way to do it : set up twenty 
 stitches, and knit plain till the garter is twelve inches long. 
 Take off ten stitches on a third needle, and keep on knitting 
 with the remaining ten for twenty rows ; then go back to 
 the stitches left behind, and knit twenty rows on them ; take 
 all the stitches on one needle again, and you will see that a 
 loop has been made. Knit twenty rows, and bind off. 
 
TURTLE CLOVES. 
 
 251 
 
 Fig. 80. 
 
 "Polly, put the Kettle 
 
 ON." 
 
 "POLLY, PUT THE KETTLE ON. 
 
 To make a kettle-holder, some pieces of thick material, 
 like an old blanket or bit of broadcloth, are needed. Cut 
 them into squares measuring eight inches, and fasten them 
 together. Make a cover of scarlet flannel, and bind the 
 
 edges with braid of the same 
 color, leaving a loop at one corner 
 to hang the holder up by. 
 
 Take a paper pattern of the 
 kettle by laying thin paper over 
 a drawing of one, and tracing its 
 outline. Cut out a kettle of black 
 cloth, and lay it on the holder, 
 exactly in the middle, where it 
 must be neatly hemmed down. If 
 you know Iiow to do cross-stitch letters, you can work above 
 and on the left hand of the kettle the words, " Polly, put,'* 
 and below and on the right hand of the kettle the word, 
 "on ;" then, all together, it will read, *' Polly, put the kettle 
 on." 
 
 TURTLE CLOVES. 
 
 For these turtles take very large plump raisins, and six 
 cloves to each. Push a clove far into the end of the raisin, 
 until only the bud is 
 seen. This makes the 
 head. Put two cloves 
 on each side for the 
 feet ; and, for the tail, 
 work the bud end in 
 first, and let only a lit- 
 tle of the pointed end 
 stick out. Small cakes 
 ing on each, are an exciting Christmas-cake. 
 
 Fig. 81. —Turtle Cloves. 
 
 frosted, with a raisin turtle stand- 
 
252 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 ANOTHER GIFT WITH CLOVES. 
 
 Choose a small and very firm apple, a Spitzenberg being 
 best. At least an ounce of cloves will be needed. Begin 
 at the blossom-end, and push the points into the apple as 
 closely together as possible, till it is perfectly covered. Such 
 an apple has a very mysterious look, like some curious 
 foreign nut, and will last all winter. 
 
 PRETTY SCENT-CASES. 
 
 Buy an ounce of sachet-powder, violet or what scent you 
 please, and sprinkle it between two layers of cotton- wadding 
 cut in strips five inches long and two inches wide. 
 
 Make a little bag of silk or satin of any color (three inches 
 long, two inches wide), and fringe the top. Roll up the 
 strip of wadding, and place it in the bag, which must then 
 be tied just below the fringe with narrow ribbon of the 
 8ame color. 
 
 ENGLISH WALNUT SCENT-CASES. 
 
 Make a little silk bag three inches and a half square, and 
 fill with cotton-wool thickly sprinkled with sachet-powder. 
 An even teaspoonful is a. good rule. Carefully halve two 
 English walnuts by forcing the points of your scissors into 
 the soft end. You must make a hole top and bottom of 
 each half, which is best done with a red-hot hairpin. Var- 
 nish, and set them in a warm place to dry. When thor- 
 oughly dry, they are ready to be sewed on the bag, at equal 
 distances apart, with their points reaching almost to the bot- 
 tom of the bag. Sew a tiny bow above each walnut, and 
 another at the bottom of the bag, which should be gathered 
 in with a thread. Around the mouth of the bag wind a 
 ribbon, and tie it into another tiny bow. These are very 
 gay little bags. 
 
DRA WN- WORK. 253 
 
 Another use for English walnuts is in making 
 
 WALNUT BOATS. 
 
 Take a half-shell of the walnut, and glue a slender mast 
 near the pointed end, to which you may fasten a sail made 
 of gold or silver paper, doubled. 
 
 BUREAU-COVERS. 
 
 Java canvas, in white, buff, or pale blue, may be used. Be 
 sure to see whether the bureau to be trimmed has a flat top, 
 or one with drawers on either side ; for the shape of your 
 mats will depend on the shape of the bureau. On a flat top 
 a long cover looks best, with two square mats for toilet bot- 
 tles, placed on either side of the pincushion. A pincushion- 
 cover of the same material completes the set. 
 
 Leave a margin all around the mat for fringe, and work 
 some simple border in worsted. Blue or red worsted with 
 white canvas, brown with buff, cardinal and gold-color with 
 blue, are good combinations of color. 
 
 The pincushion-cover may be further ornamented with a 
 monogram or initials worked in the middle. 
 
 DRAWN-WORK. 
 
 Bureau-covers, as well as table-covers, tea-cloths, chair- 
 backs, towels, and tidies, are often made of linen, and deco- 
 rated with what is known as drawn-work. 
 
 For a bureau-cover buy a yard and a half of fine linen 
 crash, either white or gray. 
 
 Leave six inches for fringe at either end. Cut the sel- 
 vage-thread up from one end for ten inches, thus cutting 
 all the cross-threads in that space. Draw out the last thread 
 cut. By pulling carefully, it will hold until you have drawn 
 the linen all across to the other edge ; and, by cutting the sel- 
 
254 FIFTY CHkISTMAS-GIF7'S FOR SMALL FINGERS. 
 
 FiG. 82. — Drawn- Work. 
 
J>RAlVN-lVOJ^A\ 
 
 ^SS 
 
 Fkj. 83. — Dkawn-Work. 
 
2S6 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 vage-thread on that side up to the drawn thread, your meas- 
 urement will be alike on both sides. Now draw out all the 
 cross-threads below the one first drawn, for a space two 
 inches deep. The threads running lengthwise in this space 
 must be gathered in little sheaves, which is done by hem- 
 stitching top and bottom. Some one who knows will show 
 you how to hemstitch more easily than the book can do. 
 Ribbon of a color to match the furniture, a little narrower 
 than the drawn space, is woven through the sheaves, over 
 two and under two, and hemmed at the two ends. 
 
 Now fringe out the ends, and hemstitch the top, but make 
 the threads into bigger sheaves this time, — ten or twelve in 
 each. Examine the knotted fringe on a towel or a shawl, 
 and you will see how to knot the fringe of your cover. 
 
 Chair-backs or tidies are made in the same way. Some- 
 times three spaces of different widths are drawn, with rib- 
 bons of different color run through ; and the chair-backs are 
 more ornamental when a stamped pattern is embroidered in 
 outline-stitch in the centre. Outline-stitch or stem-stitch 
 is extremely simple, being almost the same as the back- 
 stitch taught in the chapter on plain sewing ; and an artistic 
 design worked in silk or etching-crewels makes the simple 
 linen tidy an object of beauty. 
 
 Linen table-covers are made either in the shape of a long 
 scarf, to fit a narrow table, or square, like the ordinary cover. 
 The former are made precisely like the bureau-cover: for 
 the latter, wide butcher's linen is used, the length being 
 equal to the width. Fringe and draw the four sides, and 
 ornament each corner with long graceful bows of the ribbon 
 that is run through the drawn-work. 
 
 Tea-cloths should be made of somewhat finer linen, which 
 now comes expressly for such purposes. They are of the 
 size of a large dinner-napkin, and are meant to be laid at 
 
CROCHETED MATS FOR WASHSTAND AND TABLE. 257 
 
 the head of the tea-table, or to cover a tea-tray. The fringe 
 is shorter and finer than that of the covers before described ; 
 and it should not be knotted, but plain. The drawn-work 
 should be fine and narrow ; and, instead of running ribbon 
 through the sheaves, fine tidy-cotton is braided through in 
 the stitch called fagotting, in which the needle lifts every 
 other sheaf back over the one preceding, and draws the cot- 
 ton through in such a manner as to keep the sheaves twisted. 
 The prettiest tea-cloths have a delicate design traced in out- 
 line-stitch, either in each of the four corners, or in a run- 
 ning pattern around the sides. 
 
 CROCHETED MATS FOR WASHSTAND AND TABLE. 
 
 Any girl who knows how to crochet may make these very 
 useful gifts. For the washstand five mats complete the 
 set, — a large round mat, for the wash-bowl ; two smaller, for 
 the little pitcher and the mug ; and two, which may be oval, 
 for the soap-dish and brush-tray. Two balls of white tidy- 
 cotton No. 8 make a set. 
 
 Start with a chain of five stitches, loop it, and crochet 
 around, widening often enough to keep it fiat. When the 
 mat has reached the proper size, finish it off with a border of 
 loops in three rows of long crochet arranged in groups with 
 a dividing loop. The first row should have three stitches in 
 a group ; the second, four ; and the third, five. The mats 
 must be washed, starched very stiff, and ironed. 
 
 Mats for the table are made in the same way ; but an im- 
 provement is to crochet them over lamp-wicking, which 
 increases the stiffness. 
 
 Two large oval mats for the soup-tureen, and fish or meat 
 platters, and four round ones for vegetable-dishes, usually 
 make up the set ; but small mats for gravy-dish, pitchers, 
 etc., may be added if desired. 
 
^5^ FIFTY CtiRISTMAS-GtFTS FOR SMALL FINGERS. 
 
 PANSY PINCUSHION. 
 
 The best way to make one is to take a real pansy, and copy 
 it as nearly as possible. 
 
 Suppose you choose the old-fashioned kind, with two purple 
 upper petals, and three yellow lower petals. Cut out two 
 
 pasteboard shapes as 
 nearly like the flower 
 as you can make them, 
 but at least twice the 
 size (or follow diagram 
 given), and cover the 
 upper half of each with 
 purple velvet, and the 
 lower half, which must 
 contain the three yel- 
 low petals, with yellow 
 silk to match. 
 
 Lay the two shapes 
 together, and overseam 
 the edges, leaving a 
 small open space 
 through which to stuff 
 the pincushion. For this, use snips of worsted, crowding it 
 tightly into every corner to make all hard and firm. Your 
 next task is to draw the pansy's features in stitches of black 
 and yellow silk, copying nature as best you can. This is 
 good practice for the eye ; and the result is likely to be 
 3etter than if you followed a pattern in a book. 
 
 Fig 84 —Pansy Pincushion. 
 
 PARASOL PENWIPERS. 
 
 Buy the smallest-sized lead-pencil for sale, provided with 
 an ivory or ornamented tip, and sharpen the point. Cut a 
 
PRESENTS IN BlRCH-BARK. 2$g 
 
 circle of silk, and another, rather smaller, of thin black cloth : 
 scallop the edges, and make a tiny hole in the middle of 
 each. Fit the sharpened point of the pencil into these 
 holes, taking care that the silk is outside the cloth ; and then, 
 by creasing and folding, persuade the circles to take the 
 shape of a closed parasol, winding silk around to secure them 
 in place, as a strap is arranged to keep the parasol closed. 
 Cut a paper pattern first, and trim it to fit the length of your 
 lead-pencil, before cutting the silk and cloth circles. 
 
 WORK-CASES. 
 
 In old times these were called ** housewives," as grandma 
 will tell you, should you make one for her. Almost any firm 
 material can be used for making them. But here is a very 
 pretty pattern. Take gray or yellow Java canvas, twelve 
 inches long and seven wide, with a bright-colored silk for 
 lining. Feather-stitch the canvas down both sides, and across 
 one end, leaving space to turn in the edges. Baste on the 
 lining, and finish the edges neatly by turning in and blind- 
 stitching ; or bind them with ribbon to match the silk lining. 
 The feather-stitched end is then pointed by turning down the 
 corners, and sewing them together. Turn the lower end up 
 about four inches to form a bag, and sew the sides together 
 firmly. Make a loop at the point, and sew a button on the 
 outside ; so that the case may be rolled up and fastened. 
 
 PRESENTS IN BIRCH-BARK. 
 
 Birch-bark is easily obtained ; and numberless pretty things 
 may be made out of this soft and flexible material. 
 
 A few are suggested here, and your invention will help you 
 to more. Think of some other useful and pretty gifts besides 
 the letter-cases, wall-baskets, glove-boxes, napkin-rings, hand^ 
 kerchief-cases, portfolios, and table-mats, that may be con- 
 structed of birch-bark. 
 
26o FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 There are two ways of using the bark ; but in all cases a 
 pasteboard shape, like the article to be made, must be first 
 cut out. This shape may be covered with a thin, smooth 
 piece of bark lined with silk, and the edges bound with bright 
 ribbon. Or the bark, of the exact shape to be covered, is 
 cut in strips, united at one end, and ribbon is woven across 
 the strips, and fastened neatly at either end. The paste- 
 board is then covered with the braided bark, lined with silk 
 to match the ribbon, and the edges bound as before. Bows 
 of ribbon finish the dainty present. 
 
 STRAW WALL-BASKET. 
 
 Little girls who can work patiently may make a very pretty 
 basket out of straw braided with ribbon, if mamma will give 
 a little help. Select a number of smooth, perfect straws. 
 Cut a half-circle of pasteboard, nine inches long, and make a 
 row of small holes around the edge, half an inch apart. Cut 
 a strip of the pasteboard a little less than half an inch wide 
 and nine inches long, and make small holes in it one inch 
 apart. Cut a second strip sixteen inches long, and treat it 
 in the same way Now take a straw twelve inches long, and 
 fit one end into the middle hole of the short strip of paste- 
 board, and the other end into the middle hole of the half- 
 circle's straight edge, letting the straw project about two 
 inches below. The half-circle forms the bottom of the bas- 
 ket, and you are beginning to make the back, which is flat, 
 and hangs against the wall. On either side of the middle 
 straw insert a straw three-quarters of an inch shorter ; and 
 so proceed until all the holes are filled, and the pointed back 
 is complete. The holes must be small enough to keep the 
 straws in place without other fastening. 
 
 The rounded front of the basket is made by fitting straws 
 in the same way into the longer strip of pasteboard, and the 
 
FEATHER SCREENS. 26 1 
 
 rounding edge of the half-circle ; all the straws being six 
 inches in length. Fasten the two ends of the long strip 
 firmly to the ends of the short strip. Sew blue chenille over 
 the pasteboard edges wherever they show, and weave blue 
 ribbon in and out of the straws that make the basket-front. 
 Run ribbon once across the back, following the outline of 
 the point, and an inch from the edge. Make a bow in the 
 middle. Girls of fourteen or fifteen, who have a brother with 
 a jack-knife to help them, might make beautiful and more 
 durable baskets in the same way, by using strips of fine bam- 
 boo, or cane (which can be obtained at a Japanese store), in 
 place of the straw. 
 
 FEATHER SCREENS. 
 
 The making of screens and fans in feathers is both 
 pleasant and ornamental work. 
 
 To make a screen, begin as 
 follows : mould a piece of wire 
 into the shape of a heart, and 
 cover this, by means of a needle 
 
 Fig. 85. — Feather Screen. Pig. 86. — Feather Screen. 
 
 and thread, with dark-colored gauze or tarlatan. Round the 
 edge of this frame fasten a row of peacock's feathers with 
 
262 
 
 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 gum. A very little gum put under the quills, and left to 
 dry with a weight on them, will make them easily adhere. 
 Place a second row of feathers, so that the eyes of them 
 come just between those of the first row. Next make 
 another frame in the same manner as before, but let the 
 edge of it only extend as far as the quills of the second row 
 of feathers. Border this with the side fringe-feathers of the 
 peacock's tail, and then dispose 
 of some red ones at the top, or 
 any kind fancy may dictate or 
 you possess, finishing off with 
 a bunch of gray fluff feathers, 
 or a knot of crimson ribbon 
 and a gilt handle. For the 
 
 Fig. 87. — Feather Screen. 
 
 Fig. 88. — Feather Screen. 
 
 back, cut a piece of cardboard the exact shape and size of 
 the foundation of the screen, cover it with crimson silk, and 
 gum on behind. Another, even prettier, screen is made as 
 follows, both sides alike : — 
 
 Prepare a frame (circular in shape) as before. Edge it 
 thickly all round, by means of a needle and thread, with the 
 fringe-feathers of the peacock's tail. Then put alternately, 
 
SPATTER-WORK, 263 
 
 in the six spaces between the points of the star which is to 
 be cut for the centre, rows of the small brown, gold, and 
 srreen feathers from the neck and back of the bird. Cut out 
 a star in cardboard ; edge it on each side with a small red 
 feather, and cover the whole of the rest (by means of gum), 
 one close over the other, with the bright-blue feathers from 
 the peacock's breast. Cut out a small circle in cardboard, 
 which edge with a row of canary-bird or any dyed yellow 
 feathers, letting the centre be scarlet. On this a gold mon- 
 ogram in repousse work may be placed. A gilt handle, and 
 knot of ribbon, complete so elegant a fan, that one made for 
 a wedding-present was supposed to be the finest Brazilian 
 work. 
 
 Mats made of cloth or straw are very pretty with a border 
 of feathers. These may also be utilized for trimmings of 
 hats, muffs, or jackets, particularly pheasant's and pea-fowl's. 
 Trimmings are made by sewing the feathers on in rows of 
 three and two, or three and four, one over the other, on a 
 narrow ribbon of the same color. 
 
 SPATTER-WORK. 
 
 The materials needed for spatter-work are bristol-board, 
 India-ink, a fine-toothed comb, toothbrush having long firm 
 bristles, some fine pins, a tack-hammer, and a smooth board 
 on which to fasten your paper. 
 
 An artistic design is the chief requisite for successful 
 work ; and Nature will supply you with beautiful models in 
 her tiniest leaves and ferns and mosses, with quaint shapes 
 of cup and hood. Gather them carefully, and press them, 
 and, when your paper is firmly fastened to the board, arrange 
 a graceful bunch of leaves and sprays, with, if you choose, a 
 paper pattern of cross or basket around which to group 
 them. But the simplest arrangement is always best. Pin 
 
264 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 each leaf carefully in its place with small pins, lest the ink 
 should spatter under it. Rub the India-ink with water in a 
 saucer to the thickness of cream. Colored ink may be used 
 instead, if you prefer ; or any water-color paint may be pre- 
 pared in the same way as India-ink, except that it should be 
 thinner. Dip the toothbrush lightly in the ink, and, by rub- 
 bing it gently over the comb, send a fine spray of ink upon 
 the paper, repeating the process until the tint is deep enough. 
 The lower part of the work may be shaded more deeply, to 
 give perspective ; but, as the ink is much darker when dry, 
 be careful not to make the tint too deep. Now carefully 
 remove the pattern, and a white design appears, which must 
 be deftly touched up with a fine camel's-hair brush dipped 
 in the ink. Put in the veins of the leaves, and shade those 
 parts of the design which would naturally be in shadow. 
 
 When all is done, and the ink is perfectly dry, the paper 
 should be pressed on the wrong side with a warm iron, not a 
 hot one. 
 
 The paragraph on birch-bark suggests a number of pretty 
 gifts, which can all be made equally well out of spattered 
 bristol-board, and many more things, like tidies, pincushions, 
 and lamp-shades. Aprons, too, can be made of fine Swiss 
 muslin decorated with spatter-work. White holly-wood is 
 sometimes carved into paper-knives, work-boxes, glove-cases, 
 and book-covers, and decorated with spatter-work; burnt- 
 umber being used instead of ink. 
 
 SHADOW-PICTURES. 
 
 There is a simpler way of obtaining pictures, having 
 much the same effect as spatter-work. At any large artist's 
 materials store can be purchased a sensitive-paper, which 
 changes color when exposed to the light. A large roll of 
 this photographic paper costs only fifty cents. Any pretty 
 
SCENT-CASES FOR TRUNKS. 26$ 
 
 design may be placed upon a square of the paper, and ex- 
 posed to the sunlight for a few moments, when, on removing 
 the pattern, the tint beneath will be found much darker than 
 the prevailing tint of the paper. Pour water abundantly 
 over the whole, and the design will become white, while, 
 wonderful to say, the background changes to dark blue. 
 Pictures obtained in this way may be turned to use in the 
 manner described for spatter-work. 
 
 BOOK-COVERS. 
 
 As books are of many different sizes, it is clear that one 
 cover will not fit them all ; but you may guess, perhaps, wha^ 
 size would be most useful to the friend for whom you wist 
 to make it. A Bible-cover is a lovely gift to make. If 
 should be cut from chamois-leather, exactly the size of the 
 open Bible, with a narrow piece sewed on at each end to 
 fold under. Pink the edges all round. Sew the flaps very 
 firmly and neatly on the wrong side of the cover, leaving the 
 points of the cover to project, and form an edge. A mono- 
 gram, or any appropriate motto, may be embroidered on the 
 cover. 
 
 Another useful gift is a dictionary-cover, made in the 
 same way ; or it may be cut out of brown linen, and bound 
 around the edges with dark-brown braid. 
 
 SCENT-CASES FOR TRUNKS. 
 
 These are useful gifts for a friend who travels often 
 Clothing packed away in trunks is apt to contract a smell 
 of leather ; and a large case of silk or muslin, scented with 
 delicate powder, and made to fit the top of the trunk, will 
 be sure to be appreciated. 
 
266 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 CABIN-BAGS. 
 
 Another gift for travellers is a cabin-bag, which is made 
 like a shoe-bag, and can be tacked against the wall of the 
 state-room, within reach of berth or sofa. 
 
 Cut a large square of stout linen or cretonne. Stitch two 
 rows of pockets upon it, and make a small pincushion to be 
 hung at the middle and top. Bind the edges with braid, and 
 make loops by which to hang it up. 
 
 This useful bag will take the place of a bureau in the 
 crowded space of a state-room. 
 
 WORK-APRONS. 
 
 Cut out an apron by any ordinary pattern, but about ten 
 inches longer. This extra length is turned up from the 
 bottom, and divided off, by stitching, into three or four deep, 
 narrow pockets, which will hold knitting, scraps of work, or 
 sewing-materials. 
 
 Very dainty ones are made of pongee or fine linen, with a 
 design stamped upon the space turned up for pockets, and 
 embroidered in stem-stitch. A bunch of flowers with two 
 or three bees fluttering over them, and along the hem the 
 motto, — 
 
 " How doth the little busy bee 
 Improve each shining hour," 
 
 make a design which has become very popular. These busy- 
 bee aprons are finished off with pretty bows of ribbon. 
 
 TOOTHBRUSH-RACK. 
 
 Many pretty things, of which the toothbrush-rack is one, 
 can be made from spruce-twigs. Cut two straight spruce- 
 twigs having little branches which grow upward, and try 
 
SHOE-CA^ES. 267 
 
 to get them as nearly alike as possible. Trim the little 
 branches until they are two inches long. 
 
 Now cut two more twigs the same length, but cut off all 
 the branches, without entirely smoothing the bark, which is 
 prettier if left rough. Place the twigs first cut about six 
 inches apart, and lay the second pair across them at top and 
 bottom, making a square frame ; fasten the corners firmly 
 with fine wire. Two more twigs, crossed diagonally from 
 one corner to another, help to strengthen the frame, which 
 is hung up by a wire or ribbon. Toothbrushes are placed 
 across the small branches, which, as you see, should be as 
 nearly parallel as possible. 
 
 SAND-BAGS FOR WINDOWS. 
 
 When the wind blows on a cold winter's night, and the 
 window rattles, and lets in the cold air, a sand-bag will help 
 to keep it out, and be a very useful present. It is made by 
 filling with sand a long, narrow bag, four inches wide, and 
 just as long as the window-sash is wide. Cover the cotton 
 case with one of bright-scarlet flannel. Lay the sand-bag 
 over the crack between the upper and lower sash. 
 
 SHOE-CASES. 
 
 These are meant to hold shoes in travelling, and to take 
 the place of wrapping-paper. As each case holds but one 
 pair of shoes, it is well to make two of them, or more, as a 
 present. Cut out of brown linen a case or bag which will 
 easily hold a pair of shoes. Bind the edges with braid, and 
 fasten strings about the mouth to tie it with ; or make the 
 end long enough to fold over, shaping it like an envelope, 
 and fastening it with a button and buttonhole. 
 
268 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 BEAN-BAGS. 
 
 One of the j oiliest of games for a rainy day is the bean- 
 bag game; and a set of bean-bags is, therefore, a beautiful 
 present to make for friends or brothers. Make four square 
 bags out of bed-ticking (they should be about six inches 
 square) ; sew them very stoutly, and fill them, not too full, 
 with common beans. The cases are then covered with bright 
 flannel, and an initial may be worked in each. 
 
 A HEMLOCK PILLOW. 
 
 Whoever loves the spicy odor of hemlock-woods will take 
 delight in this pillow, which brings the fragrance wherever 
 it comes. Gather a quantity of fine hemlock-needles from 
 the young shoots of the tree, and, when dry, fill with them a 
 large, square ticking, which must be covered with soft wool 
 or silken stuff, which may be left plain, or embroidered, to 
 suit the taste of the giver. 
 
 SACHET FOR LINEN-CLOSET. 
 
 A large, sweet-smelling scent-bag is a delightful thing to 
 lay among the fresh linen. It may be made with sachet- 
 powder, like the scent-case for trunks ; but our grandmothers 
 used the old-fashioned lavender-blossom. And another de- 
 licious scent is that of the sweet-clover, which grows wild in 
 many parts of the country. Dried sweet-grass, such as the 
 Indians weave into baskets, may be attainable for some. 
 
 baby's BLANKET. 
 
 To make something especially pretty out of an ordinary 
 crib-blanket, select one with blue stripes and a blue silk 
 binding. Between stripes and binding baste a strip of can- 
 vas, and with blue saddler's silk doubled work in cross-stitch 
 
BMBROTDERED LINEI^. 269 
 
 a motto, so arranged as to be read when the blanket is folded 
 back. Here is a pretty English motto : — 
 
 "Shut little eyes, and shut in the blue : 
 Sleep, little baby, God loves you." 
 
 And here are two very short ones in German, Schlafe wohl 
 (Sleep well), and Gut Nacht (Good-night). Another pretty 
 German verse is this, ''Nun gute ruhy die Augen zu'' (Now 
 go to sleep, and shut your eyes). 
 
 SUMMER BLANKETS. 
 
 A pair of light summer blankets may be made very pretty 
 by buttonholing them loosely across the top and bottom, and 
 working three large initials in the middle of the top end. 
 
 NAPKIN-BANDS. 
 
 These are used to fasten the napkin around a child's neck, 
 and consist simply of a canvas strip, an inch wide and twelve 
 inches long, worked in cross-stitch, and attached at each end 
 to the metal clasps which are used for children's stockings. 
 
 EMBROIDERED LINEN. 
 
 A set of tea-napkins with an initial letter finely worked 
 makes a beautiful gift. The letter should be stamped in one 
 corner of the doyly; and, before embroidering, the pattern 
 is run and "stuffed" with heavy working-cotton, which makes 
 the work far richer. Handsome towels are embellished with 
 the initials of the person to whom they are to be given 
 worked at one end in the space made by folding the towel 
 twice. The letters should be very large. Towels are now 
 sold with a canvas strip woven across each end, on which 
 any pretty pattern may be embroidered ; the Holbein-stitch, 
 which is alike on both sides, being the best to use. 
 
I'JO FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS. 
 
 SHAWL-BAGS. 
 
 Probably most of the girls who read this book know what 
 shawl-bags are like, and also know their usefulness. They 
 are not only capital things to protect shawls from dust and 
 cinders in travelling, but may be used as another hand-bag, 
 to carry small articles in case of need. Stout brown Hol- 
 land is the best material. Cut two round end-pieces eight 
 inches across, and a piece half a yard wide by twenty-four 
 inches long. Sew the sides of the piece around the two end- 
 pieces, making a cylinder with a long slit, which is to be the 
 mouth of the bag. Face the edges of the slit, and bind them 
 and the seams at the ends with worsted braid. Close the 
 opening with five buttons and buttonholes, and sew on a 
 stout strip of doubled linen by way of handle, like that of 
 a shawl-strap. The bag may be ornamented on one side with 
 the initials of its owner. 
 
 bird's-nest penwiper. 
 
 Cut out six or eight leaves (for which a beech-leaf makes 
 a good pattern) of black cloth or velvet. Cut the edges in 
 points, like the natural leaf, and sew them around a circle of 
 black cloth. Knit and ravel out again a quantity of yellow 
 worsted or silk floss, and imitate with it the form of a bird's 
 nest in the middle of the black leaves. For the bird sitting 
 on its nest, a white canton-flannel shape may be devised, 
 with black bead eyes, and feathers imitated in water-color 
 paint ; but one of the little Japanese birds sold in the shops 
 for fifteen or twenty-five cents will answer the purpose. 
 Fasten plain circles of cloth below, for wiping the pens. 
 
 GLOVE-BOX. 
 
 The material of this box may be very stiff cardboard ; but 
 
tVHAT TO DO WITH AUTUMN LEAVES. 2; I 
 
 a better way is to get a tinman to cut for you six strips 
 of tin, of the dimensions given below, punched with rows of 
 holes an inch and a half apart. If cardboard is used, you 
 can make the holes yourself, measuring them with a rule. 
 The strips are to be cut as follows : — 
 
 Two strips one foot long and five inches wide, two strips 
 one foot long and three inches wide, and two strips five 
 inches long by three inches wide. These make respectively 
 the top and bottom, the sides and the ends, of the box. 
 Each piece is to be lined with cotton-wadding scented with 
 sachet-powder, over which is placed the silk or satin lining 
 you have selected. This soft lining is then quilted down by 
 putting the needle through each of the holes in turn, taking 
 long stitches on the wrong side, and fine ones on the right 
 side. Tiny buttons sewed in each depression make a pretty 
 finish. Put the box together, and cover the outside with 
 satin, cloth, or plush, sewing a small silk cord around the 
 edges to finish them neatly. Square handkerchief-boxes may 
 be made in the same way. 
 
 PLAIN SEWING. 
 
 Although this has not so attractive a sound, much pleas- 
 ure may be given and received by the little folks who can do 
 a bit of plain work. In many cases no gift could be so use- 
 ful as an apron, or nightgown, or petticoat neatly made, with 
 loving thoughts stitcned into the long seams and difficult 
 gathers. And, as the knowledge ought to be gained, let me 
 assure you that the pleasure and excitement of practising 
 on Christmas-gifts will help very much to make this neces- 
 sary branch of learning interesting. 
 
 WHAT TO DO WITH AUTUMN LEAVES. 
 
 Suppose you have gathered, from pure love of their beauty, 
 
^Jl i^IFTY CHRiSTMAS-GlFTS t^OR SMALL FINGEk^. 
 
 art the bright sprays, and tiny ferns blanched white in the 
 shade, that you met with in your autumn rambles : you will 
 be glad to know in what way they may be preserved, and 
 used to delight other people as well as yourself. Take an 
 old wooden box, or shabby table, or lacquer-tray, or earthen 
 bowl or pitcher, and, whichever you select, paint in black, or 
 any color which will have a good effect, with oil-paint. When 
 dry, rub it smooth with sand-paper, and repeat the process 
 three times. Glue upon it your leaves and ferns, arranging 
 them gracefully, as they are sure to be in nature ; and, when 
 the glue has dried, apply a coat of isinglass, dissolved in 
 water, to the whole surface. Three coats of copal-varnish, 
 each added after the former has had time to dry, finishes the 
 work, and your old box or tray will have been transformed 
 
 FERN-WORK. 
 
 Even more beautiful and delicate effects may be produced 
 In fern-work. The pressed ferns should be perfect and lovely 
 in themselves, and of all shades, — ■ green, deep-brown, yellow, 
 and white. Suppose you have a small round table whose 
 top is to be decorated. It is first to be painted black, or very 
 dark brown, rubbed with pumice-stone when dry, and then 
 varnished. While the varnish is still wet, the ferns are to 
 be arranged upon it according to a carefully planned pattern. 
 This work requires great care and deftness. The ferns, once 
 laid on the varnish, must not be altered, or lifted by the hand ; 
 but the disarranged or projecting points may be pushed into 
 place with a long pin. When the design is arranged, varnish 
 again immediately, with light touches. Between these two 
 coats of varnish, the delicate ferns remain nearly indestructi- 
 ble, with almost the effect of a Florentine mosaic. Another 
 coat of varnish must be added when the second is wholly dry. 
 Earthen tiles and plaques may be treated in the same way, 
 
A CHRISTMAS-PIE. IJl 
 
 and the result will be better than much amateur china paint- 
 ing. 
 
 BARREL-CHAIR. 
 
 Any girl who has a father or brother to help may make 
 this useful piece of furniture. A barrel is sawed into the 
 shape shown in the diagram of pill-box chair on p. 281, which 
 is that of a low chair with a rounded back ; and four blocks 
 are nailed inside to support a round of wood, which forms 
 the seat, and which, like the back and sides of the chair, 
 must be stuffed, cushioned, and covered with chintz or cre- 
 tonne. A deep ruffle of the same covers the barrel below 
 the seat. The hollow space inside, below the seat, may be 
 utilized by nailing all around the sides a shoe-bag with many 
 pockets ; and the chair may then receive the name of a shoe- 
 chair. 
 
 DECORATED CANDLES. 
 
 Wax or paraffine candles are used for this purpose. They 
 may be painted in water-color or oil, or with the powder used 
 for coloring wax flowers. Where this powder or water-color 
 paints are used, a little ox-gall is needed to give the paint 
 consistency. Bands of solid color, conventional patterns, or 
 sprays of flowers twining around the candle, may be chosen 
 for decoration. Gilding adds very much to the effect, and is 
 bought, under the name of " gold paint," at any artist's-mate- 
 rial shop, for fifty cents a bottle. 
 
 A CHRISTMAS-PIE. 
 
 Let me tell you of a merry way to serve up many of the 
 little dainties described in this chapter. Put them, each 
 wrapped in soft paper, all together in an enormous tin dish- 
 pan, and cover the top with a crust of yellow cartridge-paper, 
 ornamented with little twirls pinned in their places. 
 
 The pie must be cut beforehand into enough pieces to go 
 
274 FIFTY CHRISTMAS-GIFTS FOR SMALL FINGERS, 
 
 around ; but the carver may go through the motions of cut- 
 ting it, and then spoon out the contents upon the plates pro- 
 vided. Small articles which will not be injured by heat can 
 be wrapped in white paper, and baked in genuine little cakes, 
 when they furnish a delightful surprise to those who eat 
 
 A BROOM PENWIPER. 
 
 This is easily made, and very pretty when finished. 
 
 The stick is a long penholder, either plain or fancy, one 
 end of which is dipped into melted sealing-wax to form a 
 knob, and round which the ends of cloth are tightly sewed. 
 The wiper is formed of a number of narrow strips of cloth, 
 cut twice the length required, and doubled in half. The cloth 
 
 Fig. 89. — Broom Penwiper. 
 
 may be all black, or mixed with other colors, according to 
 taste. The cloth ends should be rather short, and very full, 
 so as to resemble the brooms used for yards. 
 
 A band of red cloth, or thin leather, worked with dots in 
 gold-colored silk, to imitate brass-headed nails, is fastened 
 round the cloth, and keeps it in shape. 
 
 TEA AND EGG COSEYS. 
 
 The breakfast-table is much improved by these pretty and 
 useful additions. The crimson plush for the outside is cut 
 the shape and size needed for the style of teapot for which 
 the cosey is intended. They are generally made higher and 
 
T£A AND EGG COSE VS. 2/5 
 
 narrower than formerly. A bouquet of good artificial flowers 
 may be fastened on one side, the points of the leaves being 
 tacked invisibly to the plush to keep them in place. 
 
 On the opposite side, a monogram or crest, in fine varie- 
 gated cord or gold-thread, is worked. The lining should be 
 of silk, the same shade as the plush, and well wadded and 
 quilted. A very unique and beautiful edge is formed of 
 pheasant's feathers tacked on a narrow ribbon the color of 
 the plush. 
 
 It is better to choose a tint for the cosey that will harmo- 
 nize with the breakfast-service. The feathers would suit 
 almost any color. If this trimming is found to be too trou- 
 blesome, a good cord can be substituted. The top of the 
 cosey is ornamented with a small fancy gilt or ivory ring, by 
 which it can be lifted off without interfering with the feather 
 band. 
 
 The egg-cosey is made of the colored plush, and sufficiently 
 large to cover a small hot-water dish, to hold four or more 
 eggs in their cups. One side of this cosey may have a bird's 
 nest with eggs in it, or a hen and chickens in embroidery. 
 The other side has the crest or monogram. A cover or mat 
 for the hot-water dish is made of a piece of green baize, cov- 
 ered with an imitation of moss, made of knitted wools. 
 This cosey is finished in the same manner as the teapot- 
 cosey. 
 
 A small holder is almost indispensable, as the handle of 
 the teapot becomes exceedingly hot when covered up by a 
 good cosey. 
 
 In order that all should correspond, this, too, may be made 
 of plush, with a quilted satin lining interlined with folds of 
 flannel. The crest or monogram will suit for the centre, and 
 the edges should be covered with a variegated cord. 
 
 These three articles are very suitable for a wedding-present 
 
2^6 DOLL 'S HOUSES, 
 
 CHAPTER III. 
 
 DOLL'S HOUSES AND MAKE-BELIEVE HOUSEKEEPING. 
 
 Dolls were once supposed to belong solely to little girls ; 
 but they are now so beautifully made, and so real, that to 
 own a large one is next to playing with a live baby, and has 
 a great advantage over that amusement, in that it will never 
 cry, or rebel at being put away when the play ends. For 
 any little girl who really loves dolls, there is not the slightest 
 need of writing any of the thousand ways of playing with 
 them. My dolls were just as much alive as I was ; and there 
 were parties and weddings and christenings and funerals, just 
 such as are part of all homes. Almost every child now has 
 doll's bureaus and trunks, so that all the little clothes can 
 be kept in perfect order ; and to teach the dolls the best way 
 of doing this will take a great deal of time. But it is with 
 dolls as with people : unless they have houses of their own, 
 it willbe impossible to live in just the right fashion. And 
 doll's houses are so easily made, and there can be such pleas- 
 ure in furnishing them, that there is no excuse for not having 
 at least one in every family. There is no occasion for buy- 
 ing an elaborate one at a great toy-store, or even spending 
 money on the carpenter ; for very good ones are made by 
 simply using well-made packing-boxes ; those for books being 
 smoothest and nicest, but those in which canned goods are 
 packed answering very well. Two of these boxes can be set 
 one on another, each divided into two rooms by a thin board, 
 or even pasteboard, fitted in. It is not hard to cut windows, 
 
DOLL'S HOUSES. 2// 
 
 which can have glass fastened inside ; and the whole should 
 be neatly papered inside and out before beginning to furnish. 
 The book-boxes are usually three feet long, and a better shape 
 than the can-boxes, which are too deep for the width. Choose 
 a dark-gray or light-brown paper for the outside ; and by read- 
 ing the directions for cardboard houses in Chap. V., Part III., 
 you will get an idea of how to finish off about the windows, 
 and can even imitate a roof and chimneys if you like. 
 
 For the first house, four rooms are quite enough ; and, if 
 you choose to begin with a small box and small dolls, almost 
 all the furniture can be of stout cardboard. Remember that 
 a big doll in a little house is as ridiculous as an old-fashioned 
 giant would be in ours, and have every thing match and har- 
 monize as nearly as you can, not only in size, but in colors. 
 For instance, in the parlor do not have a red sofa, and a blue 
 chair, and a green table-cover, but remember that crimson 
 or dark red must have soft browns, or olive-greens, or even 
 gray, with it ; that blue in a bedroom may be combined with 
 gray, pale pink, or garnet ; and that green goes well with 
 oak, or with gray. This is the way a tomato-can box I know 
 about was furnished for very small dolls, — a father and 
 mother, and one baby in a little cradle. Bessy had talked it 
 over with her mother, and decided, that as the young couple 
 were just beginning life, and had not much money, they 
 ought to be willing to live in a very simple way ; and so a 
 small "flat" was just the thing. Bessy's father divided it 
 for her into three rooms, and cut doors between ; or, rather, 
 he marked the doors, and Bessy cut them out herself with a 
 jig-saw, which she could handle very well. Windows were 
 cut out, and a thin piece of mica fastened on with gimp- 
 tacks ; and the sashes were made of pasteboard pasted on. 
 Then the whole was papered outside with a light-gray paper, 
 and left to dry. A roof had first been made by sawing the 
 
278 DOLL'S HOUS^,S, 
 
 side of the box in two, and then nailing it on the top, gluing 
 it together at the top, and fastening on a little chimney. 
 This was all papered in dark red, like a Queen Anne roof. 
 Inside there were three rooms, — parlor, bedroom, and the 
 dining-room and kitchen in one. This troubled Bessy. Bui 
 her mother said that a lady never made work as she went, 
 as an ignorant woman always did, and that it was quite 
 possible to have a kitchen-stove behind a screen, managed 
 so that hardly anybody would know it was there. 
 
 Curtains were made first for all the windows, — two in 
 the bedroom, three in the parlor, and two in the kitchen. 
 Those for the parlor were of cheese-cloth, with broad hems, 
 and a narrow lace sewed on. The rods, from which they 
 hung by little brass curtain-rings, were very small lead-pen- 
 cils, which looked like ebony, and rested in two little picture- 
 screws, into which they ran easily. The bedroom had rods 
 also ; and the curtains, bedspread, and chair-covers were 
 blue chintz with a small pink rosebud in them ; while the 
 dining-room had cream-colored linen shades that were rolled 
 up and tied. Between parlor and bedroom hung a portihe, 
 also on lead-pencil rod, and made of deep-garnet merino. 
 The parlor and bedroom floors were carpeted with thick 
 garnet-and-blue stuff left from covering a chair; and the 
 dining-room had a gray oilcloth, in imitation of little tiles, 
 and a rug in the middle, made of dark-gray canton-flannel, 
 with a deep-red border. With carpets and curtains, it began 
 to look like a house ; and then came the furnishing. For 
 the parlor a toy-table had a red merino cover, matching the 
 portihe, with a border of ribbon in gay Persian colors ; and 
 a sofa was made by taking a small paper-box, six inches long, 
 two wide, and one high, and, after laying cotton-wool thickly 
 on the top, covering the whole with the friendly merino. 
 Three pillows, each two inches square when finished, were 
 
DOLL'S HOUSES. 279 
 
 also made, and the edges of all finished with very fine old- 
 gold cord. The rocking-chair, and some reception-chairs, 
 were all cut from cardboard diagrams given in Chap, i, Part I. 
 The bookcase, made from a paper-box, with pasteboard 
 shelves fitted in, and the whole painted brown, was filled 
 with the tiny volumes sold in sets at any agency of the 
 American Sunday-school Union ; though even they were so 
 large in proportion, that it was like having a library of big 
 dictionaries. Two ottomans were made from very small pill- 
 boxes, stuffed with cotton, and covered with merino. The 
 mantelpiece was a piece of pasteboard, fitting between the 
 windows at the end, an inch and a half wide, and tacked 
 against the wall, after being covered with the merino, and 
 a very narrow fringe to match sewed on the edge. On it 
 stood some tiny vases and ornaments. Four chairs and a 
 rocking-chair were cut from cardboard, after the models 
 given, and a toy-piano which stood in the corner, and which 
 had been on the Christmas-tree as a present to the mamma- 
 doll. 
 
 The parlor had a dark-red dado three inches high ; above 
 it just common brown wrapping-paper, finished with a half- 
 inch border of dark red, and, where the dado joined the paper, 
 a very narrow line of gilt. Bessy framed some pretty photo- 
 graphs, and one little water-color, — an Easter-card, — by 
 having glass just the same size, and pasting narrow black 
 ribbon around the edges ; and she had enough for all the 
 rooms. The bedroom was papered in pale blue, with gilt 
 border ; and the dining-room in gray and red. 
 
 The bedroom mantelpiece was covered with chintz like the 
 curtains, and edged with a very fine plaiting of the same ; 
 and that for the dining-room was in gray crash, with red 
 worsted fringe. The bed, bureau, and chairs were at first 
 cut from cardboard. But Bessy's success with sofa and otto- 
 
28o 
 
 DOLL'S HOUSES, 
 
 /T) 
 
 ■A 
 
 Fig. 90. — Bed. 
 
 mans had given her confidence ; and she made a bed from a 
 paper-box six inches long, four wide, and one high. The 
 cover she took off, turned the box upside down, and sewed 
 the cover to it, making a high back, as in diagram below, 
 
 which was bent over, 
 and cut in a half-circle 
 to form a canopy like 
 this. All this back was 
 covered with the pink- 
 and-blue chintz, and a 
 plaiting of it set around 
 the edge of the canopy. 
 The mattress was made 
 of cotton-cloth cut just 
 the size of the bed, a 
 piece half an inch wide 
 set in all around it, and the whole stuffed with cotton, and 
 tufted like any mattress. The sheets were cambric, nicely 
 hemmed ; the blankets, fine flannel, buttonhole-stitched in 
 blue worsted ; and the spread of chintz. Square pillows and 
 a bolster were made, and the sides of the box covered with 
 chintz. The toilet-table was another box, four inches high 
 and five broad. A little glass was 
 hung at the back, and the whole 
 draped with dotted muslin tied with 
 narrow pink-and-blue ribbon. Two 
 pill-boxes covered with chintz made 
 ottomans ; and there were a small 
 bureau, and some little chairs made 
 from high but small round boxes 
 cut like a barrel-chair, as in the diagram below, and covered, 
 also, with chintz. 
 
 For the dining-room, Bessy already had a little table and 
 
 Fig. 91.— Canopy. 
 
DOLL'S HOUSES. 
 
 281 
 
 four chairs ; and these were in the centre of the room. A 
 little pantry was made from a small cigar-box, fitted with 
 shelves ; and another little table had some shelves fastened 
 to the back, and became a sideboard, filled with the metal 
 teaset, and little glass tumblers and dishes ; and behind the 
 pretty screen, made from a toy clothes-horse covered with 
 Christmas-cards, stood the little stove, and all the pots and 
 pans hanging near it. 
 
 Here housekeeping went on every day, as carefully at- 
 tended to as her mother's. The 
 family went to bed, and got up. 
 The little bedclothes were hung 
 out to air ; the breakfast was got 
 and cleared away ; the baby had 
 its bath, and took a nap ; and 
 then the parlor was dusted, and 
 the bed made, and every thing 
 put in order for the day. There 
 were dinners and tea-parties ; 
 and little accounts were kept, 
 and stores laid in, and all the 
 round of daily work carefully 
 gone through with. The baby 
 grew up, and married : the father broke his leg. Every 
 thing happened that could happen. And at last the house 
 gave way, — first to a much larger one, with real carpets, and 
 a hall and stairs, and furniture, some of which Bessy carved 
 herself ; and at last to a little room, where her mother had 
 a little cook-stove like the one in " Little Men," and where 
 Bessy herself actually cooked from receipts given in a book 
 called "Six Little Cooks." Her brothers cut the wood for 
 it, and considered themselves paid by an invitation to tea ; 
 and, as she grew more and more skilful, older people were 
 rather anxious to be invited too. 
 
 Fig 92. — Pill-box Chair. 
 
282 DOLL'S HOUSES. 
 
 Given a set of toys such as accompany Miss Huntingdon's 
 " Kitchen-Garden System," and there is not a child that will 
 not learn easily and happily the dreaded routine of the daily 
 work that must be done. The transition is an easy one from 
 the make-believe to the real, and a child who has had this 
 training will never feel the terror of housekeeping that fills 
 many a girl before marriage. The doll's house will have 
 taught the best and easiest way of taking care of the real 
 house, which need not be the burden it is, were there better 
 training in the beginning. 
 
WHAT CAN BE DONE WITH TISSUE-PAPER. 2%^ 
 
 CHAPTER IV. 
 
 WHAT CAN BE DONE WITH TISSUE-PAPER. 
 
 There is a disposition to sneer at several varieties of or- 
 namental work which do not meet all the requirements of 
 the present rage for high art. Wax flowers, leather-work, 
 etc., are regarded as having had their day, and owning now 
 no real right to existence. It is a fact, however, though 
 such work is out of place among the elaborate decorations 
 of the modern house, in the large proportion of houses, where 
 hammered brass, and cloisonnee, and miracles in enibroidery, 
 cannot come, that harmonious color, and arrangement of sim- 
 ple materials, will give an effect of suitability which is often 
 wanting in more pretentious houses. And in any case, the 
 chief use of these materials is, after all, to educate the eye 
 and hand ; and the child who makes her tissue-paper flowers 
 as much like nature as possible is making ready for better 
 work with better material, and if a taste for carving, or mod- 
 elling, or painting, develops itself, may owe it to close study 
 of what can be done in leather or wax. 
 
 Tissue-paper comes first in order; the materials costing 
 little, and the tools being so simple. French tissue-paper, 
 as it is called, though really made in England, is the best, 
 and comes in all colors, at about sixteen cents a quire. A 
 little highly glazed paper will also be needed for calyxes, etc. 
 The stamens and pistils are sold at wholesale, but may better 
 be made at home. The tools needed for really successful 
 work are moulding-tools, curling-pins, and a pair of nippers, 
 
284 WHAT CAN- BE DONE WITH TISSUE-PAPER. 
 
 with good scissors, and a heavy lead or brick pincushion 
 stuffed with bran, which can bear a heavy pressure. Some 
 gum tragacanth or arabic, a little box of powdered starch, 
 some colors (also in powder), and a little raw cotton, will also 
 be needed, with some fine wire of two sizes. It is best, if 
 you make the patterns yourself, to take real flowers, and copy 
 them as exactly as you can. When each pattern is cut, write 
 the name on it, and keep an account of the number of petals, 
 the shape of calyx, and every point you might otherwise for- 
 get. Never cut more than three thicknesses of paper at 
 once ; for not only is it likely to slip, but it will spoil the fine 
 edge of the scissors also. Tweezers make very good nippers, 
 and are used in crimping the petals of carnations and some 
 other flowers ; the petal being laid on the cushion, and plaits 
 being made in it by pinching the paper between the tweezers. 
 Fingers can be used, but the creases will not be as crisp and 
 natural. The calyx for the flowers is cut out of the glazed 
 paper ; and glazed cotton thread can be used for stamens, by 
 first waxing it, and then dipping the ends in mucilage, and 
 then in the powdered colors. Stamens can also be made of 
 horse-hair. A daisy is very easy to imitate. This is cut out 
 in a circle, divided into twenty-three pointed petals, each 
 divided from the next by a cut about a quarter of an inch 
 down the length. For the centre, cover a small button with 
 net, and dip it in cement, covering it before it dries with 
 either yellow mustard-seed or seed-beads. Let them get per- 
 fectly firm, and then dip into the powdered yellow. For the 
 stalk, wind green tissue-paper closely round fine wire, and 
 fasten it to the back of the button; then pass the calyx over 
 it, and gum firmly in place. For a bud, cut a smaller corolla, 
 and gum the petals very lightly together, dipping it slightly 
 in the carmine powder. 
 
 For the rose, the petals of which are given here, cut ten 
 
LARGE WHITE OR YELLOW ROSE. 
 
 285 
 
 smaller petals out of the palest part of the pink paper, and 
 the others of somewhat deeper color, the three outer ones 
 so as to have the upper part of the petal of the deepest 
 hue. Mould each set of petals together, by placing them on 
 the cushion, and drawing the ball-tool of the requisite size 
 firmly down from the top to the bottom of the petals. This 
 will hollow and crumple them so as to present the crumpled 
 appearance of vrose-leaves ; and the edges of the larger ones 
 must be curled back with the curling-pin or the nippers, 
 by drawing these sharply behind them. The small petals 
 should then be placed within the larger ones (excepting the 
 five of No. 4, and three of No. 5, which are put on sepa- 
 rately), gummed at the 
 points, and put on in a 
 body, by taking them all 
 up together with the nip- 
 pers, dipping the points 
 in gum, attaching them 
 to the cluster of stamens 
 forming the heart of the 
 rose, and winding a little 
 fine thread round each 
 bunch of petals. The five largest petals and the three outer 
 ones are put on, with gum and thread, below and between 
 the others ; and the stalk is passed through the prepared 
 calyx and seed-pod, and finished by winding narrow strips 
 of green or brown paper, gummed at each end, round the 
 stalk. The buds and leaves are fastened to the stem by 
 winding paper round them in the same way. 
 
 Fig. 93. 
 
 Five of No. 4; ten of No. 3; five of No. i; three 
 
 outer petals. 
 
 LARGE WHITE OR YELLOV^ ROSE. 
 
 The large white roses are made in white paper, either pre- 
 pared for the purpose by tinting stripes of it with primrose- 
 
286 
 
 WffAT CAN- BE DONE WITH TISSUE-PA PEE. 
 
 Fig. 94. 
 Ten of each size (3, 4, 1,2,); five outer petals. 
 
 color (in which case the petals must have their points cut 
 out of the striped part of the paper), or wholly white, in 
 which case they must have a little pale chrome rubbed into 
 them. The paper for yellow roses is generally prepared 
 
 with stripes of a deeper 
 shade across it ; but, if 
 unshaded, the petals 
 must be colored in the 
 same way with a deeper 
 shade of chrome. 
 
 Some of the varie- 
 gated roses are very 
 pretty made in paper of 
 different colors, mixed 
 together according to the color of the real rose. All are 
 done in the same way, with due observation of the charac- 
 teristic peculiarities of each species. 
 
 The single and double poppies are cut out in separate 
 petals, and put on, with gum and thread, round the seed-pod. 
 If not prepared, they will require to be painted in the cen- 
 tre of the petals. The larger ones must be cupped by draw- 
 ing the ball-tool down them, as directed for rose-leaves ; and 
 they should be crinkled by drawing the nippers, slightly 
 opened, down several of the petals placed one upon another 
 on the cushion. This will form rib-like marks, and pucker 
 up the lower part of the petals. 
 
 Carnations require only a little crumpling in the fingers. 
 They must be folded in and out, to give the appearance of 
 the real flower, and the stalk, with its forked pointal, drawn 
 through each of the circles, and then through the calyx ; the 
 centre of each circle being touched with gum, so that they 
 may adhere to each other. 
 
 The pomegranate is very effective in paper. A little 
 
LARGE WHITE OR YELLOW ROSE, 
 
 287 
 
 foundation bud should be made by rolling a strip of the 
 pomegranate paper round the wire stalk ; and the smaller 
 petals are put on in threes together, five in a row, the larger 
 ones being placed round them in like manner. All should 
 
 Fig. 95. 
 a. Chrysanthemum, five of each size. h. Carnation, five. c. Pomegranate, — 2, twenty; 1, 
 fifteen, d. Pyrus Japonica^ five. e. Wallflower, — i, one; 2, two; 3, two. f. Cineraria, g. 
 Jessamine. A. Clematis. 
 
 be well crumpled and crinkled with the nippers before they 
 are put on ; and the points must be gummed together, so 
 that the flower may not fall to pieces. The blossom must 
 
2SS WHAT CAN BE DONE WITH TISSUE-PAPER, 
 
 be gummed into the calyx, which is generally lined with 
 cotton-wool ; and the stem must be covered with reddish- 
 brown paper. A spray of pomegranates should be made 
 with two or three buds at the top, three or four flowers, and 
 some leaves underneath these. 
 
 Chrysanthemums are pretty in paper. They are often 
 sold in tinted circles of various sizes, but the white ones 
 may be cut out of paper tinted with a little primrose-color 
 in the centres. The points must be ribbed by drawing the 
 nippers, slightly opened, sharply down each ; and this is most 
 easily done by placing several circles together on the cush- 
 ion, and moulding them together. They are not so easily 
 broken thus as when done separately. Then they must be 
 separated, and gummed together on the stalk ; the smallest 
 petals closing up, and the larger ones lying flat behind them. 
 
 Paper leaves are the least natural form of this work ; and 
 it is better to use either wax or linen ones, the latter being 
 very inexpensive. If made at home, they must be cut from 
 the stiff paper, dampened, and pressed into leaf-moulds ; and 
 when dry, a wire is pasted down the back, another paper 
 leaf cut, and gummed over it, and the whole pressed again 
 into the mould. Poppies are easily imitated. Chrysanthe- 
 mums are very pretty, and several diagrams are given here 
 that can be followed readily. 
 
 Crinkled lamp-shades are very pretty ; being simply a large 
 circle, with hole for the top of the shade, the whole twisted 
 closely, and then unrolled. Other lamp-shades are made by 
 tracing a pattern on them, and cutting it out with very fine, 
 sharp scissors, putting a contrasting color underneath. For 
 covering up unsightly chimney-places in the country, nothing 
 is prettier than a cascade of tinted tissue-paper which has 
 been cut into fine fringes, and then crimped. Flowers may 
 be made, and arranged with ferns and grasses for the centre. 
 
LARGE WHITE OR YELLOW ROSE. 289 
 
 For younger children a pond-lily mat, made by gumming 
 paper pond-lilies closely about a circle of cardboard, is one 
 of the prettiest and most satisfactory things that can be 
 made from paper ; and the flowers add much, also, to Christ- 
 mas decorations. Tissue-paper, as every one knows, is used 
 for pattern-costumes ; and at least one large party has been 
 given where every dress was of this material. For dolls it 
 can be used with the greatest success ; and any girl can have 
 as many changes for her young-lady doll as heart could de- 
 sire, and get many hints to be used on her own when older. 
 
290 CARDBOARD AND ITS USES, 
 
 CHAPTER V. 
 
 CARDBOARD AND ITS USES. 
 
 Whoever learns to handle cardboard carefully, and to cut 
 out with a steady hand the many beautiful designs that can 
 be used, has taken the first step toward successful wood- 
 carving. But cardboard is far cheaper, and also less trouble- 
 some to manage, than wood ; and a girl of any ingenuity can 
 make cardboard furniture for a small doll's house that will 
 imitate perfectly any style they choose. Nearly ten years ago, 
 " St. Nicholas," which has do-ne so many good things for chil- 
 dren, described in the number for May, 1874, a city of card- 
 board, called " Christmas City," in which the tallest buildings 
 were just two inches and a half high, and which had stores, 
 and a bank, and churches, a city-hall and hotel, and a number 
 of public buildings. Later, the maker of this made " Holi- 
 day Harbor," with ships lying at anchor, and storehouses 
 and docks, and a train of cars ready for loading on freight. 
 Cardboard for such uses must, of course, be smooth; that 
 with holes being used only in embroidery, and in a few orna- 
 mental forms. 
 
 In making a small cottage, there would be seven pieces to 
 cut from the sheet of cardboard, which must first be drawn 
 on it, — a front and a back exactly alike. Two sides, like 
 this, are also to be cut, and then the two halves of the roof, 
 and a little chimney. 
 
 In cutting out, lay the cardboard on a board, and use a 
 sharp knife, following the lines exactly. Cut out the win- 
 
CARDBOARD AND ITS USES, 
 
 391 
 
 dows and doors. For the windows, a bit of mica may be 
 pasted inside for glass, first pasting two narrow strips cross- 
 wise for sashes. The window-piece is to be cut in two, 
 lengthwise, pasted each side of the window, and painted 
 green or brown for blinds. A bit of colored paper will imi- 
 tate curtains behind the sash, if mica cannot be had For 
 the doors, take two very narrow strips of paper, and paste 
 half of each strip on the back of the door, and the other on 
 the inside of the front. When the paste dries, the door 
 
 ^ 
 
 Fig. 97. — Side of Cot- 
 
 TAGX. 
 
 Fig. 98. — Half of Roof. 
 
 Fig. 96. — Front and Back 
 OP Cottage. 
 
 H 
 
 Fig. 99. — Chimney, 
 
 Fig. 100. — Window. 
 
 will open and shut. A very narrow strip of dark-brown 
 paper pasted all around the edge of the door will look like 
 a moulding ; and a door-knob and bell can be painted. Four 
 little cleats, half the size of a match, must be used in putting 
 the whole together. A cleat is to be pasted to the inside 
 of the front, at each end, and allowed to dry in the sun. 
 When they have dried, wet each with paste, and lay the two 
 sides against them, making the edges even, and letting them 
 dry. The cleats can be pasted to the back while you are 
 waiting for the front to dry, and the roof can then be put 
 on. Paste it together at the top edges, and then paste the 
 
^2 CARDBOARD AND ITS USES. 
 
 top edges of the house to hold the roof when set on. After 
 the roof is firm, cover it with black or dark-red paper. The 
 chimney may better be of wood of the shape given, and 
 pasted also ; and the ridge is made by pasting on a very 
 narrow strip of cardboard. Sometimes, instead of cleats, 
 the cuts are made in the cardboard a little beyond the lines 
 given, and the pieces thus made bent down at the lines, 
 and pasted wherever a joining is made. When a simple 
 little cottage has been made like this, it will easily be seen 
 how to improve upon it. A good way is to take the plans 
 and elevations for houses given in such papers as "The 
 Agriculturist," or "American Rural Home," and try to imi- 
 tate them exactly. If you want ground or grass-plots about 
 your houses, cover the board on which it will stand with 
 mucilage, and sprinkle on common house-sand for paths, 
 putting short green moss for grass. An ivy-vine can be 
 made with painted cardboard leaves. Bay-windows and 
 piazzas are easily added ; and there is no limit when once 
 you have found just how to do the work neatly and firmly. 
 Animals can be made, and very natural ones too, by tracing 
 the pattern for one from pictures in any natural history ; 
 then, following the lines exactly, and painting as nearly 
 like the copy as possible. 
 
 With perforated cardboard there are endless uses, from 
 the mottoes which may be embroidered, and by which chil- 
 dren may learn some mysteries of shading and stitches, to 
 the beautiful fret-work, which has a real value. This fret- 
 work is done by laying the cardboard on a board, and cutting 
 away, with the point of a very sharp penknife, whatever de- 
 sign has been fixed upon. If any cut meets another, of 
 course the entire piece is carried away, and the greatest 
 care is necessary to prevent this. The finest board must 
 be used. A Maltese cross is made by cutting the size re- 
 
CARDBOARD AND ITS USES, 293 
 
 quired, being sure that it is begun with an even number of 
 holes ; then cut each successive piece one hole smaller on 
 each side, gumming them all together. The last layer will 
 have but one hole. When dry, paste on black velvet, and 
 frame, the effect being almost like carving. A lamp-shade 
 may be made of five pieces, each a third narrower at top 
 than at bottom. Cut an oval space from the centre of each, 
 and fit or paste on a small picture. Then build up a frame, 
 as in the Maltese cross, by laying on pieces, each one a little 
 smaller than the last. Or scallops can be cut around the 
 edge, each piece carefully lined, and the whole laced to- 
 gether with very fine silk cord, little tassels hanging between 
 each. Bookmarks are pretty in fret-work, gummed to rib- 
 bon. And there are many ways of using that will occur to 
 every ingenious girl ; though let me tell you, in confidence, 
 that such work is best for younger sisters, who enjoy and 
 learn from it ; but it has not real beauty and value enough to 
 be done by older hands ; much of it in a room giving a cheap 
 look. Modelling in the plain cardboard is quite another 
 matter, and educates both eye and hand ; but the perforated 
 board may better be let alone after childhood. 
 
294 PRESERVING AUTUMN LEAVES, FERNS, ETC, 
 
 CHAPTER VI. 
 
 PRESERVING AUTUMN LEAVES, FERNS, ETC. 
 
 The walking-club already mentioned will have made the 
 gathering of ferns and autumn leaves part of its work ; and 
 a little trouble expended in drying them carefully will give 
 winter ornaments, which in the right place are always beau- 
 tiful. The right place is certainly not on lace curtains, from 
 which they are perpetually falling, nor anywhere where they 
 are liable to be constantly knocked off. Single ones are 
 often used to great advantage in transparencies ; but the 
 best arrangement for all such collections is in a large vase, 
 either in a niche, or on a corner-bracket, where a dark back- 
 ground will bring out the beauty of form and color. A few 
 feathery dried grasses, tall bleached ferns, and sprays of 
 maiden-hair, and bright leaves interspersed, will be pleasant 
 to the eye through all the winter months. 
 
 In gathering ferns, never hold them in the hand, as they 
 wither immediately, and cannot be restored. Carry a bas- 
 ket and an old book. Lay long specimens in the basket, 
 and small ones between the leaves of the book. If there 
 are no old bound volumes of newspapers given over to such 
 uses, cut and fold the large dailies the full length, so that 
 the longest fern will have full room to be laid flat. Put 
 each one in separately ; and, when all are in, put under an 
 even, heavy weight. Have a duplicate set of folded papers, 
 and change each day, drying the damp papers near a fire, so 
 that they will be ready to use next day. A week of this is 
 
PRESERVING AUTUMN LEAVES, FERNS, ETC. 295 
 
 enough. But the ferns may better remain in the papers till 
 wanted. If the stems break, use very fine wire, by means of 
 which they can be fastened in almost any position. 
 
 Autumn leaves, if treated in precisely this way, will never 
 shrivel, and require no ironing. Gather large sprays, as far 
 as possible, and lay each leaf in its natural position. Pressed 
 in this way, they can be used above pictures, and are much 
 more easily handled. Another method has lately been given 
 in one of Appleton's " Home Books," which is better than 
 ironing, or the ordinary varnishing or waxing. The leaves 
 are first pressed as described. Melt pure white sheet wax by 
 putting it in a dish, and standing it in hot water, allowing two 
 or three drops of turpentine to each sheet. Each leaf is to 
 be dipped in the melted wax, and held there a few moments ; 
 then taken out, and laid on paper to harden. " If the wax 
 is of the proper heat, the leaf will look as if just varnished ; 
 while, if too hot, it will shrivel, and, if too cool, lumps will 
 form on the surface of the leaf. Leaves treated in this way 
 seem perfectly natural, but can also be varnished." 
 
 Grasses come to perfection in midsummer, and, though 
 sometimes pressed like leaves, can simply be tied in bunches, 
 and hung, tops down, to dry. Many people bleach or dye 
 them ; but my advice is like Punch's to young people think- 
 ing of matrimony, — " Don't." Their beauty is in their natu- 
 ralness ; and magenta or blue grass is, most certainly, any 
 thing but natural. 
 
 Seaweeds are at their best in July, August, and Septem- 
 ber. In collecting them it is best to carry a little pail of 
 sea-water, and, as each specimen is gathered, drop it in ; as, 
 if carried any distance without water, they lose much of 
 their beauty. Low tide is the time for gathering them ; and 
 old clothes and shoes will be necessary, as the best speci- 
 mens have to be scrambled for. Wash away every particle 
 
296 PRESERVING AUTUMN LEAVES, FERNS, ETC. 
 
 of sand or slime by rinsing them many times in fresh water. 
 Then lay them in a shallow dish of water, and float them 
 on to the cards or sheets you propose to mount them on, 
 arranging every strand and fibre with delicate scissors, or a 
 black-head pin. Drain the water carefully off by slanting 
 the card ; dry for a moment with a very soft cloth ; and 
 then press them in newpaper-books, changing them several 
 times until dry. Sometimes mucilage is necessary. A full 
 description of all varieties found on our coasts, with the best 
 methods of treating them, is given in a book on sea-mosses, 
 the full title of which is on p. 411. 
 
 The town of Erfurt in Germany is noted for its drying of 
 natural flowers so perfectly that they are sent without in- 
 jury to all parts of the world. The finest sand is used, and 
 directions from the German authority are given here. 
 
 " In the first place the sand must have water poured over it 
 until it runs off clear, every particle of dust or dirt having 
 been carried off. Then dry it, either by spreading in the sun 
 or in an oven, and, when dry, sift carefully. The sand will 
 then be pure, like * silver sand.' The flowers to be dried in 
 it must be very perfect specimens, and no moisture on them 
 from dew or rain. Gather them after the dew has dried. 
 Put a deep layer of sand in box or pan, in which holes have 
 been bored, and a paper laid over them, and stick each 
 flower upright in it, not letting one touch the other. When 
 all are in position, the troublesome part of the work begins. 
 The box is to be filled with sand, so that every flower is per- 
 fectly covered, and every leaf and petal must rest firmly on 
 sand before it is covered. To do this the sand is sprinkled 
 slowly through a small sieve or a funnel ; and, when the bo. 
 is full, it must be covered, and carried, without jostling 01 
 shaking, to a warm, dry place ; the best temperature being a 
 steady one of 100° F. In three days the flowers should be 
 
PRESERVING AUTUMN LEAVES, FERNS, ETC. 297 
 
 dry. The sand must then be run out from the box by 
 piercing through the paper in the bottom, first taking off 
 the lid, so that each flower as it appears can be lifted out 
 by the stem, and carefully shaken. At first they will be 
 very dry and brittle, but soon draw moisture from the air, 
 and can then be arranged as liked. Flowers are also pre- 
 served by dipping in paraffin e-oil. 
 
 Skeletonizing leaves and flowers is a very old art, the best 
 use of which at present is to teach forms and characteristics 
 of plants. The simplest method, though a long one, is to 
 gather each variety of leaf when in perfection, and put in a 
 tub of rain-water, open to air and sunshine. A month, at 
 least, will be needed before any become soft and pulpy. 
 Then put feelings aside altogether, and go at the most un- 
 pleasant and slimy job of making them ready for bleaching. 
 " Slip a card under the one to be taken out, and so transfer 
 it to a basin of fresh water, when it will float off the card 
 without breaking. Two or three brushes and a knife are 
 then needed for the cleaning, — a soft brush, one of stiff er 
 bristles, and a toothbrush. With the soft brush, the outer 
 surface of pulp is brushed away, the leaf being again lifted 
 by a card, and placed on a piece of smooth glass ; and then, 
 by dexterous touches, the entire pulpy surface is removed, 
 water being carefully poured over it to complete the cleans- 
 ing." 
 
 For bleaching, take half a pound of chloride of lime, with 
 three pints of soft water, and stir and mash the lime fine. 
 Then put away the pitcher holding it, and let it settle an 
 hour ; finally straining it into a bottle, which must be kept 
 corked. For bleaching, put two tablespoonfuls of this solu- 
 tion to a pint of water ; though for thick leaves, like holly, 
 magnolia, etc., three will be needed. Watch the leaves care- 
 fully as you lay them in ; and as soon as bleached, which will 
 
298 PRESERVING AUTUMN LEAVES, FERNS, ETC. 
 
 take only a few moments, float them off on cards, and dry on 
 a soft cloth. Then press in a book ; and in a day or two they 
 will be ready to mount, either as a bouquet, or with a back- 
 ground of black velvet. Stems are often lost ; but good ones 
 can be made by stiffening crochet-cotton with gum, and 
 gumming it to the back of the leaf. The most usual way is 
 to have a round velvet cushion, with hole in the centre, and 
 arrange the wreath or bouquet on this, putting it on a stand 
 with glass shade. The stems must be gummed to the sides 
 of this hole ; letting light leaves be the centre, and seed- 
 vessels, etc., around them. A cross covered with black 
 cotton-backed velvet makes a very pretty ornament. There 
 are various other methods of bleaching and preparing ; but 
 this is the simplest for beginners, who, as they progress, can 
 experiment at will. 
 
IVHA T MAY BE DONE WITH LEA THER. 299 
 
 CHAPTER VII. 
 
 WHAT MAY BE DONE WITH LEATHER. 
 
 The use of leather can be made much more general than is 
 supposed by the many who recall picture-frames in country 
 houses, covered thickly with impossible flowers, and who 
 think ** leather-work " only another word for wasted time. 
 As a fact, however, the industrial art schools have all taken 
 it up, finding that leather lends itself to many uses, and that 
 really beautiful articles can be modelled or constructed from 
 it. 
 
 Where flowers or leaves are copied, it is necessary to imi- 
 tate nature as closely as possible; and the leaf or flower 
 should be before one precisely as much as when a drawing 
 is to be made. Carvings of every sort can also be copied, 
 and architectural mouldings also ; and the work is one of 
 the pleasantest introductions to wood-carving. 
 
 The materials necessary for the work are skins of thick 
 leather, prepared for it, called basily and of thinner leather, 
 called skiver ; moulds nor making grapes and convolvulus- 
 flowers ; wooden pestles and moulding-tools ; a knife, scis- 
 sors, nippers, hammer, pins, wire, small brad-awls for 
 piercing, a tool for veining the leaves, and glue, which is 
 generally prepared in sheets, to be melted as required. It 
 must be soaked for several hours in cold water, and then 
 gradually heated, and kept hot while in use. 
 
 The leather is cut and veined on a thin board. 
 
300 WHA T MAY BE DONE WITH LEA THER, 
 
 A SPRAY OF IVY-LEAVES. 
 
 This is, perhaps, the most easily modelled spray to begin 
 with ; and any patterns of leaves may be obtained by putting 
 the real ones on paper, and tracing round them, and copying 
 the veinings. Place the paper pattern on the leather, and 
 cut it out in the whole spray. Pare the edges with the knife 
 on the under side of the leather, so as to make the leaves 
 and stalks thinner at the edges ; then dip the spray in cold 
 water, or put it on the board, and damp it thoroughly with 
 a wet sponge. It must not be too wet, or it will be swollen 
 by the water ; but while dry it will not receive the impres- 
 sion of the veiner, neither can it be moulded into shape. 
 The veining is to be done by pressing the small vfeining-tool 
 on the front side of the leather, and drawing it down and 
 across the leaf with sufficient force to give the markings of 
 the real leaf. The middle vein is made by double lines. 
 When all the leaves have been veined, they are to be 
 modelled into shape, and curled, as in nature. The leather 
 leaf should be held in the left hand, and the under part of it 
 pressed with the thumb and second finger of the right hand, 
 while the forefinger presses it on the top, so as to push the 
 leather up between the veins, and to curl the edges over. 
 The middle stem and the leaf-stalks must be laid on the 
 board, face downwards, and rolled with the palm of the hand 
 till they are quite round. They will not require wire. When 
 quite dry, they will retain their roundness, and the leaves 
 will keep their shape and the impressions of the veining-tool. 
 In order to make them firmer and stiffer, it may be as well 
 to put a coating of glue over the under part of the leaves, 
 and to glue up the stems into close, round stalks. The ber- 
 ries of the ivy are made by pushing small circles of the thin 
 part of the leather into little round holes in the small mould 
 
A SPRAY OF IVY-LEAVES, 
 
 301 
 
 (well wetting them first), and moulding them by turning the 
 smallest pestle round and round in the hole. They are 
 pulled out of the hole in shape, and left to dry; after which 
 they are trimmed, and glued on to the circles made for them 
 on the spray. The five outer berries are cut out on the 
 branch, and must be moulded also. Holly-berries, currants. 
 
 Fig. ioi. — Ivy-Leaves. 
 * The same moulded and filled up. 
 
 and small grapes, are made in the same way, in moulds of 
 various sizes. The spray is now ready to be glued to the 
 wooden frame on which it is to be mounted, which, if not 
 entirely concealed by tjie leaves, must be prepared by a cov- 
 ering of the thin skiver glued over it. The leaves and stalks 
 must be glued on firmly over this ; and it is best to secure 
 them in their places by the pins, which are hammered a little 
 way in, and these can either be withdrawn when the work is 
 quite firm, or the upper part of the pin may be broken oft 
 with the nippers, and the point left in the frame if it will be 
 concealed by the leaves. The glue must be kept very hot 
 while in use, and in a moderate degree of consistency. If it 
 
302 tVHAT MAY BE DONE WiTH LEATtlER. 
 
 is too thick, it cannot be laid on smoothly ; and, if it is too 
 thin, it is apt to stain the work. Especial care must be 
 taken to avoid glue-stains when the work is left uncolored 
 and unvarnished ; and this is generally the case in the pres- 
 ent day. It is found, that the leather left in its original con- 
 dition becomes of a very nice artistical color when long 
 exposed to the air, and is better unstained by any preparation 
 of paint or varnish. 
 
 Fig. I02. — I. Holly-Leaf. 2. Oak-Leaf. 3. Half- Acorn Pattern. 
 
 Sprays of holly-leaves and berries are made exactly in the 
 same way as the ivy; but the leaves must be pinched at 
 the edges into points, to imitate the original leaves. 
 
 The acorns are bCvSt made by covering the real acorns with 
 skiver : but, if these cannot be obtained, they must be cut 
 out in halves, like the pattern, moulded, and stuffed with 
 cotton-wool ; and the cup must be very much pricked, 
 snipped, and indented, to give the rough appearance of the 
 original. The half acorn alone will generally be sufficient 
 to glue on a frame or bracket, etc., unless it is to be pen- 
 dent ; in which case, of course, the whole acorn will be 
 needed, and it would be best to cover one separately from 
 the cup, and glue into that. Nuts and filberts are made in 
 the same manner, and fastened into a thin leather involucre, 
 cut out from the original, and jagged in the same way. 
 Pendent grapes are made in a similar fashion ; but, for these, 
 little wooden moulds of light wood are required. They are 
 
A SPRA y OF IVY-LEA VES. 
 
 303 
 
 covered with skiver made very wet, and drawn closely round 
 them, and tied with cotton at the stalk-end. As soon as 
 they are quite dry, the cotton is taken off, and the leather 
 cut away, so as to leave a smooth point ready to be attached 
 to the stalk, or be glued into the bunch. The grapes that 
 are not pendent are made in the moulds, in the same way 
 
 Fig. X03.— Vine Lbap and Stalk. 
 «. ^Stalk. b, 6, b. Tendrils c. Method of doing the grapes. 
 
 as the ivy and holly berries, and glued on a piece of 
 leather ; the lower ones concealing the foundation, and the 
 others being piled on, one half over another, so as to form a 
 compact bunch of grapes of various sizes. The branch, 
 
304 
 
 WHA T MAY BE DONE WITH LEA THER. 
 
 leaves, and tendrils of the vine, must be very carefully 
 modelled, veined, and rolled. The broad strip of leather cut 
 out for the stalk is to be very much veined, wrinkled, folded, 
 and twisted, to represent nature. It is impossible to de- 
 scribe its manufacture accurately ; and it can hardly be done 
 without a pattern, or the real branch to model from. The 
 tendrils should have a vein drawn down the under side, so 
 as to make them curl over more easily ; and then they are 
 rolled and glued like the flower leaf-stalks. 
 
 CONVOLVULUS FLOWERS AND LEAVES. 
 
 The flowers of the convolvulus are moulded in the moulds 
 sold for the purpose, of various sizes, with pestles fitting into 
 
 Fig. 104, — Convolvulus Flowers and Leaves. 
 X. Leaf of C. major. 2. Leaves for small convolvulus 3 Flower of C. major. 4. Calyx of C 
 
 major. 5 . Bud of C. major. 
 
 them. The leather is cut out, of the shape No. 3, wetted, 
 and pressed into the mould with the pestle in the right 
 
LARGE GARDEN ROSE. 305 
 
 hand ; while the left hand arranges the flower, so as to have 
 it as smooth and unwrinkled as possible. The leather is cut 
 close round the edge of the mould, and left to dry. After- 
 wards it has to be glued up, and attached to the stalk. It is 
 best to cut a separate spray of stalks for the flowers and 
 buds and tendrils, snipping the points of the flower-stems 
 into stamens, cut very thin, and curled while wet, and twist- 
 ing up the buds into points. The stems and tendrils are, of 
 course, to be rounded while wet ; and the latter should be 
 twisted round a pen-stick or pencil, to give them the required 
 coils. When dry, the stamens are pulled through the 
 flowers, the calyx modelled into shape, and pushed up the 
 stalk, and all are firmly glued together. Then the flower- 
 spray is twined round the spray of leaves, and the two sprays 
 are mounted together. 
 
 LARGE GARDEN ROSE. 
 
 The rose-petals are to be cut out in circles made up of 
 five petals each. Three of No. i are required, and two of a 
 size smaller, and one of the smallest size, which can easily 
 be graduated from pattern No. i. 
 
 They are veined in the centre of each petal, and modelled 
 in the hand with a moulding-tool, so as to round them like 
 rose-petals. The smallest circle is closed up, and the petals 
 are glued together ; one edge of the petal being placed over 
 another petal, and so on. The circles must be modelled so 
 that all but two of No. i are hollowed in the inner side : 
 these are moulded so as to turn back, and are not so much 
 hollowed as the others. When the rose is formed, the stalk, 
 with a little knob for the head, must be pushed through the 
 small circle, and securely fastened to it (a large rose will 
 require a wire within the leather stem) ; and the other cir- 
 cles must be pushed up in their turn, observing that every 
 
3o6 
 
 WHAT MAY BE DONE WITH LEATHER. 
 
 petal is placed behind and between the two front ones, and 
 glued on to the inner circles. Finish the flower by attach- 
 ing the calyx and seed-pod to it. It is well to cut out the 
 leaves in the spray. No. 4 is a middle-sized rose-leaf. Buds 
 are made by a circle of five or three small petals glued to- 
 gether, and placed within a calyx and seed-pod ; thorns, by 
 cutting out little triangular pieces of leather, doubling, and 
 pinching them into shape, and gluing them to the flower- 
 stalk. 
 
 Fig. 105. Large Garden Rose. 
 1. Rose-petals. 2. Calyx. 3. Seed-pod. 4. Leaf. 
 
 The small double roses are done exactly in the same man- 
 ner, with smaller petals, leaves, and stems. All the pieces 
 composing the spray should be carefully pared at the edges, 
 so that the leather may be much thinner there. The single 
 roses have only one circle of five petals (which should be 
 veined from the real petal, and hollowed into shape), and a 
 bunch of stamens in the centre of the flower. These are 
 made in the same manner as the stamens in wax roses, cut 
 out in a strip of skiver, and rolled and curled by the fingers, 
 and, when dry, rolled round the top of the stalk, and glued 
 neatly to it. The calyx and seed-pod are, of course, the 
 
LARGE GARDEN ROSE. 
 
 307 
 
 same as for the double roses, and the buds are made in same 
 way. 
 
 Very pretty effects may be produced in this way. But 
 there are better uses for leather, which is much more really 
 decorative when simply embossed, or used to imitate fret- 
 work carving, as in the cuts below. 
 
 For these designs, cut out two pieces of the required 
 shape, as, for instance. Fig. i, and glue them together, so 
 as to present two smooth surfaces. When quite dry, the 
 piece thus made must be laid on a board, and the ornament 
 formed, by cutting out the pieces, which would be sawed 
 away in wood-carving, by gouges and chisels of various sizes. 
 These must be held upright in the hand, and the pattern 
 stamped out according to the thin cardboard pattern, which 
 should be laid upon the leather. The gouges used should 
 exactly fit the curves of the pattern, so as to cut it clean. 
 
 Fig. 106.— Mouldings. 
 
 Brackets are made by gluing a number of pieces prepared 
 thus together, over a foundation of wood, and ornamenting 
 them with squares, rounds, and ovals, and mouldings cut 
 out in the same way, and arranged to form an architectural 
 design. 
 
 Mr. Charles Godfrey Leland, whose name is now synony- 
 
308 WHA T MAY BE DONE WITH LEA THER, 
 
 mous, with the best work of industrial art schools in this 
 country, has given some suggestions for the use of old tin 
 cans, which have been practically tested, and found to give 
 results which are astonishingly effective, as well as very 
 durable; the articles bearing rough usage, and constantly 
 improving in color. 
 
 THE REDEMPTION OF THE TIN CAN. 
 
 "When any one has a slight knowledge of drawing, or 
 even the faculty of selecting and simply tracing patterns, it 
 is an easy matter to adorn a house cheaply and tastefully, or 
 to make many objects which will meet with a ready sale. For 
 many years I have made a study of adapting to the use of 
 the decorative arts objects which have been generally wasted, 
 and I am now almost convinced that there is hardly any thing 
 which is not to be turned to account. Nature, strangely 
 enough, always gives two useful qualities to every thing. 
 The ox is not only a yielder of flesh, but his skin provides 
 leather. The sheep gives mutton and wool ; the tree, fruit 
 and wood. And, following up this thought, we may find that 
 there are minor and secondary uses in almost all that man 
 rejects. In Roman days the seaweed was called by Ter- 
 ence vilis alga, the * worthless ; * but now it has a double 
 value, — as manure and for iodine. And, to come to a prac- 
 tical illustration, let me show what can be done with the tin 
 cans which are to be found on every lot around every town, 
 and, indeed, wherever man has been. 
 
 " Most people know that leather of any kind, if soaked for 
 some time in warm water, becomes very soft indeed. In this 
 state it may be worked almost like putty or paste. When it 
 dries, it becomes hard again, retaining any marks which have 
 been impressed on it. If soaked in alum-water, it becomes 
 still harder. Now, if we take a sheet of leather, soaked and 
 
THE REDEMPTION OF THE TIN CAN. 
 
 309 
 
 soft, and draw upon it a pattern, and then indent the back- 
 ground of this pattern with a stamp or punch, the pattern 
 will, of course, be in relief; while the background is de- 
 
 FiG. 107. — Can with Wooden or Leather Handle and Base. 
 
 pressed a little, and, if the stamp be rough, it will be corru- 
 gated. That is to say, it will bear a close resemblance to 
 any ordinary panel-carving in wood, the ground of which is 
 generally indented so as to make a dark relief to the shining 
 and elevated pattern. 
 
3IO 
 
 WHA T MAY BE DONE WITH LEA THER, 
 
 " The tools needed for this work are few, cheap, and simple. 
 It may be even elegantly effected with only an ivory paper- 
 knife and a stamp made of a stick of any hard wood, the end 
 of which has been cross-hatched with a penknife, like a com- 
 mon office-seal. But for better work a small wheel of metal, 
 
 Fig. 108. — Tin Can decorated 
 
 the size of a three-cent piece, set in a handle, like the well- 
 known 'pattern-wheel,' is the best to run pattern lines or 
 outlines with ; while the stamp can be made of steel for 
 thirty cents. 
 
 "It is also advisable to have a pattern-wheel, which is like 
 
THE REDEMPTION OF THE TIN CAN. 
 
 311 
 
 Fig. 109— Tin Can doubled and ornamentsb. 
 
312 
 
 WHA T MAY BE DONE WITH LEA THEP, 
 
 a spur set in a handle, and which is commonly sold by every 
 shoemaker's furnisher for twenty-five cents. Now, suppos- 
 ing that the sheet of leather is already soft (having been in 
 water for at least twenty-four hours), spread it evenly on a 
 board, and lay upon it a design drawn on paper. Then, with 
 the pattern-wheel, trace the design through on the leather. 
 
 Fig. ho —Tools for ornamenting the Leather 
 
 The points of the spur or rowel will go through the paper, 
 and leave dotted lines on the leather. Then, with the ivory 
 paper-knife or wheel, draw the outline. Then, with the 
 stamp and a hammer, indent the background. 
 
 " Now, if you have an empty round tin can, we will suppose 
 
THE REDEMPTION OF THE TIN CAN. 
 
 313 
 
 Fig. Ill— Tin Can with Basket Handle. 
 
314 WHAT MAY BE DONE WITH LEATHER. 
 
 that this leather will exactly fit it. Take a piece of tin, or a 
 slip of thin, flexible wood, and make of it, as it were, the 
 handle of a bucket. It may go either within or without the 
 leather cover. Cut it broad where it touches the tin, and 
 narrow at top. Then cover the can with shellac-glue, or 
 glue into which either nitric acid or a little glycerine has 
 been infused to toughen it ; or, if you cannot get these, use 
 common glue, or tragacanth, or dextrine gum, and paste the 
 
 Fig. 112 — Tin Biscuit or Cracker Bok. 
 
 leather firmly on. If you prefer it, the leather may be 
 pasted on the tin, and the pattern worked on it while there. 
 In this case, the work will be very much facilitated by fitting 
 into the can a round cylinder of wood. This will oppose a 
 resistance to the hammering, and render the indenting easier. 
 
THE REDEMPTION OF THE TIN CAN. 315 
 
 There should be such a margin to the leather as to lap over 
 the edge, and cover the inside. This must be cut into strips, 
 so that one may lay on the other. Also leave sufficient to 
 turn under, and cover the bottom. 
 
 " It is not difficult to carve wooden handles, which may be 
 fastened on these tins with screws, and the whole covered 
 with leather. They may be fitted to bases turned of wood, 
 and then ornamented, and used for flowers. Even if covered 
 with only plain leather, and supplied with turned lids, they 
 are practically very useful as receptacles for many objects. 
 Any tinsmith or tinker will, for a trifle, solder a tin handle 
 on a can. He can also fit the end of one inside another, and 
 solder it, thus doubling the length of the can. 
 
 " The pattern may be raised in very deep relief by cutting 
 it out of thick pasteboard, and putting it under the wet 
 leather, or between the leather and tin ; then press the 
 leather down on the mould with fingers and a sponge, till it 
 is in shape, and finish with the stamp. 
 
 "By similar ornamentation with leather, square biscuit or 
 cracker boxes may be converted into really elegant recepta- 
 cles for many objects. In some cases, canvas or brown -hol- 
 land, and other textile fabrics, may be substituted for leather. 
 The canvas or linen may be very well ornamented by paint- 
 ing on it with the dyes sold for tapestry painting. A very 
 practicable and useful dressing-case, lunch-box, or other box 
 for travelling, may be made of an empty biscuit-box, neatly 
 covered either with leather or canvas. They are in every 
 way preferable to those which are made of wood. 
 
 "When the pattern is stamped on the leather, its effect 
 may be greatly improved by painting or staining it either with 
 black dye or lignite ink. Raynald's French ink also answers 
 the purpose of a dye for leather, as it will not rub ofE. Very 
 fine effects may also be produced by cutting out patterns of 
 
3l6 WHAT MAY BE DONE WITH LEATHER. 
 
 colored leather (such as scarlet, orange, etc.), gluing them on 
 the brown ground, and tooling, or running the edges with 
 the wheel. The leather used to cover the tins may be skiver, 
 or split sheep, costing from twenty-five to fifty cents a skin, 
 or russet, of a better quality, costing from fifty cents to 
 eighty. Colored leather is retailed at about one dollar a 
 skin. 
 
 " Tin cans covered with vellum, or very thick parchment, 
 which has been soaked and stamped, exactly resemble carved 
 ivory cups. The stamping may be made by cutting a die in 
 any hard wood." 
 
 The demand for decorative leather of every sort is steadily 
 increasing. The "illuminated leather," made by one firm 
 in New York, is considered by the best judges finer than 
 that imported from France or Belgium, as it does not crack, 
 and is much more flexible. It is greatly used for ceiling and 
 wall decoration. Oxhide is preferred to any other, both for 
 walls and furniture. 
 
 Many of the fashionable chairs to-day are covered in what 
 is known as Spanish hide; which, however, unless really 
 antique, comes either from France, Italy, or Belgium, and is 
 manufactured in imitation of the Moorish designs which were 
 introduced into Spain in the nineteenth century. From 
 Spain, the art of leather-working travelled to the Nether- 
 lands during the occupation of the country by the Spaniards ; 
 and so, in Flemish specimens, we find constant trace of the 
 Moorish influence in which they really originated. These 
 Flemish designs are usually florid and highly colored : those 
 which are more purely Moorish are geometrical, and lower 
 toned in color. The most expensive of all leather is that 
 imported in the rough from Cordova : it is much used for 
 screens and panels, and Flemish designs wrought upon it 
 are especially effective. In early days artists whose fame 
 
THE REDEMPTION OF THE TIN CAN. 317 
 
 was made did not disdain to paint upon this material, and it 
 entered largely into the decoration of palaces and large 
 buildings at the time of the earlier renaissance. Although 
 it has played the part of all fashions, and been from time 
 to time almost lost sight of by the general public, it is safe to 
 affirm that there never has been a time when the lovers of 
 the beautiful have not sought to express ideas in this mate- 
 rial. It is extremely durable, and has more to recommend it 
 for the purchaser than for the man whose bread and butter 
 depends upon selling it, for the reason that a house once 
 fitted up with it may be considered as needing little resto- 
 ration. The same is true, of course, of chairs ; and the 
 durability of leather-covered furniture is one of its greatest 
 recommendations. Trimmings for leather chairs — whether 
 the material is plain, embossed, or painted — vary according to 
 taste and the dictates of fashion. Just now, oak, mahogany, 
 and ebonized cherry are most in demand. Workmen for 
 embossing leather must necessarily be skilled artisans. As 
 a rule, they are found among English or Americans, although 
 some Germans are employed in the business. The latter 
 are good at imitation, but slow to originate ; and, while they 
 follow directions with great accuracy, they seldom aspire to 
 any thing like originality. American girls have attempted 
 this work only in one or two instances. But the same talent 
 that makes a skilful designer comes into play here ; and it 
 is not only a beautiful and satisfactory, but very profitable, 
 industry, by means of which a handsome living is insured. 
 
3l8 fVAX FLOWERS. 
 
 CHAPTER VIII. 
 
 WAX FLOWERS. 
 
 These, too, have fallen under the ban of the many who 
 prefer a sunflower in crewel to the most perfect imitation of 
 nature. But a rosebud exquisitely modelled, or a spray of jas- 
 mine looking as if that moment picked, and put in the little 
 vase before you, can never be any thing but really and truly 
 beautiful, no matter what the critics say. It must be a per- 
 fect copy, however ; and wax flowers have a use far beyond 
 any ornamental one, in that whoever does good work in 
 them must be intimate with every position of the plant on 
 which it grows, and learn the characteristics of each petal 
 and stamen. The outfit required for wax flowers is a rather 
 expensive one, but the tools last a lifetime if properly taken 
 care of. 
 
 The imported wax known as Madame Scheiffles is the 
 best, as it crumbles less than any other when worked. The 
 thin wax, called " single," is only ten cents a dozen sheets : 
 "extra double," for thick leaves, is about twenty cents a 
 dozen sheets ; and the variegated or " mottled," the same. 
 In addition to the wax, there will be needed powdered colors, 
 which cost from fifteen to thirty cents a bottle (carmine, 
 which is the most expensive of all, being forty cents), and a 
 set of camel's-hair brushes. Poonah brushes are twenty 
 cents more a dozen than others, which run from twenty cents 
 to a dollar a dozen ; veining-brushes being five cents apiece. 
 Moulding-tools come in sets, about a dollar a dozen ; and steel 
 
WAX FLOWERS. 319 
 
 pins set in glass, and tweezers and folders, cost from five to 
 fifteen cents each. Very small sharp-pointed scissors, a 
 good penknife, spatula, and color-saucers or a palette, wire 
 of different sizes by the spool, frosting, arrow-root, sprig- 
 moss, etc., will all be needed, and can all be had at the stores 
 where wax-flower materials are sold ; the whole outfit costing 
 from ten to fifteen dollars. 
 
 The first process is to take the patterns of the flower you 
 intend to copy, in its various parts, beginning with the petals 
 of the corolla. Perhaps the white camellia is as easy as any 
 flower to model, and more tractable, under fingers unaccus- 
 tomed to the delicate handling required by fragile blossoms, 
 than many more simple flowers. One hint may be given 
 about the camellia, the rose, and other double flowers with 
 a quantity of petals, — that the object must be to give its 
 effect as a whole ; and that, while any peculiarities about the 
 flower should be imitated exactly, any natural blemish, such 
 as a stain, or crumpled or withered leaf, should be repeated. 
 Allowance must be made for the difference of material. No 
 wax can be so thin as the petals of some flowers are, and, 
 moreover, in the natural flower every part fits into its place 
 without cement ; while in the waxen model a little piece 
 must be allowed for affixing each petal to its position. Every 
 petal of a flower composed of a great number of petals, 
 therefore, could hardly be modelled, and many are hidden 
 from sight by the outer ones ; but the position of the petals, 
 whether placed exactly behind or between the inner ones, 
 the number in each circle or row, etc., must be carefully 
 noted and copied. Lay the petals you wish to copy on 
 paper, and, with a small poonah brush slightly dipped in 
 paint, touch the edges all round, so as to leave the size 
 of the petal depicted on the paper, as in Figs. 113, 114. 
 It is the most accurate mode of copying it, giving all its 
 
320 
 
 tVAX FLOWERS, 
 
 irregularities of form exactly. In cutting the wax out from 
 this paper pattern, a little piece must be allowed at the point 
 for fixing the petal on the stalk. Care must be taken to 
 have the lines of the waxen sheet running upwards, and not 
 across the petal : therefore the up- 
 per part of each paper petal must be 
 placed on the narrow part of the 
 sheet, and the wax cut round it with 
 a pair of sharp scissors. If the sheet 
 is brittle, it should be warmed a little 
 with the hand before it is cut ; and the scissors may be 
 slightly wetted, so that they may not drag any of the wax 
 away, and make an uneven edge. I give patterns for one 
 white camellia, to give some idea of the number of petals 
 required, and their shape ; but I must repeat, that there are 
 scarcely two flowers to be found exactly alike, and that, 
 when practicable, they should be modelled from life. 
 
 Fig. lis. — White Camellia. 
 
 For making a white camellia, cut out five petals of Fig. 9, 
 five of Fig. 8, twenty of Fig. 7, three each of Figs. 6, 5, 4, 
 3, 2, and I, and three of Fig. 10, the outer petals (all in the 
 medium white wax), three of Fig. 1 1 in lemon wax, and three 
 of Fig. 12 in light-green wax, for the calyx. 
 
 Soften the wax by holding it in the palm of the hand for 
 a few minutes, and then rub the white bloom thoroughly on 
 
IVAX FLOWERS. 32I 
 
 both sides of the petals, leaving only the point untouched 
 where it is to be affixed to the stalk (the bloom destroys its 
 adhesiveness). The first six sets of three petals are to be 
 slightly tinged with the palest yellow powder about a third 
 of their height from the points. This may be either rubbed 
 on over the bloom with the finger, or put on with a sable 
 brush, dry. It must be shaded off at the upper part ; the 
 deepest color being laid on at the lowest part of the petal, 
 in the centre, and graduated so as to fade into the white 
 part. This is to be the rule in coloring most flower-petals, — 
 to shade the deepest color gradually into paler tints towards 
 the edges ; because in the real flower this effect is given by 
 the shade cast by each petal on the one lying outside it. 
 The three outer petals (Fig. 10) will require a dash of green 
 powder up the centre of the petal, and a tinge of pink on 
 the upper edges ; and the petals of the calyx will need a 
 little brown marking to give the discoloration generally to 
 be found on them. 
 
 Mould the twelve smallest petals with the smallest curl- 
 ing-pin, first passing the knob round the edges of the petal, 
 so as to fine them off, and then rolling it round the 
 centre, in the palm of the hand, to hollow it into 
 the shape of a spoon. Lay the pin all along the 
 centre of the petal so as to crease it. This should 
 be its shape when moulded. Figs. 5 and 6 are not ^'^ "^ 
 to be quite 'so much curvecl ; and 7, 8, and 9 are to be turned 
 back, with only a slight depression in the centre, which may 
 be given by the pressure of the thumb. All are to have 
 a crease in the centre. The three outer petals and the 
 calyx-sepals are to be hollowed a little, in the same way as 
 the smaller petals of the flower. 
 
 Cut a piece of the thickest wire for the stalk of the 
 camellia. Cover it with a strip of white wax for about three- 
 
322 PP'AX FLOWER^. 
 
 fourths of an inch, and bend it back. Then roll more wax 
 round this doubled wire, softening it, by holding it at a little 
 distance from the fire, till a solid bud like a rosebud is 
 formed. This is to be covered by the first three petals, and 
 the other small ones are to stand up round them ; each petal 
 being placed behind and between the two inner ones. A 
 little pressure will cause the points of the petals to adhere 
 to the foundation-bud and to each other ; but, to secure them 
 more firmly, narrow strips of wax must be laid on round 
 each row of petals, about a fourth of an inch wide, and 
 moulded into them with one of the wooden moulding-tools. 
 The rows of five petals are to be affixed in the same manner, 
 taking care that one is always placed behind and between 
 the two inner ones, and also that it is placed sufficiently 
 high to be visible a little above them, so that the flower may 
 increase in width regularly. The three outer petals will 
 not, of course, be visible in front of the flower ; but it must 
 be nicely finished at the back with these and the sepals of 
 the calyx, put on in the same manner with strips of green 
 wax. The wire stalk must be covered also with strips of 
 pale-green wax, cut so as just to enclose the wire, and cov- 
 ered with other strips, moulded smoothly with the moulding- 
 tool. The stalk should be slightly bent, so as to place the 
 blossom in a natural position, and two leaves bound on, at 
 proper distances from it, on opposite sides of the stalk. 
 
 There are two or three methods of making leaves ; but for 
 the generality of flowers the following is the best : take 
 two sheets of green wax (to match the upper and under sides 
 of the leaf in color) ; place a stalk of middle-sized or fine 
 wire, covered with the narrowest strip possible of wax, be- 
 tween them, long enough to be firmly attached to the flower- 
 stalk. The camellia, being a thick-leaved flower, will require 
 middle-sized wire ; and, if the wax be very thin, a third sheet 
 
PFAX FLOWEkS, 3^^ 
 
 « 
 
 of wax may be laid underneath the others. The real leaf 
 which is to be copied must be laid upon these ; and the wax 
 must be cut out exactly of the right size, with the wire, of 
 course, in the centre of the leaf. Press the wax leaf against 
 the real one firmly, and hold them at a little distance from 
 the fire, so as to soften the wax sufficiently to receive the 
 perfect impression of the real leaf laid upon it, on its upper 
 side. When this is obtained exactly, and the wax leaf is 
 embedded in the other, they should be dipped into cold 
 water, and the real leaf may then be easily removed from 
 the wax impression, the edges of which are to be cut into 
 the right notches, and rolled into fineness with the knob 
 of the smallest curling-pin. The wire leaf-stalk must now 
 be covered with a narrow strip of wax, and fastened to the 
 flower-stalk in its proper position ; the front or upper part of 
 the leaf being always placed against the side of this, and 
 bent into the right shape afterwards. The leaves may 
 require a little more binding to secure them to the stalk, 
 and this may need other strips of wax to make it thick 
 enough. Then it must be brushed over with a little liquid 
 brown paint, made by rubbing down a little of the brown 
 powder, and mixing it with very thin gum-water, with the 
 palette-knife, to represent the brown wood of the stalk, and 
 the flower is completed, unless a bud is needed ; in which 
 case, three or six of the smaller petals must be cut out in 
 lemon or pale-green wax, according to the size and color of 
 the bud desired to be copied, bloomed and tinted in the 
 same manner as the flower-petals, moulded, and affixed to a 
 small bud made on a stalk of middle-sized wire, like the 
 foundation of the flower, and pressed closely round it, so as 
 to form a solid bud. This must be fastened to the flower- 
 stalk in the same manner as the leaves, and will probably 
 have to be put on first, as the buds are generally close to the 
 blossoms of the camellia. 
 
$24 fi^AX FLOWERS. 
 
 Variegated and red camellias are done in the same way ; 
 the former having stripes of pink powder and carmine upon 
 the white petals, rubbed on (or, if slight, laid on with a small 
 sable brush), and the latter colored throughout with madder, 
 pink, and carmine, and shaded according to the colors of 
 each petal. Bloom will not be required for this camellia. 
 
 The white jasmine is very easy of execution ; but its blos- 
 soms are so small, that they require very delicate handling. 
 The five petals may be bloomed and tinted at once on both 
 sides by mixing a very slight portion of the lightest yellow 
 powder with the bloom with the palette-knife. Then they 
 must be moulded with the curling-pin, 
 and placed round the pistil. The sta- 
 mens are not visible. The back of the 
 flower must be finished nicely, and a 
 strip of white wax rolled round the 
 upper part to make a smooth tube. 
 Fig. 117. -White Jasmine, which is to be painted pink with a 
 liquid paint and a poonah brush. The 
 calyx is cut out in one piece (Fig. 2), and tinted at the top 
 of the sepals with brown paint. 
 
 The leaves are in threes and fives on a stalk. They must 
 be modelled from the real leaves, in the manner described 
 for the camellia-leaves, putting the finest wire between the 
 sheets of wax for the stalk, and, of course, putting the leaves 
 composing one sprig together, before the stalk is attached 
 to the flower-stalk. The edges of the leaves and the stalk 
 should be tinged with brown paint, put on with the poonah 
 brush ; or a slight tinge of carmine over the green will give 
 the same effect. 
 
 WHITE PINK. 
 
 The white pink is very easily and accurately modelled in 
 wax. The petals are bloomed on both sides, and slightly 
 
WHITE PINK. 
 
 325 
 
 tinged with green in the centre of each petal. There are 
 five of each (Figs, i, 2, 3, 4, 5), which are put round a stalk, 
 from the top of which spring two long white stamens, curling 
 back, as in this figure. 
 
 Fig. 118.— White Pink. 
 
 The petals lie exactly behind each other (five in each 
 row), and must be securely bound to the stalk with strips 
 of wax ; some being bent, and twisted forward, and some 
 curling back. They are often irregularly shaped ; and these 
 irregularities are best copied from the original flower, as 
 they add much to the natural appearance of the wax model. 
 A little frost may be dusted over the flower when finished. 
 
 The calyx, of green wax, is lined with white, or with a very 
 light shade of green, and the lining allowed to appear just 
 above the points. Four small scales are put on 
 in pairs, at the bottom of the calyx ; and the 
 whole is spotted with brown paint. Buds are 
 formed by closing the calyix over a foundation-bud 
 of solid wax ; and the leaves (if any are required) 
 are cut out of a long strip of blue-green wax 
 doubled and creased. They need no wire, but should be 
 rubbed with bloom ; and a little frost should be sprinkled on 
 them to give the powdery appearance of the real leaves. 
 
 The picotees, and several of the carnations, can be mod- 
 elled well in wax. The former must be sprinkled with white 
 
 Fig. 119. 
 
326 
 
 IVAX FLOWERS, 
 
 powder, instead of bloom, and painted with liquid paint, after 
 nature. And the striped carnations should be made in the 
 same way, in white, or yellow, or orange-colored wax, accord- 
 ing to the ground color of the petals. The clove-carnation 
 cannot, I think, be copied effectively ; but, if the attempt is 
 made, the petals must be brushed over with crimson powder, 
 painted with a mixture of carmine and ultra-marine, and 
 with a little sheer carmine afterwards. But they will always 
 lack the bloom of the real flower, and look dead when placed 
 by its side. 
 
 All mixed powders, it may be as well to say here, must be 
 well rubbed together with the palette-knife, so that they may 
 be thoroughly incorporated before they are put on the petals. 
 
 THE COMMON PINK CHINA OR MONTHLY ROSE. 
 
 The common pink china rose is one of the easiest roses 
 to model. Five petals of Nos. i, 2, 3, 4, and three of No. 5, 
 will be required. They are to be cut out of the medium 
 
 Pig. 120.— The Common Pink China or Monthly Rose. 
 
 white wax, and bloomed on both sides, leaving, of course, 
 the points untouched. They are then to be colored by 
 rubbing rose-madder into them ; beginning in the centre, and 
 shading the color gradually to the edges, so that the deepest 
 color is to be in the middle of the petals. In most roses, 
 
THE COMMON PINK CHINA OR MONTHLY ROSE. 327 
 
 the inner petals are altogether deeper in color than the outer 
 ones ; but this rose is an exception, and the outer petals have 
 more color than the others. They may, perhaps, require a 
 touch of rose-lake or crimson over the first color ; and the 
 three outer petals will need various dashes of a deeper tint 
 on the upper edges, and across them on the outer side, espe- 
 cially if the rose is beginning to wane. 
 
 Roses require extreme attention in moulding. Almost all 
 rose-petals are more or less crumpled ; and this crumpling 
 must be imitated, in order to give an accurate model of the 
 flower. Fine the edges well with the smallest curling-pin 
 first, and then roll a larger one round and round in the cen- 
 tre of the petal, so as to hollow it completely ; and put a 
 little plait at the bottom of the petal, so as to pucker it in 
 a little. This is easily done with the pin, when the petal is 
 softened by the warmth of the hand or by the breath, if the 
 wax seems brittle, and inclined to split. Nos. 3, 4, and 5 
 will require to be turned back at the upper edges by rolling 
 them over the curling-pin point ; and the three outer petals 
 (No. 5) will often need a good deal of crumpling between 
 the fingers, and perhaps a fold all down the centre. The 
 edges, too, may be a little bitten by insects ; and any defect 
 of this kind, copied, adds to the perfection of the imitation 
 of the blossom. The rose must be mounted on a thick wire 
 stalk, prepared with a foundation-bud like that of the camel- 
 lia, but larger. The first two smaller petals wrap it round 
 entirely ; and the three remaining ones must be put standing 
 up round the bud, nearly touching each other at the upper 
 edges. These are bound on with a narrow strip of white 
 wax, well rubbed in by the moulding-tool. Then the next 
 row of petals is put on behind the others (one side always 
 lapping over the other), each petal between two front ones, 
 a little raised, so as just to appear above these ; and this is 
 
328 WAX FLOWERS, 
 
 bound on with another strip ; and so on. Nos. 4 and 5 
 should fall back a little ; and the three outer petals should 
 be placed rather below the last row, so as scarcely to be visi- 
 ble in front of the rose. The five sepals of the calyx (No. 6) 
 are to be cut out in two shades of green wax, snipped at the 
 edges, and well moulded in the hand, and pinched into 
 points, and put on so that the points may come between 
 the five larger petals, over the three outer ones. The seed- 
 pod is made by rolling a doubled strip of green wax round 
 and round the wire stalk, and moulding it with a moulding- 
 tool exactly into the shape of the seed-pod, and, when it is 
 quite smooth and round, pushing it up into its place below 
 the sepals. This part of the rose must be very nicely fin- 
 ished, so as exactly to imitate the back of the real rose. 
 The stalk must be covered with strips of green wax, to 
 make it of the required thickness, and the leaves (and buds 
 if there are to be any) put on in their proper positions. If 
 the buds are green, they must be made by putting the five 
 sepals round a small foundation-bud, mounted on a wire 
 stalk, and closing them up at the points. If they are begin- 
 ning to show their color, three of the rose-petals No. i 
 must be put round the foundation-bud first. If opening still 
 more, three of No. 2 will be wanted, also, before the sepals 
 are put on. A smaller seed-pod is to be made, and pushed 
 up under these, as in the full-blown flower, and it must be 
 neatly finished in the same manner, observing and imitating 
 every peculiarity of the original ; binding the stalk, if re- 
 quired, and tinging it and the sepals and seed-pod with a 
 little liquid carmine paint, or brown, if they are colored thus 
 in nature. 
 
 The leaves are modelled in the same way as directed for 
 the camellia-leaves ; and great care must be taken to get the 
 exact impression of every vein in the real rose-leaves, to mould 
 
THE YELLOW TEA-SCENTED ROSE. 329 
 
 and curl the edges, and to mount each spray accurately. 
 Small bracts, or stipules, are sometimes needed where it is 
 attached to the flower-stalk ; and these and the edges of the 
 leaves may require a little coloring, as well as the stalks. 
 
 THE YELLOW TEA-SCENTED ROSE. 
 
 All the yellow roses may be copied to perfection, if care 
 be taken to color them exactly, shading the petals so as to 
 give the deeper yellow centre, fading into primrose-color oi 
 white at the edges of the petals, and to crumple them suffi 
 ciently. For the yellow tea-rose, three (or five) of Nos. i, 2, 
 3, 4, 5, and three of No. 6, will be required. They must bf 
 
 Fig. 121. — The Yellow Tba-scented Rose. 
 
 bloomed and colored on both sides. The three outer petals 
 will generally require dashes of red or pink powder to give 
 the discoloration which is usually to be seen in these. All 
 must be well moulded, and hollowed in the hand with thft 
 largest curling-pin, or a ball-tool such as is used for paper 
 flower making. It is necessary to use tolerably thick whit^ 
 wax for these roses, in order to roll them out, so to speak, 
 sufficiently. Some of the yellow roses, like the pattern, are 
 cone-shaped, and require to be mounted in threes on a very 
 long foundation-bud : others are flatter, and have five petals 
 in a row ; and some roses require to be made on a ball • 
 
330 WAX FLOWERS. 
 
 shaped bud, and the petals must be very much hollowed, or 
 cupped. This is especially the case with a very delicate 
 pink rose, the Coupe d'Hebe. A fine large blush-rose, the 
 Souvenir de Malmaison, has a triangular kind of centre, to 
 imitate which a number of small petals should be placed 
 within a large petal, which should be folded round them ; 
 and three of these bunches of petals, mounted on a small 
 foundation-bud, will begin the rose ; and the larger petals 
 must be placed round them in rows of fives, as before di- 
 rected, ending always with three outer petals placed below 
 the largest row. This rose must be delicately colored with 
 pink, and a little pale-yellow must be added where this color- 
 ing is seen on the petals. The inner petals are deeper in 
 color than the outer ones. The white Lamarque Noisette 
 is tinged with a sulphur-color in the centre. This rose is 
 extremely pretty, surrounded with buds of various sizes. 
 The Solfaterre models very well, requiring a coloring of yel- 
 low and pink. The Ophrie is still deeper in color, and can 
 be copied exactly by tinting the petals with various grada- 
 tions of salmon, yellow, and rose-colors. All these roses 
 are best modelled in white wax. The Austrian and yellow 
 Scotch roses should be done in yellow wax. The Cloth-of- 
 Gold requires white wax to give the gradations of coloring. 
 Some of the deep pink roses are best colored without bloom- 
 ing, by rubbing Barnard's rose-lake over the petals. For 
 crimson roses, these should be rubbed on one side with rose- 
 lake, and with carmine on the inner side. For red roses 
 with a more scarlet hue, such as Geant de Batailles, it is 
 necessary to paint the petals, after rubbing them on the 
 inner side, with liquid carmine paint mixed with weak gum- 
 water, and put on as dry as possible with a poonah brush. 
 An occasional dash of burnt carmine or violet paint will add 
 to the natural appearance of the rose ; and the outer petals 
 
THE YELLOW TEA-SCENTED ROSE, 33 1 
 
 will require this darkening, especially at the edges, where 
 they become soiled by rain, etc. 
 
 The sepals of each rose must be carefully copied. They 
 vary much in character and color. Some turn back from 
 the flower over the seed-pod, and are almost flat : others are 
 much cupped, and adhere closely to it. Some are fringed, 
 others smooth. The moss-roses must have tiny branches of 
 fine feather-moss gummed upon them. The thorns on the 
 stalks may be imitated by modelling little pieces of wax to 
 the right shape, and sticking them on, and painting them 
 brown or red ; and the hairy appearance of some of the 
 stalks may be given by gumming down on them. 
 
 The single roses, and many of the semi-double ones, must 
 have a number of stamens in the centre, instead of the foun- 
 dation-bud. These are made in the same manner as de- 
 scribed for the nemophila stamens ; but they must be cut 
 out of long strips of white or pale-lemon wax, with a narrow 
 strip of yellow wax folded over one side for the anthers, and 
 rolled round a green style, formed by enclosing the top of 
 the wire stalk in green wax, and indenting it with the curl- 
 ing-pin ; and the anthers must be brushed over with a little 
 gum, and powdered with orange or brown powder, to repre- 
 sent the pollen fresh or discolored. The stamens must be 
 cut as thin as possible, and of the right length. Care must 
 be taken to bind them on regularly and firmly, so that the 
 centre of the flower may not slip off the wire stalk. 
 
 The lily-of-the-valley may be modelled, either by cutting 
 out a straight piece of white wax, 
 for the corolla, like Fig. i, moulding 
 and joining it, and curling back the 
 six notches with the curling-pin ; or 
 
 , ,. . ,, , , . e Fig. 122. — I.ilyof-the-Vallby. 
 
 by dippmg the rounded ends of pen- 
 cils or pen-sticks, etc., of various sizes, in melted white wax, 
 
332 IVAX FLOWERS. 
 
 after dipping them in cold water. The little bells of wax 
 congeal round the cold wet pencil, and are easily removed 
 when quite cold, and notched and curled into shape. In 
 either case, the bells must be of graduated sizes ; and little 
 stalks must be passed through each, headed by the pistil and 
 six little stamens. Very small flowers or buds must be put 
 at the top of the flower-stalk, and the larger bells follow, at 
 intervals, on each side of the stalk alternately, with little 
 green leaflets at the base of each bell-stalk. From nine to 
 thirteen flowers are generally on one stem, which should be 
 mounted between a pair of long leaves deeply lined from 
 the stalk to the point with parallel lines. 
 
 Some of the small heath blossoms and bells may be mould- 
 ed in the same way as the lily-bells ; and wooden moulds are 
 sold for the purpose of forming the flowers by dipping them 
 into the melted wax. Those with larger tubes would be 
 better done by cutting them separately, and joining them. 
 
 
 !ST£PHANOr/S CABNOSA BEttJk 
 
 Fig. 123. — The Stbphanotis and Hoya. 
 
 THE STEPHANOTIS AND HOYA. 
 
 Another flower with a tube, the stephanotis, which is ex- 
 ccedingly well imitated in wax, is made in two parts, —a 
 star and a tube, — each cut out of four thicknesses of wax. 
 The star is curled back, and the points are pinched down- 
 wards. The tube is joined; and the star being laid upon it, 
 
THE STEPHANOTIS AND HOY A. 
 
 333 
 
 with its centre exactly over the hollow tube, the moulding- 
 tool is pushed through it, and the wax pushed against the 
 
 /vvvA 
 
 Fig 124. 
 a, a Primrose, b, b Violet, c, c. Snowdrop, d, d Honeysuckle, e. e. Convolvulus. 
 / Small Bindweed, g. Hawthorn, h Forget-me-not. k. Laburnum. 1,1. Daisy, m. Hya- 
 cinth, n, n, n, n, n. Passion-flower, o, 0. Azalea. 
 
 sides of the tube, and worked round within it, till the star is 
 firmly attached to it. Then a stalk, covered with a little 
 
334 ^^^ FLOWERS. 
 
 knob of wax, is pushed into the other end of the tube, and 
 the wax closed round it, and a calyx of green wax, cut out 
 also like a star, pushed up to the base of the white tube. A 
 little gum is dropped into the tube ; and some white down 
 put into it completes the flower. The diagrams given here 
 explain themselves, and are easily copied. Wax fruit is the 
 least desirable form of wax modelling, save as it becomes 
 a means of copying beautiful natural specimens, as in the 
 Agricultural Bureau in Washington. 
 
SHELLS, MOSSES, PiNE-CONEs, ETC, 335 
 
 CHAPTER IX. 
 
 SHELLS, MOSSES, PINE-CONES, ETC. 
 
 In the beginning let it be remembered, that, with shell- 
 work at least, it is not an ornament for the parlor, even the 
 most beautiful shell-flowers having a half-barbaric look. 
 The chief use of shell, pine-cone, or seed work, is in interest- 
 ing and amusing children, and teaching the neat and skilful 
 handling which later will tell in better work. But many- 
 pretty articles can be made, either from shells gathered at 
 the seashore, or from foreign ones, which can be bought of 
 all sizes, the smaller ones by the ounce. For all who would 
 learn the intricacies of the work, there is a manual, the title 
 of which is given on p. 411. 
 
 Where a shell bracket, a handkerchief-box, or a basket is 
 to be covered with shells, a cement is made on purpose, 
 which can be bought at shell-stores, or made at home by 
 mixing equal parts of gelatine, white lead, and plaster-of- 
 Paris with just enough water to make the whole like putty. 
 It becomes as hard as earthenware when dry. In using it, 
 put a smooth, even layer on the article to be decorated, and 
 stick the shells into it in any pattern you like. Any dry 
 color may be added to tint it red, blue, or yellow, as desired. 
 A bracket can be cut from heavy pasteboard, sewed together, 
 and then covered with shells ; and a watch or wall pocket, 
 and other articles also can be thus made. Fill in all vacant 
 spaces with the smallest shells. If they are not perfectly 
 clean, boil them well, and brush with a little brush. The 
 
33^ SHELLS, MOSSES, PINE-CONES, ETC. 
 
 Strong smell about them can be taken away by washing them 
 in a solution of chloride of lime, one tablespoonful to a quart 
 of water. 
 
 Periwinkle, or large mussel-shells, make pretty pincush- 
 ions. Stuff a bag, cut just the right shape, with either bran 
 or emery ; cover it with silk ; glue the inside of each shell, 
 and press against it till dry. Clam-shells may have little 
 landscapes painted on them ; and the dark blue spot in the 
 inside of an oyster-shell can serve as the bearskin cap for a 
 soldier painted below. 
 
 Mosses for wall decoration should be carefully dried. A 
 small basket of graceful shape may be cut in two, tacked or 
 gummed to a sheet of cardboard, and then filled with bril- 
 liant lichens, trumpet moss, and the lovely coral moss to be 
 found on old fence-rails, or often on rocks covered with the 
 white mountain moss. Best of all is a large plate — a soup- 
 plate perhaps — filled with the bright green moss growing 
 in shaded places in the woods. Cover it with a bell-glass, 
 and water very seldom, as the glass keeps in moisture. As 
 spring approaches, you will be surprised to see what devel- 
 opments take place, for seeds have been biding their time, 
 and you may get almost any thing from partridge-berry to 
 liverwort. 
 
 Pine-cones, both large and small, may be used in many 
 ways. The smaller cones, mixed with acorns, seed-vessels, 
 lichens, and bits of bark, will cover a rustic basket for plants, 
 which may hang in the window, or be mounted on a stand. 
 A round wooden bowl is best for this purpose, and the rus- 
 tic-work should be glued on securely, and varnished when 
 dry. Picture-frames are made in the same way ; and work- 
 baskets may be cut from stiff pasteboard sewed together, 
 and then, when covered with rustic-work, lined with silk, 
 and furnished according to taste. Wall and watch pockets, 
 
SHELLS, MOSSES, PINE-CONES, ETC. 
 
 337 
 
 mm 
 
 Fig. 125. — Lawn Flower-Box. 
 
 brackets, and many other articles, can be made, and are of 
 much more real worth and beauty than any thing in shell- 
 work. For a lawn flower-box, saw half a butter firkin in 
 two, and either cover entirely 
 with cones and bark in any de- 
 sign you like, or drill holes in 
 the top of the cones, and pass 
 a zinc wire through each one ; 
 then festoon a rope around the 
 tub, and hang the cones upon 
 it, filling in all the spaces with 
 bark or lichens, and varnishing 
 rope and cones. Often a coat 
 of pitch is given to the whole, 
 inside as well as out. 
 
 Beautiful brackets can be 
 made from the large fungi 
 
 growing on trees in damp woods, which can be screwed 
 firmly to an oak or walnut back, and need no varnishing. 
 
 Straw and splints for weaving wall-pockets, or for basket- 
 making, or straw mosaic-work, can be bought at any fancy- 
 store; but while the " castles-in-the-air " hung from chande- 
 liers are a good occupation for a child, they have not suffi- 
 cient beauty to recommend them to older people. In 
 making straw baskets, cardboard foundations are used ; little 
 holes being punched in the oval or circle, about a quarter of 
 an inch apart, the straws being just touched to thick muci- 
 lage before they are set in place. Ribbon must then be 
 woven in and out till the right height is reached ; and, as an 
 edge, either a piece of ornamental straw braid, or of che- 
 nille matching the ribbon, may be sewed on. Match-boxes, 
 etc., are made by gumming the straws to a cardboard shape. 
 
 It is impossible to more than suggest what may be done in 
 
338 SHELLS, MOSSES, PINE-CONES, ETC. 
 
 the direction of fancy-work ; and the whole field of ornamen- 
 tal needle-work, of knitting, crochet, tatting, china-painting, 
 illuminations, and the countless other forms of occupation, 
 can only be referred to. But titles of the best and most 
 carefully prepared manuals on all these subjects are given 
 on pp. 411-414; while every neighborhood, no matter how 
 remote, has at least one devoted worker in these directions, 
 who is always willing to share patterns, and give nercessay 
 hints. 
 
WOOD-CARVING AND LIGHT CARPENTERING. 339 
 
 CHAPTER X. 
 
 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 The jig-saw has done much to convince people that girls 
 can handle tools, but there is still room for a great advance 
 in this direction. There is no reason in the nature of things 
 why a girl should wait a week or a month to have a shelf put 
 up, when very slight knowledge would enable her to do it 
 precisely as well as the village carpenter. In every house 
 there are small repairs that wait the leisure of some one who 
 is " handy about house," and which, in waiting, often become 
 irreparable. Every girl can learn how to drive a nail prop- 
 erly, how to plane and joint, and all the more delicate opera- 
 tions in carpentery. And any girl who is willing to carry a 
 book-agent's bag would find herself welcomed in almost every 
 house, if she bore, instead, a set of light tools, and could do 
 the countless little jobs that wait. Certain portions of such 
 work are now taught in one or two industrial schools ; and 
 a manual of great value, the full title of which is given on 
 p. 412, has been issued in Boston, and is so clear and full, 
 that the most ignorant will gain some knowledge from it. 
 Some slight training is necessary, too, for all who have a 
 bent toward wood-carving, which will be greatly aided by 
 a knowledge of woods, and how to handle them. 
 
 Wood-carving is as practicable for all as drawing. But 
 whoever undertakes it, or, indeed, any thing else, must be will- 
 ing to go slowly, and not work eagerly a few days or weeks, 
 and then pass on to something else. To do a little of every 
 
340 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 thing is a modern tendency ; and this is the reason that we 
 so often see bad work, whether mental or manual, pass un- 
 challenged. We do not mean bad as compared with some one's 
 else work, but bad in proportion to the talent and power of 
 the employed. Ruskin inveighs strongly against this prac- 
 tice, and speaks very plainly, in his " Elements of Drawing," 
 on the necessity of doing nothing short of our very best in 
 whatever work we take in hand. It would be well if every 
 girl were to read his book; for she would there learn the 
 right spirit in which every new pursuit — whether it be 
 carving, drawing, or any thing else — should be undertaken. 
 And now to pass on from the theoretical to the more 
 practical part of our subject. A real genius for carving will 
 show itself at a very early age, by the child spending its half- 
 holidays playing with carpenter's tools, and by a general 
 hankering for penknives, and inclination to hoard up scraps 
 of wood, or any thing in the shape of a tool, on which it can 
 lay hands. Perhaps few children would be allowed, however 
 great their latent talent might be, to endanger their eyes 
 and fingers by following their own inclinations in these mat- 
 ters. Nor, indeed, would they gain much, were they per- 
 mitted to do so, as little good work could be expected from 
 such young hands. For, if we remember rightly, the boxes 
 of which, in those early days, we were so proud, would bear 
 none but the gentlest usage; and our paper-knives (by cour- 
 tesy so called) answered their purpose but indifferently well. 
 But they were the best of which we were then capable, and 
 had, at least, the merit of forming the first step in a prog- 
 ress, of which each success, and, indeed, we may say each 
 failure (if the failure be of the right sort, making us only the 
 more determined to succeed in the end), brings us nearer 
 to real facility. Dexterity in handling one's tools is more 
 easily acquired by beginning as a child than when older ; but 
 
WOOD-CARVING AND LIGHT CARPENTERING. 34 1 
 
 in Other respects it is as well, and perhaps better, not to 
 attempt much in the carving line until the age of fourteen 
 or fifteen. But then you have probably little time which 
 you can call your own ; the greater part of the day being 
 occupied with lessons and necessary employments, so that 
 half an hour, or perhaps even less, is all the time you can 
 spare for your carving. This, however, is ample. Had 
 you the whole day at your own disposal, an hour is the most 
 you should allow yourself to spend in this manner ; for you 
 will find it hard, tiring work until you have become accus- 
 tomed to it. If you are growing rapidly, you must be par- 
 ticularly careful that your work-table be made high enough 
 to prevent the necessity of stooping over your work ; and you 
 should also avoid the bad habit of resting or pressing the 
 wood against your chest, which is very hurtful, as, in course 
 of time, the bone is pushed out of its place. You will find 
 it an advantage, if you can accustom yourself, to use your 
 right and left hand equally well ; for by so doing you will 
 counteract any tendency of the right shoulder to "grow 
 out," as the phrase is, by giving equal work to the muscles 
 of the left side and arm. Besides this great consideration, 
 there are also many minor ones ; for instance, supposing 
 you were at work on a large piece of carving, it would 
 progress far easier and quicker if you had two able hands 
 instead of only one, as you could then go from one part 
 to another without changing the position of either yourself 
 or your wood. Another benefit of having both hands avail- 
 able is, that in case you should cut or hurt yourself, as be- 
 ginners are very apt to do, you can bind up the wounded 
 hand, and supply its place with the other until it is able to 
 do its own work again. Perhaps this may seem a cool way 
 of speaking of your injuries ; but, to be a thorough workman, 
 you must make up your mind to a few cuts and scratches, 
 
342 WOOD-CARVING AND LIGHT CARPENTERING, 
 
 and not (as do some young ladies) think it necessary to faint 
 or scream at the sight of a little blood. However, it is right 
 to take every precaution against injuring yourself; and one 
 great safeguard is, never to carve without a vice to hold 
 your wood firmly ; for, by having both hands at liberty to 
 guide the tool, you can work with much greater ease and 
 safety. Wearing gloves is also a protection, as it saves the 
 hands from many knocks and bruises while engaged in saw- 
 ing or any rough work. The gloves should be provided with 
 stout gauntlets to cover the wrist, which is the part most 
 liable to injury. Girls, as a rule, do not care greatly about 
 the preservation of their clothes ; but, as their friends are 
 probably not so indifferent on this subject, it is advisable 
 that they should wear a thick chamois-leather apron while 
 working, made with a bib to protect the front of the dress, 
 and a deep pocket to hold tools, etc. Add to this a pair of 
 balloon-sleeves of the same material, reaching above the 
 elbow, and the equipment will be complete, and many 
 scoldings on the score of cut and dirty dresses avoided, 
 besides adding much to the carver's own comfort. Few of 
 our readers, probably, are fortunate enough to possess a 
 room that they can devote entirely to their carving-affairs. 
 A corner of the playroom, or perhaps part of an outhouse, 
 is the most that they can expect. But, however small the 
 allotted space may be, at least they can find room for their 
 work-table ; and concerning this table it is necessary to be 
 very particular. A common, rickety thing won't do at all. 
 It must be a carpenter's bench in miniature, and made as 
 heavy and strong as the size will permit, and should not be 
 less than three feet by a foot and a half ; but, if the space 
 will admit of its being made larger, so much the better. 
 Any common carpenter could make it ; and it should be 
 fitted with a rest and screw, and in all respects similar to 
 
WOOD-CARVING AND LIGHT CARPENTERING. 343 
 
 the one he uses himself. It should be made of some com- 
 mon wood, such as deal or elm, which may be cut and 
 hacked without compunction. This, with the addition of a 
 stool, and a box in which to keep tools and odds and ends, 
 or, better still, a lock-up cupboard, is all the carving-furniture 
 required. We take it for granted that many of our readers 
 are accustomed to get their mother or some older friend to 
 spend an occasional half-hour or so with them in a carpenter's 
 shop ; for, from watching him at work, the use of some of 
 the simpler sort of tools, such as the saw, hammer, gimlet, 
 etc. (all of which knowledge it is well to acquire before you 
 take to your carving-tools), may be gained. And, supposing 
 the carpenter to be intelligent and communicative, there 
 is much, besides the manual part of his business, that you 
 may learn from him with advantage ; as, for instance, the 
 names and qualities of the different woods which he uses in 
 the course of his work. All information of this kind you 
 will eventually find of the greatest value, in enabling you 
 to choose and prepare your own carving-materials. It is 
 wrong for any one, but especially for growing girls, to over- 
 task their strength ; and therefore we would advise you to 
 employ a carpenter to do any really laborious work that you 
 may require. But the lighter sort of carpentering you 
 ought to do for yourself, even should you find it uninter- 
 estmg and wearisome ; for it is capital practice, and, the 
 handier you are in doing this rough work, the easier you will 
 find it to manage your carving-tools. We do not mean to 
 say, by this, that those who are already artistic carvers 
 should waste their time in preparing their own wood, but 
 simply to recommend the novice, who is not as yet accus- 
 tomed to the work, to lose no opportunity of improvmg her- 
 self; for it is precisely while "roughing out," or getting 
 your block of wood into shape, that the firmness of hand, and 
 
344 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 command over the mallet and chisel, are acquired, which 
 make all the difference between a good and a bad worker. 
 
 Of carpenters' tools all that you would require would be a 
 medium-sized saw, a spokeshave (which answers the purpose 
 of a plane, and is much easier to use), a few rasps and files 
 of different sizes (not forgetting a triangular one for sharpen- 
 ing the saw), and a wooden mallet, weighing about two 
 pounds, though this, properly, is more of a carving than a 
 carpentering tool. Half a dozen of small gouges, a couple 
 of larger ones for rough work, and one or two flat chisels, 
 will be ample to begin with. Chisels are not so useful as 
 gouges ; but it is better to get some, as there are cases in 
 which they are necessary, such, for instance, as cutting a 
 perfectly straight line. For scooping or cutting away the 
 wood, a very slightly fluted gouge, about one-fourth inch 
 wide, is the best, unless you are using a mallet ; in which 
 case your tool must be a size larger. Accustom yourself 
 to work as much as possible with a mallet ; for, though at 
 first you may find it a little awkward, you will soon get into 
 the way of using it, and it will save you much unnecessary 
 labor. The size of your gouges should vary from one-eighth 
 to three-fourths of an inch in width. Do not buy any curved 
 or crooked tools (spoonbits is the technical term for them) ; 
 for although they may appear convenient, and easy to use, 
 they are not so in reality, and, moreover, give more trouble 
 than they are worth, on account of the difficulty of resetting 
 them. You can get the tools without handles, if you prefer 
 it, and make them at home, which is a much cheaper plan. 
 But take care that the handles be small and smooth, other- 
 wise they will gall your hands. Many carvers prefer using 
 short tools : but this, we think, is a mistake ; for, naturally, 
 the nearer you are to your work, the greater strength is 
 required, on the lever principle, which made Harry, in 
 
WOOD-CARVING AND LIGHT CARPENTERING. 
 
 345 
 
 " Sandford and Merton," prefer the long stick to the shorter 
 one when rolling his snowball. 
 
 And now, having provided yourself with these necessary 
 tools, the next thing to be thought of is how to keep them 
 sharp and in good working order. For this purpose you will 
 require a small grindstone, about eight inches in diameter, 
 fitted with a handle, and turning in a water-trough of either 
 wood or iron. In addition to this, you will want a few slips 
 or pieces of common freestone, and three or four hones, vary- 
 
 FlG 
 
 1. Vice. 2. Holdfast 
 
 — Tools. 
 3 Handle. 4 Gouges. 5. Chisels. 
 
 ing^ in thickness to suit the sizes of the gouges, which are 
 sha pened by being rubbed on the round edge of the hone, 
 whii;h should be moistened with oil or water ; but the free- 
 stone is more efficacious when used dry. You will find the 
 task of grinding and setting your tools one of the most diffi- 
 cult parts, and certainly the most tedious part, of carving. It 
 is, however, a difficulty which must be overcome ; for, until 
 you learn to depend wholly on yourself in this matter, you 
 can never become a good carver. Your tools would be unfit 
 
346 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 to use, were you to trust them to a common cutler to be 
 reset, for he would treat them as if they were carpenter's 
 tools, and grind them with a sharp edge on the outside. 
 This would be quite wrong ; for the broad rule to follow in 
 regard to carving-gouges is always to grind the upper or con- 
 cave side, leaving the convex part untouched until quite the 
 last, when it may be passed over the hone or razor-strop a 
 few times to set the edge. When finished, the gouge should 
 be in the shape of a thumb-nail ; that is, with the corners 
 sloping slightly away, but not rounded. Before leaving the 
 subject of tools, we must again urge on our readers never 
 to carve without a vice or holdfast. The screw belonging to 
 your bench will do very well for rough work ; but for other 
 purposes we should advise your procuring a small metal vice, 
 which can be screwed to the edge of a table without injur- 
 ing it, and also a "patent holdfast," which consists of an 
 iron bar that fits into a hole made for the purpose in your 
 working-bench. Attached to this bar is a long arm, which is 
 raised or depressed by means of a screw. 
 
 Should some of our readers be unable to buy all or any 
 of the tools we have mentioned, we would not have them, on 
 that account, be discouraged, for where there is a will there 
 is a way ; and we have seen much beautiful carving executed 
 by untaught artists by means of the rudest and scantiest 
 tools. Conspicuous amongst the wood-sculpture in the Lon- 
 don Exhibition of 1862 was an altar-piece in bas-relief, after 
 an old picture, — the work of a man who had been formerly 
 a shoemaker. Although endowed with a remarkable genius 
 for carving, yet, being very poor, he was for some time with- 
 out the means of providing himself with the proper tools. 
 But he overcame this obstacle by tempering and grinding 
 some of the awls which he used in his shoemaking busi- 
 ness ; and in this manner he contrived some very passable 
 
WOOD-CARVING AND LIGHT CARPENTERING. 34/ 
 
 tools, and with them he carved several beautifully finished 
 bas-reliefs. So fine and minute were they, that only by 
 the aid of a magnifying-glass could the extreme delicacy of 
 the work be appreciated. In the early life of Correggio we 
 find another remarkable instance of talent and perseverance 
 overcoming all difficulties. We read, that when he was quite 
 a little fellow, on being sent one day into the forest to 
 cut firewood, he astonished his parents by returning home, 
 not, as they expected, with a load of fagots, but carrying 
 instead a roughly carved figure of the Madonna and Child, 
 which he had fashioned out of a log of wood ; his only im- 
 plement having been a common knife. To those who, like 
 Correggio, are short of tools, we would suggest that a ten- 
 penny nail makes a very fair substitute for a chisel, if 
 heated red hot, and then plunged into cold water to tempet 
 the iron, and afterwards ground into shape, and fitted with 
 a handle. This is one of many contrivances for supplying 
 the place of regular tools, which will, no doubt, occur to the 
 needy and ingenious carver. Very little decided advice can 
 be offered touching raw materials, — wood, etc., — as so much 
 depends on the style of carving which your talent and in- 
 clinations lead you to prefer. Ebony, box-wood, holly, and 
 lignum-vitas are all hard, close woods, and as such are well 
 suited for small objects demanding great delicacy oi work- 
 manship. The only drawback to woods of this kind is the 
 extreme difficulty of procuring them in large pieces tolerably 
 free from ** shakes," which is the technical term for cracks; 
 and they are also more expensive than American-grown 
 woods, being chiefly imported. Ebony and box are usually 
 sold by weight. The former is about twenty-five cents per 
 pound, and the other somewhat less. Any good turner would 
 probably have a supply of these hard woods, which are used 
 chiefly in their trade. The wood usually employed by for- 
 
348 WOOD-CARVING AND LIGHT CARPENTERING, 
 
 eign carvers, but especially the Swiss, is walnut, or lime- 
 wood stained brown in imitation of walnut ; but a really 
 artistic workman would scorn the notion of staining or var- 
 nishing his work. The latter practice is especially objec- 
 tionable, as it fills up the interstices, and takes off the sharp 
 edges, which constitute the chief beauty of good carving. 
 The only application admissible is a little oil rubbed in with 
 the hand or a hard brush. As to coloring, it is sometimes 
 necessary, if you are engaged in repairing or adding to any 
 old oak carvings, in order that your work may match the 
 original. But what we object to is the trickery of passing 
 off deal or any common wood for oak or walnut. It never 
 has the desired effect, for any one can detect the sham 
 Deal is by far the worst wood you can use, as from its ex 
 treme softness it is very difficult to make a clean stroke 
 Do not take any Swiss carving, even of the best description 
 as a model or guide ; for though, when seen from a little dis 
 tance, it may seem very good, yet on closer inspection a 
 critical eye will discern many flaws and imperfections. For 
 if it be possible to glue or nail on any part, rather than take 
 the trouble of carving it out of the solid piece, these Swiss 
 workmen will do it. It may seem unkind to blame these 
 poor people, whose bread depends on the sale of their knick- 
 nacks, yet we must say that such a dishonest style of work 
 cannot be too much deprecated and avoided. It is, in fact, 
 what a good workman would describe as '* scamping," which 
 is a most expressive word, signifying work of any kind, 
 whether carving or other, that is slurred over by a dishonest 
 person, a "scamp," who, instead of doing his business hon- 
 estly and thoroughly, will not work a stroke more than is ab- 
 solutely necessary. For large pieces of carving, walnut-wood 
 is very suitable and handsome ; but in many respects it is 
 not to be compared with oak, which in point of effect, and 
 
WOOD-CARVING AND LIGHT CARPENTERING. 349 
 
 pleasantness to work upon, is the best wood we know. It 
 is also especially fitted for all descriptions of ecclesiastical 
 carving : indeed, little else is employed for that purpose. 
 American oak is considered the best by professional carvers ; 
 as it is of a more uniform color than English, of a closer 
 grain, and less liable to flaws or knots. American walnut 
 is also preferred, for the same reason. In choosing and 
 preparing wood which you intend for immediate use, be very 
 careful to select that only which has been thoroughly shrunk 
 and seasoned : otherwise you will have the vexation of see- 
 ing your work warped and cracked before you have half 
 finished it. For this reason it is always advisable to have 
 a stock of wood by you, for then you will insure its having 
 been kept a sufficient time. And, even should the block 
 from which your piece be cut have been seasoning for years, 
 it is safer to prepare the wood a month or two before it is 
 required, as a sudden exposure to the air will frequently 
 cause freshly sawn wood to open slightly. A dry outhouse 
 or cellar, where the sun cannot penetrate, is the best place 
 for your store. 
 
 One of the first requisites to help you on your road to suc- 
 cess is that your work should be firmly fixed. This can be 
 done by fixing the wood to be carved to a deal board, and 
 fastening this with iron cramps to an ordinary table. A 
 piece of paper must be glued on both sides, and placed be- 
 tween the wood to be carved and the deal ; so that the two 
 pieces of wood can be safely separated, when desired, by a 
 table-knife being inserted in the joints, and gently pressed 
 forward till the pieces are forced asunder. But for heavy 
 work, it is better, if possible, to have a strong, firm table 
 with a small hole bored through the top about four inches 
 from the front centre. The wood to be carved is fastened 
 to the table by means of the carver's screw (No. 2), thus : 
 
3 so Wood-car ViNG and light carpentehii/g. 
 
 bore a hole with a gimlet in the back of the wood, and turn 
 the point of the carver's screw into the gimlet-hole until it 
 has a firm grip, but not sufficiently far to interfere with 
 the carving which is to be executed. Next, pass the thick 
 end of the screw through the hole in the table from above, 
 and screw on the nut underneath until the whole is quite 
 firm. The great advantages possessed by this mode of fas- 
 tening the work are, that, it being all underneath the table, 
 nothing projects to trouble the carver, and that, by merely 
 loosening the nut, the work can easily be turned to any 
 position, and be again made fast by the nut being tightly 
 rescrewed. 
 
 For the tools required, their names and uses, see illustra- 
 tion. The difference between gouges and chisels consists 
 in the former having rounded or curved edges of various 
 sweeps, whilst the latter have quite straight edges. Nos. 3, 
 4> 5> 6, 7, represent the impressions made by gouges with 
 differently shaped edges. No. 8 is an entering-chisel ; No. 9, a 
 corner-chisel ; and No. 10, the impression made by a carving- 
 chisel. The riffler (No. 11) is simply a file with curved 
 points, and is used for smoothing nooks and corners where 
 glass-paper cannot be used, and also for giving smooth sur- 
 faces to small details of work. It often tends to give 
 carving the appearance of having been modelled. A bench- 
 vice, for the purpose of holding the wood while it is being 
 prepared for carving, a cutter (No. 12), for grounding work, 
 and a liner (No. i), are al§o necessary. I do not know the 
 technical name of this last-mentioned instrument, and so 
 have named it liner, as it is employed to cut straight lines in 
 the borders of carvings. The horizontal bar, A, to which 
 the tiny steel point, C, is attached, is passed through the 
 piece of wood, B, till it projects as far as is required. It is 
 then screwed in firmly ; and the wood, B, will act as a gauge 
 
WOOD-CARVING AND LIGHT CARPENTERING, 35 1 
 
 in keeping the line to be cut perfectly straight. The steel 
 point, C, which cuts the line, can be hammered in or out of 
 the bar, according to the depth which you desire your line 
 to be. At D, the other end of the horizontal bar, there is a 
 round hole for the insertion of a pencil. The steel point 
 having been removed, the pencil is used for drawing straight 
 
 m 
 
 JO — 
 ;^ A 
 
 -J 
 
 3 
 
 7A 
 
 ii 
 
 m 
 
 Fig. 127. —Tools. 
 
 I. Liner. 2, Carver's screw. 3. Entering-gouge, for hollowing out undulations in leaves, etc 
 4. Parting-tool, for veining leaves and outline-work. 5. Bent parting-tool. 6. Maccaroni-tool, for 
 removing wood on each side of a stalk, or vein of a leaf. 7 Double-bent fluting-gouge, for remov- 
 ing wood from the hollows of leaves, etc., where a straight gouge cannot be used. 8 Entering- 
 chisel, for levelling ground-work in confined spaces. 9. Comer-chisei. 10. Carving-chisel, for 
 levelling ground-work and cutting round the design. 11. Riffler. 12. Cutter. 
 
 lines, B again acting as a gauge. A lump of modelling-wax, 
 a glue-pot, a small mallet, glass-paper, a stiff brush, a screw- 
 driver, compasses, and a few small files and gimlets, complete 
 our list. Work with as few different sorts of tools as possi- 
 ble, but have several variations in size of each tool. 
 
 All your tools must be ground, or sharpened, to a fine 
 edge. These are somewhat difficult processes; and some 
 
352 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 practice is required in order to accomplish them satisfactorily. 
 You can either buy them ready "set," or you can get a 
 wood-carver or cabinet-maker to set them for you, and I 
 should strongly advise you to watch the process, if you have 
 the opportunity. As the points or blades of the tools differ 
 in shapes, some naturally require a different mode of treat 
 ment from others. The finest grindstones, and therefore the 
 best fitted for edge-tools, are called *' Bilston," from the name 
 of the place where they are quarried. When grinding the 
 tools, care must be taken to keep the stone wet by sprin- 
 kling it with water, else the tools will suffer from the heat 
 generated by the grinding process. The gouges are ground 
 on their convex side at an angle of twenty-three degrees, 
 and are turned slightly but continually the whole time, so as 
 to keep them even ; those which have the most curved edges 
 requiring the most turning. The corner-chisel (No. 9) is 
 ground on both sides ; No. 10 is ground on its lower side ; 
 No. 7 is ground exactly equally on its three outer sides. 
 
 The tools, when ground, must next be *' set," or sharpened 
 on oil-stones. Arkansas or Bilston is used for the more deli- 
 cate instruments ; Turkey, for the others. It will be neces- 
 sary not only to have a flat side, but also a round edge, to 
 your stone, in order to fit the edges of the gouges. The 
 tools are set in the following manner: hold your tool in 
 your left hand, and the stone, previously wetted with sweet 
 oil, in your right. Rub the gouges on their convex sides with 
 the flat part of the stone, on their concave sides with the 
 round edge of the stone. No 9 must be rubbed on both 
 sides ; No. 10, on the lower side only, with the flat side of 
 the stone : No. 7 must be rubbed on its three outer sides 
 with the Arkansas. 
 
 The third and last process to which the tools must be sub- 
 jected is " strapping " them. Provide yourself with a piece 
 
WOOD-CARVING AND LIGHT CARPENTERING. 353 
 
 of thick, soft buff-leather glued to a strip of wood ; moisten 
 it well with sweet oil, and make a sort of paste on its surface 
 with fine emery and putty powder, and draw your tools over 
 it. The tools will but seldom require sharpening or setting, 
 if they are kept in a proper state, and occasionally drawn 
 over the leather strap. In intervals of use, and, indeed, at 
 all times when not actually employed in cutting, the tools 
 should be placed in racks in a shallow box, or else in a leather 
 or flannel case fitted with loops, so that they cannot tumble 
 out, or knock each other. The stones also must be kept in a 
 covered box, and be well wiped before they are put away. 
 
 All wood employed for carving - purposes must be well 
 seasoned, and free from " knots," or faults. If, however, work 
 has been begun on a piece of wood which shows, by " warp- 
 ing," that it has not been properly seasoned, it need not 
 necessarily be thrown away on that account. Try first to 
 remedy the defect by one of the following simple means. 
 Either place a damp towel under the concave side of the 
 wood, and a weight (not so heavy as to break the wood) over 
 it, or place the warped wood at about three feet from an 
 ordinary fire, with its convex side towards it. Whichever 
 plan is adopted, watchfulness is needed so as not to "over- 
 do " the remedy, and thus to allow the wood to warp in the 
 contrary direction. 
 
 The choice of the wood to be used is of much conse- 
 quence. I have already spoken of the advantages possessed 
 by lime-wood : it is quite as suitable for small works as for 
 large designs. Sycamore, holly, and chestnut are among 
 the lightest of our woods. Sycamore is therefore generally 
 used for bread-plates. American walnut is of a dark color. 
 Accidents are more apt to occur in working with it than with 
 lime-wood, owing to its more open grain ; but it is much in 
 favor for small works, where no great thickness or solidncss 
 
354 WOOD-CARVING AND LIGHT CARPENTERING, 
 
 of carving is required. Oak is oftenest chosen for church- 
 work or solid furniture. Pear somewhat resembles lime in 
 working, but it is darker and harder. Italian walnut is also 
 one of the harder woods ; but it is beautifully adapted for 
 panels and cabinets, and well repays the extra labor which 
 it entails. For very fine work, close-grained woods, such a^ 
 box or ebony, are the best. 
 
 Before beginning to draw on the wood, it is advisable to 
 whiten the surface by brushing Chinese white, diluted with 
 water, over it. In case you are working on a dark wood, 
 this will enable you to see your drawing or tracing clearly 
 on it. But there is another reason for the "whitening," 
 besides this ; namely, that in the after-process of carving, 
 when you have already cut away a good deal of the ground- 
 work, the places where the white remains will show you 
 plainly where you require the greatest relief or projection. 
 If your design is of a conventional or geometrical type, the 
 two sides being similar the one to the other, rule a line 
 down the centre of your piece of wood. Draw your design 
 on one side only ; trace it ; then lay your tracing over the 
 other side, with dark tracing-paper between, and retrace it. 
 If your design is of a flowing or irregular type, it is best to 
 draw the whole on paper first, and, having made a tracing of 
 it, to retrace the whole at once on your wood. 
 
 I should strongly advise those who are beginners in the 
 art of wood-carving to try their skill first on a simple design 
 involving no very great amount of labor. We will suppose 
 that you have chosen a spray of ivy (see illustration), and 
 propose to carve it on a piece of lime-wood. Bear in mind 
 that every cut you make will tend either to beautify or spoil 
 your design, and will bear a clear and lasting testimony for 
 or against you. Having drawn or traced your design on the 
 wood, take your carving-gouge No. 3, and, wherever it fits 
 
WOOb-CARViNG AND LIGHT CARPENTERING. 355 
 
 the curves of your design, proceed to outline with it. Out- 
 lining is technically called "hosting," a word probably de- 
 rived from the Italian Abbozare, "to sketch." You will 
 probably have to use several variations of the carving-gouge, 
 possessing edges with different sweeps of curvature. It is 
 quite impossible to lay down a rigid law as to what tools will 
 be required for different parts of your work ; as practice, and 
 
 ffto. laS. — SntAV or Iw>lbavb8. 
 
 practice only, will soon teach you which tools will fit the 
 different curves, and are therefore the best adapted to your 
 purpose. Hold your tool in your right hand, either quite 
 perpendicularly or slightly bending outwards (on no account 
 let it slope inwards, and thus tend to undercut the leaves) ; 
 press it into the wood by gentle taps with your mallet. 
 When the mallet is not required, the handle of whatever 
 carving-tool you are using should be grasped firmly in the 
 right hand, the left wrist lying on your work, and the left 
 
356 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 hand holding the tool a little below the middle ; or the left 
 hand may be held in a hollowed position, so that the tool 
 rests in front against its fingers. This position enables the 
 right hand to act as a guide, while the left hand steadies 
 the tool, and prevents it from slipping forward. If these 
 instructions are carefully followed, any injury to the work or 
 hands will effectually be prevented. 
 
 Now cut or scoop away the wood of the ground ; that is, 
 every part except where the stalks and leaves are to be 
 formed, with your chisels. This " cutting-away " process is 
 often repeated two or three times by carvers. But, having 
 cut away the wood oncey you can then save yourself a great 
 amount of labor, and at the same time insure your ground 
 being perfectly level and smooth, by using the cutter No. 12. 
 This is a small piece of steel, with a flat sharp edge, inserted 
 between two strips of wood. This steel should be made to 
 project beyond the strips to the depth which you wish your 
 ground to be of, and is then securely fastened by the strips 
 being tightly screwed together. Move the cutter steadily 
 backwards and forwards until it has cleared the ground to 
 the depth you require, taking care not to injure the outlines 
 of your design in going round them. This grounding is the 
 only work in carving which necessitates any considerable 
 exertion : you will therefore find it pleasanter, generally, to 
 have two or more pieces of wood-carving on hand at the same 
 time, in different stages of workmanship ; so that you need 
 not overtire yourself by doing all the hard work at once. 
 
 The grounding being done, the formation of the stalks 
 and leaves next engrosses our attention. The stalk must 
 not have the same amount of projection in every part. In 
 nature, the stalk is much thicker at A than at B ; and your 
 carving must imitate nature as closely as possible. The sur- 
 faces of the leaves are rounded, and have a downward slope 
 
WOOD-CARVING AND LIGHT CARPENTERING. 357 
 
 towards the edges. The leaves C, D, and E, lie above the 
 stalk, and must therefore project over it ; while the leaf F 
 lies under the stalk, and must therefore have a much slighter 
 projection. The stalk should be rounded, but left rather 
 rough, in order to preserve a natural appearance. Where 
 one stem passes over the other, G and H, a clear distinction 
 between each stem must be observed ; and yet the under stem 
 must not be cut away or depressed in an abrupt manner. 
 To avoid this, begin your line of slope sufficiently far back, 
 and cut away the wood equally on each side of the under 
 stem. 
 
 Try not to make a number of tiny cuts or stabs with your 
 tools, but take as long a cut as the nature of your design will 
 allow. The power given by being able to make long cuts 
 can scarcely be over-rated ; the work thus done having a 
 smooth and flowing appearance, and no glass-paper being 
 wanted in order to level its surface afterwards. For small 
 details, where long cuts are impossible, the riffler, which has 
 been already mentioned, is useful. A gouge with a some- 
 what fiat edge is well fitted for forming the leaves and 
 stalks ; but beginners will probably find that at first they 
 will be able to use the corner-chisel with greater ease. The 
 centre veins, or midribs, of the leaves, should now be carved, 
 and may be either incised or left raised. Use the parting or 
 veining tool for this. For incision, cut double lines from 
 the stem, and allow these to converge until they quite meet 
 at the tips of the leaves (see illustration). Then cut the 
 side veins in single lines, keeping them clear and sharp. 
 None of your incisions should be deep. If you prefer to 
 have the centre veins raised, instead of incised, take the 
 macaroni, and with its aid remove the wood on each side 
 of the vein, sloping the tool slightly towards the vein, but 
 not so as to undercut your work to any appreciable extent. 
 
358 WOOD-CARVING AND LIGHT CARPENTERING. 
 
 Never use greater force than is absolutely necessary to de- 
 tach the chips, else you will splinter or hurt the surrounding 
 wood, which, it is well to bear in mind, is always strongest 
 in the direction of its fibre. Remember, also, that it is far 
 better to cut away too little wood than too much : the former 
 defect is easily remedied, not so the latter. If your work is 
 uneven, very fine glass-paper may be used for smoothing it. 
 Either glue it on narrow strips of wood, and use it as a 
 file, or rub the surface of your work with a loose piece of 
 glass-paper. But it is far better not to have recourse to this 
 process, if you can manage to get your carving sufficiently 
 smooth without it. Anyhow, it should be done at the very 
 last, when the cutting is quite finished, as tiny particles of 
 the glass often remain on the wood, and these would entirely 
 spoil the edges of any tools they come in contact with. 
 
 Try to avoid stiffness throughout your whole work, and to 
 keep, as far as possible, a natural and therefore a graceful 
 appearance. Do you require designs for your carving } Na- 
 ture is a vast storehouse ; and the nearer and more exactly 
 you copy her in her rounded forms and flowing curves, so 
 much the more truly artistic will your work be. Foliage, 
 flowers, birds, fruit, are within the reach of all, and will 
 provide an endless variety of designs. But you must use 
 judgment and observation in choosing nature's best speci- 
 mens : it would be fully as unwise to make choice of de- 
 formed leaves, or twigs with unnatural bends, to copy from, 
 as it would be for an artist to represent a deformed person 
 or child as his ideal of beauty. Not many days ago I was at 
 a school of art where two classes were employed in design- 
 ing from nature, the pupils having each brought a flower or 
 piece of foliage with them. Some half-dozen were engaged 
 in drawing from sprays of horse-chestnut. In no less than 
 three of these the leaves were deformed, and they were, 
 
WOOD-CAR VING AND LIGHT CARPENTERING. 359 
 
 therefore, as the lady teacher pointed out, worse than use- 
 less as models. In order to gain a good conception of the 
 way in which your leaves, fruit, or stalks, will overlie each 
 other, and also of the different amount of projection re- 
 quired in the several parts of your work, you would find it 
 very useful to have a lump of modelling-wax at hand where- 
 with first to model your design. 
 
 Good photographs of carving or sculpture also are pleasant 
 to work from, as they give a very fair idea of roundness and 
 projection. 
 
 I have said nothing about the bow-saw and the buhl-saw, 
 as neither is required for any ordinary carving. The for- 
 mer is used for shaping blocks of wood, and for outlining in 
 very solid pieces of carving ; while the latter is only neces- 
 sary when the work done is a sort of combination of fret- 
 work and carving. 
 
 The best light for carving, as for all sorts of painting and 
 drawing, is a northern one. But all that you need really 
 care about is to have a good light in front of you when you 
 are working. This is a matter of some consequence, as 
 carving that looks quite smooth and finished when seen in 
 one light will look quite rough when held in another. 
 
 Finished carving is often varnished, oiled, stained, or pol 
 ished ; but these processes should only be resorted to when 
 you believe that they will perfect your carving, either by 
 bringing out the beauty of the grain, or the color of the 
 material employed. Oak or walnut is generally merely 
 oiled with linseed-oil, and, after the lapse of two or three 
 days, brushed with a stiff bristle-brush, unless the carving 
 is too delicate to admit of this operation. Too much oil must 
 not be applied, else the work will assume a greasy or shiny 
 appearance. Boxwood should be washed over with the 
 strongest possible aquafortis, and in a few minutes' time 
 
360 WOOD-CARVING AND LIGHT CARPENTERING, 
 
 (when its color is sufficiently dark) be plunged into cold 
 water. When dry, brush it over with a stiff brush. 
 
 Bichromate of potash diluted with water for hard woods, 
 and walnut stain made without oil and diluted with water 
 for lime and other light woods, are in very general use. It 
 is as well to try these stains on pieces of waste wood in 
 order to test their strength. They should be applied with a 
 small brush to the carvings, care being taken not to go over 
 the same place twice. 
 
 Polishing is not a clean or pleasant occupation, but it cer- 
 tainly does add to the effect of some works. The flat sur- 
 faces in the carvings to be polished ought to be perfectly 
 smooth, as every little scratch or unevenness will be distinctly 
 visible after the polishing process. White or transparent 
 polish is used for light or black ; French polish, for brown 
 woods. Soak some tow, cotton-wool, or wadding in the 
 polish to be used : make it into a pad by putting it into a 
 piece of soft linen, and drop a little linseed-oil on the pad ; 
 this will enable the pad to pass easily over the wood. The 
 pad should only feel slightly "sticky;" but very little oil 
 being used, as this has a tendency to deaden the polish. 
 Use the pad with a circular motion, re-wetting it, when 
 necessary, with the polish and oil. About three coats of 
 polish are generally required, the carving being allowed to 
 dry thoroughly between each. 
 
 To conclude: '^Practice is better than precept" is very 
 true of wood-carving : and though, perhaps, at first you may 
 undertake it merely as a means of filling up your leisure 
 hours, yet perseverance in it will bring in its train real 
 enjoyment ; partly from the better acquaintance you will 
 have with Nature's handiwork, from which you have sought 
 the originals of your designs ; partly, also, in the pleasure it 
 will enable you to give to others. Are not presents with 
 
WOOD-CARVING AND LIGHT CARPENTERING. 36 1 
 
 "histories" attached to them far more valuable to our friends 
 than things bought ready-made ? And is it too much to say, 
 that a piece of wood-carving is our " petrified " or consoli- 
 dated thought ? For is not our conception, and the fulfil- 
 ment of that conception, written plainly in every leaf and 
 flower ? 
 
362 STRAWBERRY-CULTURE FOR GIRLS. 
 
 CHAPTER XI. 
 
 STRAWBERRY-CULTURE FOR GIRLS. 
 
 Nothing yields better returns, either in health and vigor, 
 or in money, to a girl living out of town, than the culture of 
 small fruits : of these, strawberries are, in many respects, the 
 most desirable. To begin with, she needs but little capital ; 
 but she must have a love of outdoor life, energy, application, 
 and the determination to succeed. 
 
 If she can have the use of a plot of ground, say an eighth 
 or a quarter of an acre, or less, and can get it rightly pre- 
 pared, with sufficient plants for the bed, she has, with the aid 
 of those qualities first named, all the real elements of suc- 
 cess. In the latitude of New York or Philadelphia the land 
 is apt to be sandy or loamy, and gives, when well cared for, 
 large, sweet, and abundant fruit. 
 
 We will suppose our maiden to have at command an 
 eighth of an acre of good soil (moist, but not too wet or low), 
 and near the house. She will, about the middle of August, 
 have it spread thick with a large load of old, well-rotted 
 stable-manure : if possible, a little muck or wood-ashes must 
 be mixed with this. When the ground is suitably dry, it 
 must be ploughed and harrowed ; and, having secured her 
 roots, she will at once set to work. 
 
 How many plants will be needed.^ That is easily com- 
 puted. We remember that there are 43,560 square feet in 
 an acre : this, divided by the number of square feet occupied 
 by each plant, will give the exact sum required to cover a 
 
STRAWBERRY-CULTURE FOR GIRLS. 363 
 
 single acre. For instance, strawberries are set out in rows, 
 generally three feet apart one way, and one foot the other ; 
 so that each root occupies three square feet. Take three, 
 then, as the divisor of 43,560, and we have the quotient — 
 which will be ample for the acre — of 14,520. One-eighth 
 of this gives 1,815, the number of berry-roots required for 
 our plot. 
 
 But we must first settle on the variety, — a hard choice 
 where there are so many favorites. If the market is close 
 at hand (and it ought to be for young managers and small 
 beds), a softer, sweeter kind can be raised than when they 
 are to be sent to a distance. The .Crescent Seedling, Seth 
 Boyden, Jocunda, Sharpless, Charles Downing, and the new 
 James Vick, are all excellent, as are many others. 
 
 The roots ought to be brought from the nursery just be- 
 fore setting out : if not, they can be kept damp by sprin- 
 kling. On no account must they be left to dry. 
 
 After the ground is marked lengthwise into furrows, the 
 plants can easily be set out regularly, with the^aid of a stick 
 marked into lengths of a foot each. This should be just 
 before night, or before a shower, to avoid a scorching sun. 
 With a garden-trowel dig a cavity in the ground ; spread out 
 the little roots within it very carefully ; fill in the earth 
 lightly but closely, and press hard about the stems. This is 
 soon finished. It is desirable that the bed should be well 
 watered every night until it rains, after which they will no 
 longer need that care. 
 
 In about a week, with a small rake — there are all sorts 
 of light tools for just such purposes in hardware stores — 
 scratch the surface of the earth between the rows gently, 
 but do not disturb the roots ; and keep the bed free from 
 weeds until cold weather. 
 
 At the time heavy frosts appear, in November, rake up 
 
364 STRAWBERRY-CULTURE FOR GIRLS. 
 
 from the nearest clump of trees sufficient dead leaves for 
 winter blankets for the young vines, underneath which they 
 will sleep quietly till spring, especially if pains be taken to 
 press them down, though not too tightly, by means of boards 
 and brush. Not only does this protect them from thawing 
 and freezing, but the leaf-mould is excellent nourishment for 
 the plants. If more convenient, use straw or refuse hay. 
 
 By the first of the next April, all this must be removed. 
 The leaves or straw may be raked between the wide rows to 
 serve for mulching. By it the berries are kept from beating 
 into the dirt by rain. If the ground is not well covered, 
 more straw must be use^ ; and every weed that dares show 
 its head must be pulled. As little runners creep out on this 
 side and that, pinch them off ; so that the entire strength of 
 the plant may be kept to nourish its luscious fruit. 
 
 The reward for this care will soon appear in starlike blos- 
 soms, which quickly change into green berries, ripening 
 under the glowing heat of the sun. It is a wonderful trans- 
 formation scene, and good mother Nature is the enchantress. 
 And, the more we study her methods of working, the greater 
 will be our admiration and delight. 
 
 By the last week of May, fragrant crimson cones will be 
 ready to melt in the mouth, while busy fingers gather in the 
 delicious harvest. Of course no one will be allowed to enter 
 this choice plot who is not careful about stepping on vines 
 and leaves, or who injures them by flowing skirts, and no 
 child with soiled fingers will be permitted to mar one of these 
 perishable beauties. When possible, too, the fruit must be 
 picked in the cool of the day, just before twilight. 
 
 After the picking season is over, the bed still needs to be 
 kept free from runners and weeds. If you wish new plants 
 for another bed, however, you have only to let the runners 
 grow, and when they take root (as they will in a few weeks), 
 
STRAWBERRY-CULTURE FOR GIRLS. 365 
 
 cut the connection between the new plant and the parent 
 stem. If properly managed, the original bed will remain 
 good for four years. Every fall it ought to be spaded, and 
 manure should be mixed with the earth. This must be old, 
 from the stable ; or it may be wood-ashes or ground bone. 
 The plant consumes a great deal of what we call waste 
 material, but which is rich in substances, that, by some mys- 
 terious process, it converts into fruit. 
 
 For such a small plot, little help will be required in picking 
 berries, and none in cultivation, after the ground is once in 
 order, and the annual spading is done. 
 
 And what should be the result ? 
 
 First, a deal of health, strength, and happiness, with a new 
 knowledge of the habits of plants and of the laws of nature. 
 
 In regard to pecuniary profit, some report as high as six, 
 seven, or eight hundred dollars an acre ; but that is had 
 only by the most successful gardeners during fine seasons, 
 when all conditions are nearly perfect. The ordinary culti- 
 vation must not begin with great expectations, and end with 
 bitter disgust. Intelligence and faithful work will be sure 
 to give due reward. Add to the cash account a great deal 
 of enjoyment, some practical knowledge of gardening, and a 
 glad sense of having done something useful, and done it well. 
 
 The record of an average year will be something like this, 
 varying, of course, according to the richness of the soil, its 
 cultivation, and the season. The price is subject to change 
 also. 
 
 Dr. 
 
 To ploughing, harrowing, and laying out one-eighth an acre . $1.00 
 
 " manure 3.00 
 
 " 1,815 plants at $4.50 per thousand 8.16 
 
 ** tools, — rake, hoe, trowel, etc. 1.00 
 
 Total $13.16 
 
^66 STRAWBERRY-CULTURE FOR GIRLS, 
 
 On the other hand : — 
 
 Cr. 
 587 quarts of berries at 14 cents per quart $82.18 
 
 Leaving a clear gain of ^^69.02 for our young gardener. 
 
 No expense of picking fruit, of small baskets to hold them 
 if sent to a distance, or commission on sales, need be given 
 for so small a plot. If the size be increased so these are 
 needed, then we may calculate to pay at the rate of a cent 
 and a half each for baskets, and about two cents per quart 
 for picking. 
 
 It is possible to bring up the yield much higher than is 
 given above, but this is more practicable on a small bed than 
 in a large one. Profits cannot increase in proportion to the 
 increase of land cultivated ; since one alone cannot give 
 the same close attention and care, more help being necessary 
 for the larger plot. At all events, when a girl finds herself 
 with little to do, and has a desire to increase her pocket- 
 money and sense of independence, here is an avenue, and a 
 pleasant one, to a field of labor certain of bringing re- 
 muneratioiL 
 
SMALL FRUITS, — CURRANTS, RASPBERRIES, ETC. 367 
 
 CHAPTER XII. 
 
 SMALL FRUITS, —CURRANTS, RASPBERRIES, AND BLACKBERRIES. 
 
 For all these small fruits the ground must be thoroughly- 
 prepared as for Strawberries. Manure must not be spared, 
 and the soil for raspberries should be thoroughly drained if 
 possible. Currants need moisture and shade, as they are 
 natives of cold, damp climates. Indeed, they do not flourish 
 farther south than the Middle States. 
 
 It must also be remembered that they do not bear till the 
 second season after transplanting, even when the roots are 
 two years old. But they will last, if well cultivated, nearly 
 or quite twenty years. 
 
 The land must be made very rich for this fruit : indeed, it 
 bears coarser nourishment than strawberries. They are to 
 be set out in October, in rows five feet one way by four the 
 other, when the ground is ready. There is no reason why 
 this may not be done by our maiden, since the work is not 
 heavy. They need to be set deep and firm, and a small 
 spade will be necessary here. 
 
 After all are set, pruning must not be forgotten. By tak- 
 ing a knife made for such uses, and going over the field, we 
 shall find it needful to cut back the branches nearly one-half 
 their length, taking off long, slender ones, so as to compel the 
 bush to keep round and compact. As in the case of straw- 
 berries, the trimmed bushes direct their juices then to fruit, 
 instead of growth. 
 
 The next spring the ground should be ploughed, and after 
 
368 SMALL FRUITS, — CURRANTS, RASPBERRIES, ETC. 
 
 that kept free from weeds ; and July of the second season 
 will see the reward of your labors. 
 
 For this fruit there is always demand. It is easy to pick, 
 and does not readily spoil. But we must not forget to keep 
 the bushes clipped back and trimmed to about ten stems on 
 each, and to see that they are free from weeds, and heavily 
 manured. When bearing, they may be mulched, like straw- 
 berries, and muck or leaf-mould applied close about each hill. 
 
 In regard to varieties, the Red Dutch, Cherry, and White 
 Grape will be found satisfactory. Allowing 2,178 bushes 
 to the acre, according to the rule we used in finding the 
 number of strawberry-plants (dividing 43,560 square feet by 
 the twenty square feet occupied by each bush), we shall need 
 two hundred and seventy bushes to our eighth of an acre. 
 The result ought to be something like this : — 
 
 Dr. 
 
 To ploughing and harrowing $1.00 
 
 " manure 3.00 
 
 " tools 1.50 
 
 " 270 bushes, two years old, at $35 per thousand . . . 9.45 
 
 " ploughing the next spring .75 
 
 Total $15.70 
 
 On the other side : — 
 
 Cr. 
 
 By 1,580 pounds of currants at 6 cents per pound . . . $94.80 
 
 Leaving a net profit of $79.10, beside a fine lot of bushes 
 in full bearing. This is subject to the expenses of picking, 
 and, when not sold near at hand, of marketing and commis- 
 sions. 
 
 Raspberries need the same preparation of ground that has 
 been described for other small fruits. They are to be set 
 
SMALL FRUITS, — CURRANTS, RASPBERRIES, ETC. 369 
 
 out in October, in hills seven feet by two, giving 3, 1 10 to the 
 acre, and, of course, 375 for an eighth as much ground. For 
 the black-cap, the Doolittle Improved is always excellent : 
 for the red raspberry, the Turner and Cuthbert are justly 
 favorites. The latter ripens nearly two weeks later than the 
 former, thus lengthening the fruit-season. 
 
 By planting these in a hedge, and pinching off the tops in 
 the spring, when they have reached the height of three or 
 four feet, they do not require staking. For a girl to handle, 
 however, they are much more convenient when planted in 
 rows, about five feet apart, giving only 278 to our bed, and 
 tying them, near the tops, to stout stakes with twine or wire. 
 They are still kept low, and the canes thinned to about five 
 or six in each hill, always taking out the old growth either in 
 March or November, as the new wood alone bears fruit. 
 
 Result in ordinary cases : — 
 
 Dr. 
 
 To ploughing, manure, etc $4.00 
 
 " raspberry-bushes 2.75 
 
 " stakes, wire or twine, and labor of setting and tying . . 5.00 
 
 Total $11.75 
 
 The profits are very variable, depending on cost of pick- 
 ing, as well as price which the berries may bring in the place. 
 We may estimate this, however, as a bush in good bearing 
 ought to give three quarts of berries at least. 
 
 Cr. 
 By 834 quarts of fruit at 11 cents per quart $91*74 
 
 from which deduct the expenses of marketing, added to 
 
 $11.75- 
 
 Manurihg is not needed so frequently as in strawberries 
 
370 SMALL FRUITS, — CURRANTS, RASPBERRIES, ETC, 
 
 or currants, but the trimming and cutting must be constant 
 and careful. 
 
 Blackberries are to be treated, in general management, 
 like raspberries. They require, however, to be set farther 
 apart. Eight feet by two or three is the right distance, 
 giving 340 for the eighth of an acre. The Kittatinny is gen- 
 erally considered the best of all. They should be trimmed, 
 and kept at a height of about four feet, and, when practi- 
 cable, staked and tied. 
 
 The blackberry thrives on poorer soil than any other of 
 the small fruits, but shows good feeding by its increased 
 size and juciness. The estimates of cost and gain will not 
 differ from those made of raspberries. They are very hardy, 
 and easy to manage if kept closely trimmed, and continue 
 to flourish for many years. 
 
CANNED FRUIT, JELLV, AND PRESERVES. ^l 
 
 CHAPTER XIII. 
 
 CANNED FRUIT, JELLY, AND PRESERVES. 
 
 Our maiden who has successfully raised a bed of small 
 fruits will desire to can or preserve any excess of them, 
 either for home use, or to furnish herself with pin-money. 
 The process is easily learned, and is something in which the 
 true housewife takes great pride and pleasure. 
 
 To begin with, every thing about the implements of can- 
 ning fruit or making jelly should be immaculately neat, and 
 ready for use. Glass cans and tumblers should be freshly 
 scalded, after pouring in a little cold water, with the elastics 
 and tops fitted, and each laid with its jar. Large wooden 
 spoons should be provided, and porcelain kettles freshly 
 scoured. Use no tin, except a quart cup for measuring 
 sugar : in this weigh one pound of it, and you will always 
 know then just how full it needs to be. Weigh your kettles 
 first without fruit, afterwards take that amount from the 
 entire weight. If you begin with jelly, you will pick the cur- 
 rants some dry morning just as soon as they ripen : if possi- 
 ble, take the same or twice the quantity of raspberries, to 
 soften the sharp flavor of the currants. Stem the latter. 
 Throw both into your kettle, and boil till soft, breaking the 
 fruit with a spoon ; squeeze, a quart at a time, gently through 
 a crash bag, which must be turned and rinsed after each fill- 
 ing. To every pint of this juice allow one pound of nice 
 white sugar, which spread out in shallow tin dishes on the 
 back of the stove, or in the open oven. This you stir while 
 
372 CANNED FRUIT, JELLY, AND PRESERVES. 
 
 it heats, at the same time watching the juice, which you have 
 put back into a clean kettle, skimming as it heats : when this 
 has boiled just twenty minutes, and the sugar has grown very 
 hot, turn the last into the juice quickly, and stir rapidly to- 
 gether. When the sugar has all melted, and the compound 
 is just ready to boil, but has not really begun, take from the 
 fire. Meanwhile, on a near table is a large pan in which are 
 your jars or tumblers filled with very hot water, and sur- 
 rounded by it also : between this and the jelly-kettle is a 
 large plate. Empty one of your tumblers, and fill with the 
 hot liquid at once ; set on a platter in the window, and con- 
 tinue in the same way. If you have done every step as 
 described, the jelly will form as it cools. If you prefer, 
 Mason's jars can be used : these may need to stand open in 
 the sunshine a day or two before sealing. 
 
 Other kinds of jelly are made by the same process. The 
 juice of strawberries, raspberries, and cherries, is so thin that 
 a package of Cooper's gelatine, dissolved in a little cold juice, 
 and then added to three quarts of it, will be needed to give 
 consistency. Apples and quinces can be treated like other 
 fruit, often being cut up whole, so as to retain the jelly 
 of the cores, and flavor of the skins. And, in making jelly of 
 cherries or peaches, crack a few pits or kernels, and cook with 
 the fruit in order to intensify its flavor. Except for berries 
 which are very juicy, add a small teacup of water to a pound 
 of fruit when set to boil. A teacup having a handle will 
 be found convenient as a filler. 
 
 In all this process, a little experience will make our maiden 
 quick, but not hurried, watchful, careful, and orderly. 
 
 When the jelly is cool and firm, it is to be covered with 
 two thicknesses of tissue-paper the size of the top of the 
 jar, and over this spread a layer of pulverized sugar half an 
 inch thick. Then, by tying over all a paper saturated with 
 
CANNED FRUIT, JELLY, AND PRESERVES. 373 
 
 thin flour-paste, it will keep — unless filched by mice or 
 greedy fingers. 
 
 In canning, the same utensils and arrangements are need- 
 ed. Pears, peaches, quinces, and apples are to be peeled, 
 cored or pitted, and halved. The sugar measured must be 
 one-third to one-half the weight of fruit, according to its 
 acidity. This is to be set aside, if the fruit is hard, till the 
 latter has been boiled, with a cup of water for every pound, 
 until it begins to soften. Then add the sugar ; let it come to 
 a boil, and take from the fire after having been gently stirred. 
 In small fruits, the sugar may be added at first ; but, where 
 fruit is already hard, that only serves to toughen it. In case 
 it does not need boiling, make a sirup for the fruit, allowing 
 a cup of water to each pound, with the sugar : when it comes 
 to a boil, add the pears or quinces, and cook only till they 
 are clear, or heated through. Currants, grapes cultivated and 
 wild, berries of all kinds, cherries, and huckleberries can be 
 treated in the same manner. Plums must be pricked, or the 
 skins will peel off, and, unless very sweet, will need half their 
 weight of sugar. By making a sirup first, fruit is less liable 
 to break in pieces : if this is not dreaded, it can be cooked in 
 layers of the measured sugar. Or heat fruit to boiling, and 
 then add sugar. 
 
 In canning, the object of having every thing at hand is to 
 allow no delay, as the air, which causes decay, is repelled by 
 the heat. When, therefore, the kettle is lifted to the table 
 beside the jars, which are in a pan or small tub of hot water, 
 the fruit must be carefully put in, packing large pieces nicely, 
 with a silver spoon, and the sirup filled in till it runs over 
 the top. Holding the jar with the left hand by a cloth 
 wrapped around it, wipe, fit on the elastic, and screw on 
 the top tightly as possible. Proceed till all are filled. Wipe 
 the cans dry, and tighten the tops as they cool. Keep in the 
 
374 CANNED FRU/Ty JELLY, AND PRESEVRES. 
 
 dark. If every thing was thoroughly heated, and each jar 
 perfectly filled, there will be no danger of its working. 
 
 Fruit that is soft, or very ripe, makes excellent jam, thus : 
 boil half an hour, or until it is perfectly soft and well cooked, 
 mashing with a wooden spoon ; add three-fourths its original 
 weight of sugar, and boil a half-hour longer. If spiced cur- 
 rants are desired, take the jam when well done, and add a 
 pint of sharp cider-vinegar, a tablespoonful of cinnamon, a 
 teaspoonful of ginger, and half as much cayenne pepper, to 
 every seven pounds of the uncooked fruit. 
 
 Quinces are best relished in the form of marmalade. They 
 are rubbed, peeled, cored, and boiled soft. Into this mixture 
 is thrown the strained liquor in which seeds and cores have 
 been steeped soft, in little more water than covered them. 
 After rubbing them through a colander, they are returned 
 to the kettle, and cooked half an hour in three-quarters their 
 weight after peeling : if desired sweeter, use full weight. 
 Keep in bowls or large-mouthed jars. 
 
 But our maiden may wish to dispose of old-fashioned pre- 
 serves to some of her matron friends, or to use them occa- 
 sionally in tarts herself. In that case she will prepare fruit 
 precisely as for canning, save that she uses sugar with it, 
 pound for pound. With every four pounds of sugar make a 
 sirup by adding a half-pint of water and the beaten white of 
 an ^gg. Boil and skim. Put in the fruit carefully, and boil 
 from ten minutes to half an hour, according to its size. 
 Strawberries and cherries may be strewn over night in an 
 earthen vessel, between layers of sugar. The drained juice 
 with its proportion of water serves for sirup. Large fruit 
 must be treated as directed for canning ; so, also, may melon 
 and citron rinds, cut into small squares or fancy shapes, and 
 cooked till translucent. Flavor with a sliced lemon and an 
 ounce of fresh ginger-root to each quart of preserve. Even 
 
CANNED FRUIT, JELLY, AND PRESERVES. 375 
 
 plum tomatoes are palatable by this means. If a change is 
 desired, we may convert any kind of fruit into sweet pickle. 
 This is done by taking two-thirds the weight in sugar, and 
 packing both, in alternate layers, in the kettle, adding to 
 every seven pounds of fruit a pint of sharp vinegar, a table- 
 spoonful of cinnamon, and a few cloves. Let all come to the 
 boiling-point, then seal in hot jars. If a thick sirup is 
 wished, skim the fruit into jars, and boil the liquid until it 
 is of the required consistency. 
 
 In calculating the profits of jelly-making, we see that much 
 depends upon the juiciness of the fruit and the closeness with 
 which the pulp is squeezed. One pint of fruit and one pound 
 of sugar will make about three-fourths of a quart of jelly, cost- 
 ing about thirty-seven cents, or at the rate of half dollar the 
 quart. To pay for time and labor, it should be sold for double 
 that sum, with cost of jar added. Nearly the same estimate 
 will apply to preserves, which are usually put up in cans. 
 
 In canning fruit, nearly seven quarts of uncooked fruit 
 
 will fill three jars when cooked and sweetened, costing and 
 
 selling for a little less. Here is an approximation toward 
 
 the profit. 
 
 Dr. 
 
 To small fruits and sugar for preserves and jelly, per can . . $ .50 
 
 Cr. 
 By price of same $1.00 
 
 Total profit per can $ .50 
 
 Dr. 
 To small fruits and sugar for one quart can $ -35 
 
 Cr. 
 By price of same , . $ .80 
 
 Profit per can $ 45 
 
 To the cost and price of each must be added the cost of 
 the jar. 
 
376 THE REARING OF POULTRY, 
 
 CHAPTER XIV. 
 
 THE REARING OF POULTRY. 
 
 It is often remarked, that a farmer's wife will be frequently 
 more successful in rearing an early lot of chickens than a 
 man who has expended a great deal of money on his yards, 
 and prides himself on his fancy breeds. The poultry jour- 
 nals, too, are filled with names of women who are successful 
 competitors for honors or for sales ; all showing that it comes 
 within a woman's province. There is a cause for this. It 
 interferes with no other home duty ; while it does require fre- 
 quent attention, and this, women and girls can give. There is 
 something very appealing, too, in those little downy balls of vi- 
 vaciousness, which makes the work they bring very attractive. 
 
 If our young amateur desires the trial, she will begin with 
 not more than half a dozen sitting hens, each with her 
 thirteen eggs, by the middle or last of March, if she has a 
 warm place for them. The nests for hatching are to be 
 boxes with ashes or dry earth at the bottom ; above, fill in 
 loosely some fine hay, and set in a dry, warm spot, with food 
 and water always near. This may be in the barn-cellar, or 
 in tight rooms, or even the house-cellar, — wherever it cannot 
 freeze, where it is secluded and separate from other fowls. 
 If this cannot be, wait till warmer weather. 
 
 At the end of the twenty-first day, all that can hatch have 
 picked their shells. At the early season mentioned, three- 
 quarters of the eggs are all that can be expected to give 
 chicks : allowing for accidents, we may reasonably hope to 
 
THE REARING OF POULTRY. 377 
 
 have fifty at the end of a month. But it will require a good 
 deal of watchfulness to carry them through the changes of 
 that first month. If we succeed even fairly, they will be 
 much more valuable than later comers. 
 
 The coops, of course, are ready for their occupants. They 
 are made quite tight, and so they can be shut by simply 
 putting a board in front. One can be improvised by turning 
 a barrel or a box on its side; or can be made with great 
 care and all the "modern improvements." Where an old 
 glazed sash is at hand, construct a little yard in front of the 
 coop, just as large as the sash, made of boards, with the sash 
 for roof. Underneath this skylight they will take their ex- 
 ercise, keep warm, and thrive famously. The coop must 
 always be placed where it is protected from the wind, with a 
 frontage south or east, and where it can have the direct rays 
 of the sun several hours daily. Yard and coop are both to 
 be floored, kept dry, and frequently cleansed. From the 
 neglect of this comes the greatest loss of chicks. And the 
 single rule by which they thrive is this : keep them warm, 
 dry, and well fed. 
 
 To return to the beginning : they need not be disturbed 
 for twenty-four hours after hatching. That wonderful nature 
 which developed the germ of life into a downy, animated ball, 
 stored within it enough food from the ^gg to last that length 
 of time. After that, give hard-boiled eggs, chopped fine, four 
 or five days, then cracked corn till they are nearly two months 
 old. They should have all they can eat, at first six times daily, 
 then decrease the amount as they grow older, and give plenty 
 of fresh water to drink. After that age they can digest 
 whole grain, but do not feed them with soft food. Skimmed 
 milk is always a dainty dish for these voracious youngsters. 
 
 As spring comes, on warm days let them run on the 
 ground, and you would hardly guess how many worms and 
 
3/8 THE REARING OF POULTRY. 
 
 insects those little shining eyes discover. When it rains, 
 keep them shut in. If they draggle about in the wet, they 
 will die with roup or gapes. Continue this treatment till 
 the hens have left them to take care of themselves : after- 
 ward they will make but little trouble, and can soon be re- 
 moved to yards with roosts. This may be in open sheds, 
 if safe, so they may get fresh air : at any rate, they must 
 have access to the ground, and ventilation. 
 
 If the chicken mistress is able to control the refuse of the 
 kitchen, she will chop all the scraps for her charges ; and 
 excellent diet it is. For the rest, they need wheat, screen- 
 ings, buckwheat, oats or corn, frequently changing from one 
 to another. 
 
 When about six months old the pullets begin laying. 
 The whole neighborhood rings with the news, and chanti 
 cleer trumpets forth the astonishing fact. Properly fed, and 
 not without, they will lay all winter. They like boxes in 
 dark, out-of-the-way places for nests, and are fond of hiding 
 them so securely, that they bring forth batches of chicks 
 before you know what they are about. 
 
 Their roosting-places must be both warm and well venti- 
 lated ; the first to be secured by having their sheds or houses 
 tight, and protected from winds ; the last, by having a square 
 box or air-shaft run a little way out of the top of the build- 
 ing to take off the foul air. The neglect of this will breed 
 cholera, or some other fatal disease. They are likewise de- 
 pendent on plenty of ground to scratch over, clean water, 
 and sunshine. In winter never have over forty in one yard. 
 Sheds and enclosures may be divided, if they are large, and 
 each lot have its open space for exercise. If too crowded, 
 or damp, their feathered inhabitants will certainly become 
 diseased, and liable to vermin. To prevent the last, every 
 bit of wood about their yards needs to be whitewashed two 
 or three times every year. 
 
THE REARING OF POULTRY. 379 
 
 To have eggs all winter, give them a warm breakfast, as 
 often as possible, of boiled potatoes, or boiling-water mixed 
 with cracked wheat or middlings. Lime, too, must be always 
 at hand. Pounded or burnt oyster-shells is an especial dainty. 
 So are scraps of fresh meat in winter, chopped fine, and cab- 
 bages, or any kind of green food. 
 
 So many good varieties of fowl are now reared, that it is 
 hardly possible to go amiss in making a selection. Crosses 
 of two good strains make as good layers as pure breeds. 
 
 If you are very sure you can manage one, get an incubator, 
 and place in the cellar, and begin to set eggs in February ; 
 this gives early chicks for broiling, which always bring high 
 prices. With each incubator is a set of directions. 
 
 The success of chicken-raising will depend on intelligent 
 care, and on cost of food, and price of chicks and eggs ; all of 
 which are variable. Let us strike an average, thus, — 
 
 Price of chicks for broiling (until the 20th of June), each . • $ 75 
 Food for same 25 
 
 Profit on each broiler $ 50 
 
 Roasting-fowls bring from sixteen to twenty-five cents per 
 pound, according to the season. They are fattened only by 
 giving them all they can eat, three times daily. By Christ- 
 mas they ought to weigh five pounds, which, at eighteen cents 
 per pound, would amount to ninety cents ; subtract thirty 
 cents' worth of food, and the gain on each is sixty cents. 
 
 It is agreed that the eggs of a hen are worth each year 
 twice as much as her food : near cities they average more. 
 The account of each fowl, then, for one year, is, — 
 
 One bushel of grain $ 75 
 
 Ten dozen eggs, at twenty cents per dozen 2.00 
 
 Yearly profit • . . I1.25 
 
38o CANARY-BIRDS, THEIR REARING AND TRAINING. 
 
 CHAPTER XV. 
 
 CANARY-BIRDS, THEIR REARING AND TRAINING. 
 
 It would be hard to find a girl who is not fond of these 
 charming pets, or who does not delight in caring for them. 
 Most of them are procured from bird-stores, where they have 
 been imported ; but there is nothing so very difficult in rear- 
 ing and taming them. They are so hardy, docile, intelligent, 
 and affectionate, and their capacity for imitation is so large, 
 that there is no reason why they should not be more com- 
 monly bred and trained. They are especially fitted for house- 
 pets, — social, little winged joys, receiving and giving pleas- 
 ure, which they express in song. 
 
 Originally from the Canary Isles, they have won their way 
 to every land. We find them of many varieties, according 
 to color and size. But we will pay no attention to the names 
 Jonquil, Mealy, and Cinnamon, but simply look for healthy 
 birds and good singers. We will even look farther than this, 
 — for the capacity of being tamed. To have a little bright 
 bit of bird-life nestling to sleep on one's shoulder, or feeding 
 from one's lips, is better than to have its song alone. 
 
 The long and short birds paired produce the best young. 
 But we wish first to have our birds for some time, and be- 
 come familiar with their ways. The ordinary wire cage is 
 too common an article to need description. It should be 
 kept scrupulously clean by frequent scaldings, and the brown 
 paper and gravel at the bottom be changed daily. Or you 
 may buy gravelled paper at bird-stores. See that the bird 
 
CANARY-BIRDS, THEIR REARING AND TRAINING. 38 1 
 
 has fresh water every morning (in summer twice a day is 
 best), also that its seed-cup is always filled, and water-bath 
 at hand. If this is done as soon as breakfast is over, the 
 songster will come to look for attendance regiUarly. The 
 daily food should be two-thirds canary-seed with a third of 
 rape-seed, a little sugar occasionally as a reward while you 
 are taming it, a piece of stale bread twice a week, and once 
 in a while a bit of sweet apple, a salad-leaf, chickweed, or 
 celery-top. To give it rich cake or cooked food is to insure 
 an early death. A piece of a hard-boiled ^g%y or a baked 
 potato, is relished as a tidbit, and can do no harm. But the 
 plainer they live the better. They digest quickly, and so eat 
 often. S^e that mice cannot get to the seed : a glass jar 
 with cover is its safest receptacle. 
 
 They may be paired early in March, but first hang the 
 birds near each other, in separate cages. It is best to have 
 both of good strong strains, not related, and not of the same 
 color. The breeding-cage ought to be larger than their usual 
 homes, if possible with a sliding-board over the bottom. 
 After the whole is thoroughly scalded, to keep out vermin, 
 this may be thickly spread with gravel, and the birds intro- 
 duced to their future domicile, which is to be securely placed 
 in some quiet room where the sun shines, and out of strong 
 currents of air. An even but not very warm temperature 
 is desirable. 
 
 Having done all this, your couple may continue to insist 
 upon quarrelling: if so, you have only to "try, try again," 
 each with another mate. When they do settle down to 
 housekeeping, you will observe their mutual affectionate 
 attentions, and domestic chatterings. 
 
 Then you must introduce the nest (of woven wire, from 
 the bird-stores), which ought to be securely fastened in one 
 corner, and shaded by a cloth or paper, after having been lined 
 
382 CANARY-BIRDS, THEIR REARING AND TRAINING. 
 
 with cotton-flannel. If successful, in a few days you will 
 find a tiny ^g'g, sea-green in color, at the bottom, and then 
 another, till five or six have been laid. The male is usually 
 very attentive to his wife, and their domestic life is often 
 lovely to behold. As she broods the eggs, he feeds her, 
 meanwhile chirping low and sweet. All this time they need 
 a little hemp-seed, and crushed boiled ^gg, in addition to 
 their usual food. 
 
 On the fourteenth day the young pick their shells, and the 
 anxiety of their parents is very manifest. A saucer of stale 
 grated bread, mixed with crushed rape-seed and the yolk of 
 hard-boiled ^gg, moistened with water, and always fresh, is 
 now to be kept where the little ones can be continually fed. 
 The male does his duty like a man, and is eager to give his 
 wife and little ones all they can swallow. These grow as 
 fast as they eat ; and, when a month old, the parents will rear 
 another brood, if their young are removed to a smaller cage ; 
 and still another, after the second brood. 
 
 These little ones have been taught to eat, drink, wash, and 
 sing ; and now we can begin to tame them. We will com- 
 mence by extreme gentleness and slowness in all our move- 
 ments about their cage, by talking to them, and accustoming 
 them to our presence. After they once get the taste of 
 sugar, hold a lump in your fingers between the wires, gently 
 talking to them meanwhile. If you have the hard heart to 
 do so, starve them an hour at a time, and then hold out seed 
 and sugar. There must be no quick, jerky movements, and 
 no attempt to catch the nervous little creature, or it will lose 
 confidence in you, and become wilder than before. With 
 perseverance, and a quiet watchfulness of the temper and 
 spirit of the bird, you can establish in a short time a genu- 
 ine comradeship ; so that it will know your voice, chirp a low, 
 loving welcome when you come, and even fly to meet you at 
 
CANARY-BIRDS, THEIR REARING AND TRAINING, 383 
 
 the door. It will plume its feathers, and go to sleep upon 
 your shoulder, drink from your spoon, and be in all ways the 
 dearest of pets, even learning to perform any number of tricks 
 which your ingenuity can invent, or its quick wit devise. 
 
 If a bird of mature growth comes into your hands, a longer 
 course of similar treatment will eventually win its confi- 
 dence. The starving system may be necessary, or even a 
 small drop of oil of anise applied to the nostril, which stu- 
 pefies the canary, and softens its wildness, without harm. 
 When tame, they may be allowed the freedom of the house, 
 excepting during the pairing-season. 
 
 Canaries are liable to few diseases : if attacked, but little 
 can be done, save to keep them warm, and feed simply. The 
 moulting-season is their most dangerous period. Give a 
 variety of food. Put a bit of saffron, or a piece of rusty 
 iron, in the drinking-cup. After the young bird has passed 
 its first moulting-season, begin to train it gradually. There 
 is no end to the number of things it may be taught. It 
 will swing on your finger or a fork, clasping the tines with 
 its claws ; will ride " up - stairs, down stairs, and in my 
 lady's chamber," perched on your finger or shoulder; and, 
 in fact, will itself undertake new tricks of its own. They 
 make the most satisfactory addition you can desire to a win- 
 dow filled with plants in winter, singing their happiness at the 
 noble forests in which they are free to wander. Once in the 
 possession of such an exhaustless source of delight, you 
 will never again consent to keep a wild bird. If you can 
 then bring yourself to part with your winsom-:;, coquettish 
 birdlings, they will command from five to ten dollars each 
 from private buyers in any city. 
 
384 THE HONEY-BEE 
 
 CHAPTER XVI. 
 
 THE HONEY-BEE. 
 
 No avocation for girls requires so much skill and coolness, 
 excites so much enthusiasm, or produces such admirable re- 
 sults, as the charge of honey-bees. It demands a clear head, 
 courage, steadiness, and forethought during a small portion 
 of the year. Yet young women have, within a few years, 
 been very successful in this industry. 
 
 If our maiden decides to attempt this pursuit, she must 
 first study thoroughly the habits of this remarkable insect, 
 and as early as March procure, say, two hives as a beginning 
 of the pattern called the " Simplicity hive." This is a simple 
 box, having movable frames within. On peeping under the 
 cover, we see bees clustered in a bunch on the comb in 
 the centre, quiet, and almost torpid. There they spend the 
 cold months, keeping warm by their bodily heat, and doubt- 
 less dreaming of their beloved sunshine and flowers. 
 
 The close observations of bee-lovers have found, that in 
 every colony there is one reigning queen, mother of all the 
 race of bees, so numerous and so short-lived. There are 
 in a hive from fifteen thousand to twenty thousand at least, 
 and their little lives never extend over seven months ; dur- 
 ing working-season, not over thirty or fifty days. The hive 
 contains but one queen. She is a long, handsome insect, 
 never leaving the hive but once, and that just before she 
 begins laying, when about five days old. From that time 
 till her death, she industriously lays her little eggs, not 
 
THE HONEY-BEE. 385 
 
 much larger than the point of a pin, each in the centre of 
 the prepared brood-cell. Some of these cells are larger than 
 others. Those are called drone-cells ; and the bees from them 
 are drones, which have not tongues long enough to gather 
 honey, but are simply gentlemen of leisure. They are larger 
 than the workers, and look like a large fly. In the fall they 
 are always killed off by the working-bees : so there are none 
 till the queen has laid in the spring. It is an object of the 
 bee-keeper not to have too many of them : so he only lets a 
 little drone-comb stay in the hive. The smaller worker-cells 
 are much more numerous. 
 
 The eggs hatch in three days after they are laid, giving 
 very small white worms, which are fed by the young bees, 
 and grow very rapidly ; so that in seven days they nearly fill 
 their cells. Then they are sealed over with wax to undergo 
 a wonderful change. At the end of eleven days the young 
 worker-bee gnaws open his prison-lid, and for a few days 
 spends his time in eating, and feeding the younger brood 
 of larvae, as these worms are named. The drones remain 
 sealed three days longer. 
 
 The process of queen-rearing is very curious. The larvae 
 for intended sovereigns are fed with a substance especially 
 prepared, called "royal jelly." Its cell is enlarged to the 
 size of a peanut, which it closely resembles. It is sealed in 
 the manner described, but hatches in six days. A queen-cell, 
 however, is never started, unless the hive is so full that the 
 bees desire to send out a new colony, or the queen shows 
 signs of failing vigor, or is accidentally destroyed. In that 
 case, if the little fellows have eggs on hand, they are all right. 
 They make several queen-cells at once, so as to be sure to have 
 one, at least, feed the larvae on royal jelly, and are rewarded 
 by one or more young sovereigns, the eldest of whom tries to 
 destroy the others. If they are not needed, she succeeds. 
 
386 THE HONEY-BEE. 
 
 Meanwhile the working-bees do all the work. They build 
 comb (dozens of them working on one cell at a time), collect 
 pollen and honey, keep the hive clean, take care of the 
 cells, and protect the queen. Every bit of refuse and all 
 dead bees, they drag from the hive. Always active, their 
 energy and industry quicken with the increase of flowers, 
 until they seem fairly wild with the excess of sweets, and 
 tumble over each other in their hurry to go and come laden 
 with their stores. In fact, they are masters of the situa- 
 tion, and govern the hive. 
 
 During the first two months of spring they are incessantly 
 at work, gathering pollen and honey in order to stimulate 
 breeding, and increase the number of workers. When they 
 get full to overflowing, they start queen-cells, .which they 
 prevent the old queen from destroying, and force her to 
 leave the hive with a lot of followers. This is called ''swarm- 
 ing." Some bee-keepers have a method of dividing bees 
 when the hive is full, styled "artificial swarming." They put 
 part of the bees in a new hive, and give them a queen-cell, 
 or a young queen. Others allow them to swarm at least 
 once, keeping back further swarming by cutting out queen - 
 cells when formed, and by extracting their honey. This is 
 one of many reasons why the old box-hives are no longer 
 used, but hives with movable frames adopted. These enable 
 the apiarist to handle his bees as he pleases, to examine their 
 work, and judge of their condition. A wonderful impetus has 
 also been made in the invention of a machine which takes 
 a cake of wax, stamps it out thin, and marks its surface with 
 just the shape and size of a honeycomb. This "foundation " 
 is then fastened into frames hung in the hives ; and the insects 
 draw out from it, and build it up into perfect cells. By this 
 means they are saved much labor, as they can make twenty- 
 five pounds of honey in the time it would require to make 
 one pound of wax. 
 
THE HONEY-BEE. 387 
 
 In June, the swarming-season, our maiden is prepared with 
 empty hives, each containing six frames of comb-foundation, 
 into which is put the new swarm. 
 
 In two or three days, on examination, these frames will be 
 found built up full of comb, when the hive must be filled with 
 others. It will then go on its peaceful way during the rest 
 of the summer. 
 
 But our young amateur will first need some experienced 
 person to assist at the critical period of swarming. The 
 seceders issue forth with a great roar and commotion, and 
 soon alight on some shrub or tree, where they hang like a 
 great wasp-nest. The queen is always carefully cherished 
 and protected, and they never leave the parent hive without 
 her. Having filled themselves with honey before leaving, 
 they are good-natured, and can be handled without fear. 
 Generally the new hive can be placed under the clustered 
 bees, which are to be gently brushed into it, and the hive 
 carried to its permanent stand. 
 
 In a short time the parent hive rapidly increases its occu- 
 pants, after which the apiarist puts on a second story, filled 
 with small boxes called "section-boxes," each having fas- 
 tened within a piece of foundation termed "the starter." 
 This induces the bees to go readily to work. As these are 
 filled and sealed up, they are taken out, and replaced by 
 others. In this way comb-honey is produced. 
 
 Honey contained in the broad chamber (the main part of 
 the hive) is taken from the comb by a machine called the 
 "extractor," at the pleasure of the apiarist, and the comb, 
 undisturbed in its frame, returned to the hive. 
 
 Early in October preparations should be made for winter- 
 ing. Each hive ought to contain at least twenty-five pounds 
 of honey for food during the cold months, and a good stock 
 of September-hatched bees. Hives constructed as described 
 
388 THE HONEY-BEE. 
 
 need more protection than those made by the old method. 
 The experience of the most skilful apiarists has decided, that, 
 in the latitude of Philadelphia and New York, the best way 
 is to enclose them on their summer stands with outside boxes, 
 and fill in the two-inch spaces on all sides with sawdust or 
 chaff. The tops, also, have chaff-cushions for covers ; and 
 water-tight wooden roofs crown the whole, while the entrances 
 are kept open, but reduced in size. 
 
 This protection is not removed until settled warm weather. 
 Heat is necessary to the rearing of the brood, and working 
 of the comb : indeed, these tropical little creatures are true 
 sun-worshippers, and very sensitive to cold. 
 
 Their first spring-work is gathering pollen, from the soft 
 maple and willow, for their young, which, in a strong hive, 
 are hatched every month, more or less ; a good queen some- 
 times laying the extraordinary number of three thousand 
 eggs per day. Small as these interesting little insects are, 
 in spite of their numbers, it is wonderful how much of the 
 distilled juices of flowers they are able to secure. The yield 
 of honey from each hive, under the care of able bee-keepers, 
 is estimated to average one hundred pounds : more than five 
 times that amount is sometimes recorded. The beautiful 
 Italian bee, with its dress of gold and brown, and its quiet 
 habits, is of all others most easily managed. 
 
 After all, the success of the apiarist consists in doing the 
 right things at the right time as well as in season, in being 
 tranquil, and working with the utmost gentleness. Under 
 this care, bees rarely sting. 
 
 A hive of Italian bees can be bought for ten dollars. The 
 implements necessary can be obtained at numerous manufac- 
 tories, prices varying according to the extent of outfit : to 
 begin with, they will equal the cost of the hive. During the 
 last few years the greatest improvements have been made 
 
THE HONEY-BEE. 389 
 
 in every thing connected with the apiary, as increased knowl- 
 edge of the habits of this exquisitely endowed insect has been 
 obtained. 
 
 It is a great and growing industry, which depends upon 
 the bee as a storer of sweets ; and no brief chapters can do 
 more than indicate its fascination, by glancing at its more 
 important features. It has already a vast literature and a 
 wide following, among whom, it is pleasant to record, are 
 many women. 
 
 Average profits of bee-keeping. 
 
 Dr. 
 To one hive of Italian bees $10.00 
 
 Cr. 
 
 By 100 lbs. of extracted and comb honey, averaging .20 per lb. . $20.00 
 Profit on one hive $10.00 
 
 From this must be taken a proportion of the expenses 
 advanced at the beginning. These are implements, such as 
 a bee-veil, gloves, smoker, honey-knife, etc., in all, about five 
 dollars ; also a honey-extractor, a most curious and conven- 
 ient invention, by which the comb is returned to the hive to 
 be used again. This can be procured for eight dollars. Then 
 there is a house or shed in which these tools are stored, and 
 work done f'^r and with frames and hives. 
 
390 SILK-CULTURE. 
 
 CHAPTER XVII. 
 
 SILK-CULTURE. 
 
 Since two thousand years before Christ, when the empress 
 of China discovered the mode of rearing silkworms, reeling 
 silk, and weaving it into a soft and beautiful fabric, these 
 industries have given occupation to multitudes of women 
 and girls. Over two hundred years ago King James the 
 First of England sent over to Virginia the first silkworm- 
 eggs which America ever contained, together with the mul- 
 berry-tree, the natural food of the worm ; but after the year 
 1760 little attention was paid to them until about fifty years 
 ago. Interest then declined, until within a very few years. 
 But it is not likely to decrease so long as silk is used for a 
 variety of purposes ; and that made in America proves to be 
 superior, in many respects, to the imported fabric. 
 
 The first step toward silk-culture is the planting of the 
 mulberry-tree for the food of the worm. The osage orange 
 can be used, but the white mulberry is the best where food 
 must be planted. These are raised from seeds and cuttings, 
 as well as from roots, which can be set out either in spring 
 or autumn. 
 
 When the leaf-buds of the mulberry begin to unfold in the 
 spring, we are ready for the eggs, which can be procured at 
 the office of any silk association in the country. The mother- 
 moth laid them late in winter ; and they have been kept dry, 
 hung up in woollen cloths. The room devoted to them is 
 warm and dry, and filled on the sides with long frames, 
 
SILK-CULTURE. 391 
 
 holding racks four feet wide, and bordered, to keep the worms 
 from falling to the floor. These are lined with paper, on 
 which the eggs rest. On the fifth day these tiny things, 
 about the size of a mustard-seed, hatch ; and the larvae go 
 hungrily to work on chopped mulberry-leaves. They stop to 
 rest only four times, — during their moulting-seasons, which 
 divide life into five distinct periods, — on the fifth, eighth, 
 thirteenth, and twenty-first day after making their appear- 
 ance. During this time they are yellowish-white, naked 
 caterpillars, and, when fully mature, three inches long. They 
 eat from six to eight times daily, devouring in their brief 
 existence one hundred times their weight of food. During 
 the last ten days of larvae life, the gum gathers in the bag 
 in the under jaw, they grow quiet, eat less, and make ready 
 to wind themselves in silken robes, and go to sleep to await 
 resurrection in another form. 
 
 This period of apparent death, but real pause, while the 
 insect gathers up its forces to undergo a change to a higher 
 existence, is only about thirty-five days after the worm 
 first appeared ; and it takes about fifteen more before we 
 behold the result of transformation, if we do not arrest 
 the process. But how does it go to work to spin its winding- 
 sheet } 
 
 We strew the rack with twigs, or bits of rolled paper, and 
 wait to see. Out of an opening in the under lip the silk- 
 bag sends forth its liquid gum, from which two delicate 
 threads are drawn, and attached to convenient supports. 
 Bending the neck up and down and from side to side, they 
 first weave an outer covering of floss-silk, and back and 
 forth, within that, finer, stronger strands, till every part is 
 covered. Within these layers is still another and finer, 
 firmly glued each to each. One thousand yards of silk of 
 hairlike fineness are spun by the curious creature, out of the 
 
39a SILK-CULTURE. 
 
 little gland which secreted its juices from the green leaves 
 that gave no evidence of any such substance. 
 
 The yellow cocoon is then about the size of a peanut, 
 over an inch long, and so light that two hundred and fifty 
 of them weigh only a pound. If kept warm, the chrysalis 
 bursts its prison-cells in sixteen days, grown into a perfect 
 moth, ready to lay its eggs, and live its singular round of 
 life. 
 
 But the watchful guardian cannot allow this destruction of 
 the cocoon. She throws it into hot water with its fellows, 
 by which means the worm is killed. They are now ready to 
 ship to dealers or manufactories, where they are reeled by 
 experts, and the silk prepared for dyeing and weaving 
 
 While silk-culture is yet in its infancy in this country, 
 there is little doubt of its importance, as a source of income 
 on a small scale, to girls at home. Attention is needed only 
 during warm weather, and even little children can feed the 
 silkworms. The cost and profit of rearing them depend on 
 so many things, that it is difficult to give any general esti- 
 mate. The Woman's Silk-Culture Association of the United 
 States, with an office on Chestnut Street, Philadelphia, under- 
 takes to furnish all supplies, and buy cocoons or reeled silk 
 from producers. Here is their scale of prices : — 
 
 Dr. 
 To loo mulberry-trees (from two to four feet high), sufficient to 
 
 plant an acre of ground $8.00 
 
 Twenty-six ounces of eggs, at $5 per ounce .... 130.00 
 
 Total $138.00 
 
 These ought to yield about 937 pounds of cocoons, at 
 %\ per pound, amounting to $937. 
 
 But the ;J798 remaining is by no means clear profit, The 
 simple cost of eggs and trees is vastly increased by the care 
 
SILK-CULTURE. 393 
 
 of the trees, and the cultivation of the land, which they 
 greatly exhaust, to say nothing of picking the leaves, and 
 feeding the tender larvae before the cocoons are spun. There 
 is also a large room or shed to prepare and heat, and the 
 expenses of racks and frames. Taking all things into con- 
 sideration, we can readily conclude that none of our girls 
 will be able to grow rich from the culture of the silkworm, 
 although a fair renumeration may be expected. 
 
394 FLORICULTURE, 
 
 CHAPTER XVIII. 
 
 FLORICULTURE. 
 
 Floriculture is the most charming of all those out-of- 
 door amusements to which American girls are more and 
 more devoted. Here, as well as in the drawing-room, is 
 opportunity for artistic culture ; and this has direct stimulus 
 from the inspiration of Nature herself. No well-balanced 
 young woman will consent to forego having her own little 
 plot of ground in summer, and window-garden in winter, on 
 which to essay her skill. She will dress suitably for her 
 work, — in stout material, made with loosely belted waist, and 
 plain skirt not falling below the ankles, thick-soled boots, 
 old gloves, and a garden-hat. She is then fitted to take her 
 light garden spade, hoe, and trowel, and wield them as easily 
 as dumb-bells, though with the hope of a more tangible 
 reward. 
 
 It is in April, and the ground has been well spaded and 
 manured, whether it be a small plot under the windows of a 
 village or city house, or on the lawn of a larger country home. 
 The soil has been mingled with leaf-mould and old manure, 
 and thoroughly pulverized. She is about to sow a few seeds 
 of the hardier flowers in the open air, or to arrange her 
 grounds for early planting. Happily, the old, stiff, formal 
 geometrical beds of our grandmothers are things of the past ; 
 and as much greater latitude is permissible in the fashion of 
 flower-arrangement as in dress. Our maiden, therefore, will 
 display the refinement of her eye in the selection of plants 
 
FLORICULTURE. 395 
 
 that are to grow side by side. For instance, she will not 
 plant her crimson-purple petunias beside her scarlet gera- 
 niums. 
 
 Of course she has some of last year's plants in the cellar, 
 such as geraniums, roses, carnations, fuchsias, and arbutilons, 
 to bring out to the light. They had been planted thickly in 
 shallow boxes in the fall, closely trimmed, and kept on the 
 piazza till near frost. Having slept through the long night 
 of winter, they are ready to open their eyes in the spring 
 sunshine. Her window-garden, too, is ready to empty its 
 contents out of doors. But we must not haste, for only the 
 hardiest plants are safe before the middle of May. And we 
 will beware of having too many varieties. A few kinds well 
 planted and tended, in masses, are much more satisfactory 
 to the eye than mixed beds, making blotches of color. Then, 
 again, delicate shades of blue or yellow may be grouped in 
 contrast with deep, rich tones of scarlet or crimson ; but they 
 must be judiciously managed. 
 
 So, also, must be the size and shape of the beds themselves, 
 depending on the size of the lawn or garden, and their dis- 
 tance from the house. Flowers near the windows may rea- 
 sonably be smaller and finer than those to be seen from a 
 distance. The mignonette and alyssum would be useless 
 two hundred feet away ; while even old-fashioned hollyhocks, 
 grouped in masses, are very decorative in effect if planted 
 against a background of evergreen at a sufficient distance. 
 The harmonies of form and color must be studied to give 
 effective richness to the scene. 
 
 It is not best for our young amateur to begin the ribbon 
 or carpet style of flower-bed, which requires a perfect knowl- 
 edge of tint, habit of growth, and mode of treatment. She 
 will, instead of this, make a few beds of annuals and peren- 
 nials, and set some herbaceous plants, which require less 
 attention still. 
 
39^ FLORICULTURE. 
 
 Here is a list of some of the most desirable plants for 
 bedding (the first thirteen are low, and may be near the 
 house), — pansy, alyssum, aster, verbena, phlox Drummondii, 
 portulaca, balsam, petunia, heliotrope, ageratum, coreopsis, 
 gilly-flower, dianthus, nasturtium, escholtzia, and salvia. 
 Many of these are to be found double, but they are not so 
 interesting as the single blossoms. By procuring the seeds 
 at any reliable store, we can learn, from the printed direc- 
 tions on the paper, just when to sow them, though much 
 depends on an early or a late spring ; and some of them, like 
 the various pinks and the pansy, may be sown in the open 
 ground the preceding September, and, when large enough, 
 transplanted to beds prepared for them, and made very rich. 
 It is not generally known ; but the exquisite pansy can be 
 kept in beautiful bloom for six years by gradually cutting off 
 the old stalks, after the flowers begin to fade, leaving only 
 about two inches above the ground. These will send out 
 new shoots, so as to make almost constant blossoms. Like 
 all other perennials, they should be covered lightly with leaves 
 or straw kept in place by brush during the winter. 
 
 If seed are to be sown in open ground, after the surface 
 is prepared smooth and very fine by the rake following the 
 spade, scatter the germs with a light and even motion of 
 the hand. Follow with a delicate sprinkling of earth, when 
 the seeds are small, increasing the thickness with their size, 
 to an inch for the largest. But, if you can, start them in 
 shallow boxes in a half-warmed room, perhaps in a corner of 
 the kitchen, where they can get light and air. These boxes 
 jire filled with the finest earth or leaf-mould mixed with sand, 
 ind there are crevices at the bottom for the surplus water to 
 escape. Here the tiniest seeds will quickly germinate, and, 
 as they are sown very thickly, must be transplanted into pots 
 or the open ground in a month : afterward the weak ones are 
 
FlOtiTCVLTURB. 397 
 
 to be remorselessly thinned, leaving only one «t:alk in a place. 
 This is a nice operation, suiting dainty fingers. 
 
 In planting out, we must remember that certain flowers 
 flourish best in the sba'^e, though all require a little sun- 
 shine. These delicate Diaixts are pansies, fuchsias, lilies-of- 
 the-valley, violets, lobelia^, phlox. The hardier herbaceous 
 blooms may be set without reference to shade , and foliage- 
 plants, like the coleus, fairly revel in the sunshine. 
 
 As our experience increases, we shall find that annuals 
 make a great deal of work, though many are very beautiful. 
 Here is a list of the most desirable, — aster, balsam, carna- 
 tion, clarkia, marigold, mignonette, nasturtium, petunia, por- 
 tulaca, zinnia, poppy, larkspur, and phlox. These are all 
 propagated by seed. 
 
 Herbaceous perennials, which are renewed by either seeds, 
 divisions of the roots, or cuttings, though growing less ra- 
 pidly, with care will last for years. Such are the monkshood, 
 columbine, harebell, the tribe of pinks, dicentra or bleeding- 
 heart, the wonderful varieties of lilies (numbering about one 
 hundred), the iris, the narcissus (including jonquil and daffo- 
 dil), the cardinal-flower, evening-primrose, lilac, and various 
 spireas. These all require occasional replanting in fresh 
 soil, and the ground frequently stirred about the roots, and 
 enriched. 
 
 Of hardy shrubs there are a legion, and many lovely climb- 
 ers. Among those frequently employed are the Virginia 
 creeper, bignonia or trumpet-vine, virgin's-bower, the honey- 
 suckles, the woodbines, wistarias, and many roses. We 
 have not spoken of the rose before : that glorious family 
 procession, to recognize which requires a liberal floral edu- 
 cation, deserves and repays especial study. Indeed, we have 
 only touched upon floriculture, the most invigorating and 
 enticing of all pursuits. Our maiden, with her spade and 
 
3^8 FLORICULTURE, 
 
 hoe, her rake and trowel, will soon acquire a genuine enthu- 
 siasm for her pastime, learning therefrom more than books 
 can teach. 
 
 Where the question of profit comes in, a greenhouse is 
 involved if any elaborate work be undertaken. Here, how- 
 ever, as in every thing else, one thing perfectly done will 
 insure a larger return than miscellaneous work. Violets are 
 always salable ; and their cultivation, when the special beds 
 and frames they require are once made, is one of the easiest 
 and most profitable forms of floriculture. 
 
 There are books which have proved themselves faithful 
 guides to such work, and the titles of several are given on 
 p. 427. The work being so practicable, enjoyable, and re- 
 munerative, it is a constant surprise that there are so few 
 women florists. A few months of special training under a 
 good gardener would be a great gain ; and this is afforded at 
 one or two of the agricultural colleges, the Iowa one doing 
 especially valuable work in such directions 
 
PARLOR-GARDENING. 399 
 
 CHAPTER XIX. 
 
 PARLOR-GARDENING. 
 
 With the coming of the long winter months, our inter- 
 est gradually recedes in outdoor vegetation ; and the falling 
 petals of flowers warn us to prepare them homes within our 
 walls, where their loveliness may be a joy or solace. Ac- 
 cordingly we take up our favorites, selecting those which are 
 free winter-bloomers, and are tender, — like heliotropes, be- 
 gonias, salvias, and other natives of the tropics, — to keep 
 on the piazza, or some sheltered spot, till they have become 
 accustomed to the change. 
 
 The best compost for house-plants is made from garden 
 or leaf mould, decomposed manure, and river-sand thor- 
 oughly mixed (the greater quantity being of the first-named) 
 and very finely powdered. If the pot is too large, the plant 
 will run to leaf, and not flower so well. It is better, to take 
 one that seems a little small, even, as the branches must be 
 cut back nearly one-half their length. Many florists do not 
 now follow the old method of putting in broken earthenware 
 to secure drainage, but fill in the earth firmly about the 
 pruned stem, and water very sparingly, with the pots in the 
 shade until they have put out new growth and new roots. 
 They are to be kept as long as possible in a cool place, since 
 most of them are more injured by heat than by moderate 
 cold. 
 
 But it is much better to have begun our preparation for 
 winter as early as June, by taking cuttings, or fresh young 
 
400 PARLOR-GARDkN/NG, 
 
 plants, potting, an.d burying them so that the pot is even 
 with the surface of the ground. They can then be taken up 
 in the fall without retarding their growth. They are removed 
 to the sitting-room, and placed on the south or east side, in 
 the sunshine ; and a little ingenuity will drape your windows 
 with nature's own growths. On brackets at each side are 
 ivies, which creep around and above the panes ; on others 
 may sit drooping begonias, the sedums, oxalis (either red, 
 white, or yellow), the smilax, or any graceful growers. On 
 the stand beneath, either of wire or wood, you may have a 
 succession of blossoms, beginning with the chrysanthemum 
 in December, continuing through the bulbs, hyacinths, calla- 
 lily, and narcissus, and ending with all you can find room to 
 store. Here is a list of some of the hardier, such as can 
 bear an average temperature of fifty degrees, — pelargoni- 
 ums, jessamines, roses, azalias, abutilons, primulas, verbenas, 
 daphnes, hoyas, camellias, oleanders, geraniums, and stevias. 
 If the room is very warm and dry, the various families of 
 the cacti will flourish : if warm and with more moisture, the 
 following will be successful bloomers, — heliotropes, tube- 
 roses, bouvardias, fuchsias, and, of foliage-plants, the coleus, 
 Poinsettia, and caladium. In very cold nights, unless the 
 windows are double, these plants may need the protection 
 of a paper thrown over them to prevent getting chilled. 
 
 If there is a bay-window in the sitting-room, that is the 
 very place for a rustic stand, or even an oblong wooden box, 
 with a painted or tiled front, and lining of zinc, perforated at 
 the bottom. Very handsome ones are now made of terra- 
 cotta and iron. In the centre nothing is prettier than two 
 or three varieties of begonia, the dracena, maranta, rose- 
 geranium, petunia, echeveria, and a few ferns ; some, though, 
 requiring a high temperature to flourish well. Over the 
 edge, the ivy, moneywort, tradescantia, smilax, and nastur- 
 
PARLOR-GARDENING. 4OI 
 
 tium will make a graceful trailing fringe. Then, with a shelf 
 of some hard, unpainted wood, like black walnut, running 
 about the bottom of the window to furnish support for flower- 
 pots, a bit of summer may be imprisoned to cheer with 
 ever-varying beauty the sombre days of winter. 
 
 Our amateur will do well to beware of watering her flowers 
 too frequently, or of watering them in the saucers, which are 
 merely to save the floor or carpet beneath, but should never 
 contain standing water. In the open air the surface be- 
 comes dry, and is then refreshed by showers : so should 
 the soil in our pots. But when they are watered, it should 
 be thoroughly done. A little ammonia or a diluted fertilizer 
 twice a week will be very acceptable to their roots. 
 
 Cuttings from almost all perennial plants may be started 
 in a dish of water, or, better still, in a shallow dish filled 
 with wet sand. Those from hardy plants may be simply 
 inserted in the earth, close beside the parent stem. 
 
 Bulbs are very suitable for house-cultivation, as they re- 
 quire little room. The hyacinth can be grown in earth, or 
 in dark-colored glass in water high enough to just touch 
 them, which are to be first kept in a cool, dark room, then 
 brought to the window-garden by the middle of November, 
 if they are desired for Christmas blossoms. The calla-lily, 
 which has been resting on its side, dry and apparently dead, 
 all summer, if raised in September, and plentifully nourished 
 with warm water, will pour upon the air a subtle fragrance 
 from a stainless calyx, — a royal princess among her party- 
 colored sisters. There are no other bulbs worth the trouble 
 of coaxing here. Crocuses, tulips, narcissus, and the snow- 
 drops had better be set in beds, six or eight inches apart, ana 
 half as many deep, in the open ground, early in Octobef., 
 though they may be used in the house if desired. The tube- 
 rose, from its overpowering fragrance, is unwholesome in- 
 doors. 
 
402 PARLOR-GARDENING. 
 
 Wardian -cases, ferneries, and jardinieres are almost too 
 delicate for young amateurs, without more explicit directions. 
 Roses^ too, may b^ made to bloom ; but they require a good 
 deal of experience. Hanging-baskets, made from pottery or 
 terra-cotta, must have drainage, and are pretty additions to 
 the window with any small blooming plants and delicate 
 vines. 
 
 The diseases of indoor vegetation are mostly caused by 
 parasites, which are sometimes very troublesome. They may 
 be washed in weak tobacco-tea, or carefully sponged with a 
 solution of whale-oil soap. 
 
DRAWING AND DESIGNING 403 
 
 CHAPTER XX. 
 
 DRAWING AND DESIGNING. 
 
 To be able to picture simple objects correctly is not only 
 a source of great pleasure, but the foundation of many 
 accomplishments and industries. The first rude attempts of 
 the child with pencil and slate or paper show the natural 
 desire of the race for pictorial effects. 
 
 Drawing helps the student express her love of beauty, 
 educates her taste, and gives her hand skill, delicacy, and 
 force. And there is no reason why she should not begin to 
 draw at home, and fit herself to work with colors or to be- 
 come a pupil in some of the industrial arts, schools for which 
 have lately been established in this country. In these they 
 are taught to design patterns for carpets, wall-paper, wood- 
 carving, stained-glass, inlaid wood panels, silverware, jewelry, 
 lace, embroidery, and book-covers. And there is no other 
 road to any of these avocations, to drawing from nature or 
 the human form, or even to the highest compositions of the 
 artist, than through the training of hand and eye by pains- 
 taking practice. 
 
 Our maiden, having taken drawing-paper and a box of 
 pencils, selects one moderately soft, and begins by drawing 
 slowly, from left to right, a line as nearly perfectly straight 
 as she can make it, — not an easy thing to do. A succession 
 of others is made parallel with each other, and the lessons 
 continued until the fingers are obedient servants of the eye. 
 Then she practises making right, acute, and obtuse angles. 
 
404 DRAWING AND DESIGNING. 
 
 There is a series of inexpensive drawing-books by Walter 
 Smith, containing the steps by which the pupil may practise 
 in her own room ; but all figures are based upon straight or 
 curved lines, — the only kinds in nature. Checkered and 
 diamond patterns come next, and geometrical figures of 
 squares, triangles, and irregular forms. 
 
 It may seem easy to make even a rough circle. Try it, 
 also different curves and ellipses ; then take simple objects, 
 such as boxes, cups, utensils, tools, and bits of fences, or the 
 side of a house with its windows and doors. Criticise your 
 work, and go over it carefully until it seems well done, tak- 
 ing up new forms slowly. You will now want to take a leaf, 
 or the single petal of a flower, avoiding every thing compli- 
 cated. In schools of industrial art, pupils are obliged to 
 draw the leaf of some selected plant from every point of 
 view, — sideways, twisted, and reversed, — till they can re- 
 produce it from memory. The petal of its flower is then 
 treated in the same way, followed by the whole blossom, 
 proceeding to its stem, leaves, and roots, as a whole, and to 
 its seed-vessel cut in two. And there is no true excellence 
 in art which is not based upon skilful drawing. 
 
 All this while, our amateur has observed the proportions 
 of objects ; that is, she has kept the respective size of all 
 parts of her pictures. But she has not shaded, or under- 
 taken perspective drawing, having treated only flat surfaces, 
 as if all parts were the same distance from the eye, and 
 equally in the light. But in reality no two sides of any 
 object are equally illuminated or distant. She will still con- 
 tinue to make delicate, firm outlines, but shade with paral- 
 lel strokes the sides opposite that on which the light falls. 
 She perceives, that, as there are one or more small points of 
 brilliant light on all objects seen in daylight, so on the oppo- 
 site sides there is a point of deepest shadow, while between, 
 
DRAWING AND DESIGNING. 405 
 
 range different depths of shade. Some artists, like Rem- 
 brandt, have been successful in displaying these gradations, 
 securing great dignity and character to their work. The 
 style of shading, too, marks the quality of the limner. 
 
 An important fact to be noted here is, that there is not 
 only direct light shining on all things, but there are re- 
 flected rays, which make the opposite side less dark than it 
 would otherwise be. 
 
 We are familiar with the law that all objects apparently 
 diminish in size as their distance from the* observer de- 
 creases ; but it is another thing to express it correctly on 
 paper. Perspective drawing indicates space and distance by 
 lines tending to a common centre, and by shading, which 
 diminishes in force as it approaches the background. A 
 long training of the eye is here necessary, and a knowledge 
 of certain rules which are observed by all artists. As we 
 look on a landscape, there is a point where the sight ends, 
 and a line where sky and earth seem to meet. That hori- 
 zontal line is called the "line of the horizon ;" and the point 
 where all lines converge is the "vanishing-point." Here 
 the straight lines which seem to run from above and from 
 below the horizon, and on either hand, end ; and it is upon 
 that horizontal line named. Within these converging rays, 
 all parts of a picture must relatively decrease as they recede. 
 We must also calculate the distance which the amateur is 
 supposed to stand from the scene which she pictures : from 
 her point of view, the " vanishing-point " must be exactly 
 opposite. Observation, study, and practice, with some trea- 
 tise at hand to furnish hints for obtaining the perspective, 
 will enable the young student to enjoy sketching from 
 nature, and be a preparation for more ambitious work. If 
 she desires to design for any practical purpose, she has had 
 at hoijie the necessary elementary training. If she has 
 
406 DRAWING AND DESIGNING. 
 
 access to a good library, she will consult Owen Jones's 
 "Grammar of Ornament," and "Racinet's Polychromatic 
 Art," and study all collections and museums within her 
 reach. 
 
 On the contrary, if more modest in her desires, she will 
 still find great utility in her capacity for drawing any object 
 which can better be described with lines than words. It is 
 no useless accomplishment to draw the plan of a house, the 
 objects of a room, to express sentiment or humor on a card 
 with a few telling strokes of the pencil, to give interest and 
 amusement in a thousand ways. Still better, a knowledge 
 of the foundation principles of art, which are universal in 
 their application, serves to give exquisite enjoyment of forms 
 and hues in nature and art in a thousand ways ; while the 
 uncultivated eye and untrained hand are powerless to see 
 and grasp that loveliness which makes of beauty a "joy for- 
 
CREAM FOR CANDY. 407 
 
 CHAPTER XXI. 
 
 HOME-MADE CANDY. 
 
 When the first edition of this book was prepared, home- 
 made candy was still limited to a few varieties of molasses 
 candy, only the ambitious girl venturing upon caramels or 
 drops of any sort. To-day it is not only possible for any 
 one to make excellent candy for home consumption, but 
 even to imitate successfully the choicer varieties of French 
 candy. For this last there is always a certain sale. Its 
 preparation requires time, patience, delicate handling, and 
 the skill which comes from even a short practice in the 
 use of these prime essentials. Here as elsewhere, practice 
 makes easy, and various cases have been given me in which 
 candy-makers of this order have found that a very comforta- 
 ble sum could be made monthly by supplying the drug-store 
 or the village store with the carefully prepared and pretty 
 bonbons. Before giving any hints for work of this nature, 
 I will give you the simple form which is possible even for a 
 child of only ten or twelve, and the knowledge of which 
 ends any buying of cheap candy. There is no doubt 
 that Americans eat too much sweet stuff of one sort and 
 another, but as it is a national weakness, it is a good thing 
 to know the purest forms. Here is the rule for the founda- 
 tion of many sorts of candies. 
 
 CREAM FOR CANDY. 
 
 Take the white of one Q^'g and an equal amount of cold 
 water. The best way is to drop the white in a tumbler, 
 
408 HOME-MADE CANDY, 
 
 notice how far it comes up, and then take the same amount 
 of water and mix both. The ^^^ must not be beaten. Now 
 add one pound of confectioner's sugar, ami the strained juice 
 of a lemon, or vanilla can be used for half, and half a lemon 
 for the remainder. Work in this sugar till all is in a firm 
 mass ; then lay it on a pastry-board and knead it like a lump 
 of dough, using a little dry sugar to keep it from sticking. 
 From this lump take a third for chocolate creams, a third 
 for walnut and date creams, and the rest for nut candy. 
 
 CHOCOLATE CREAMS. 
 
 Mould some of the sugar dough into small balls. Melt 
 two ounces of chocolate, by scraping it fine into a cup and 
 setting it in boiling water till it melts. Drop in the little 
 balls, and when well covered take them out and put on 
 waxed or paraffine paper such as can now be bought at any 
 stationer's or confectioner's, and let them dry. They must 
 be lifted out carefully with a fork, and require some hours 
 to dry. 
 
 WALNUT CREAMS. 
 
 Have ready quarter of a pound of English walnuts, the 
 meats taken out carefully in halves, and press a half nut 'on 
 each side of a ball of the prepared sugar. For date or prune 
 creams, split both, take out the stone, and put half the fruit 
 on each side as with the walnuts. Almonds and filberts can 
 be covered with some of the paste and dipped in the choco- 
 late or left plain. 
 
 PURE DELIGHT. 
 
 This is the title given by a family of experimental girls to 
 a candy made in this fashion. Take the remaining third of 
 the sugar paste, and add to it two figs, a handful of raisins 
 
CREAM CANDY. 4O9 
 
 seeded and chopped, about an ounce of citron, and all the 
 broken nuts, say a teacupful of them, altogether. Chop 
 them all quite fine and then mix thoroughly with the sugar, 
 kneading them in, rolling it about a third of an inch thick 
 and cutting in very small squares. If there is any choco- 
 late left, use it to cover a few of the squares, or it can be 
 stirred into some of the plain sugar and cut into chocolate 
 squares. It is possible to vary these combinations in many 
 ways, and a little of this candy, if made a part of the meal 
 and not given between meals, can do no possible harm to 
 children. 
 
 We come now to the more troublesome preparations, and 
 I give the first form which is the foundation for every 
 thing that follows. Use a porcelain-lined or enamelled 
 saucepan. It is impossible to make good candy in a tin 
 one. Begin with small amounts till you have learned how 
 to handle it easily and skilfully. 
 
 CREAM CANDY. 
 
 Boil one pound of the best granulated sugar and one gill 
 of water, and a little more than half an ordinary saltspoon- 
 ful of cream-of-tartar, till when you drop a little in ice-water 
 it becomes a rather soft ball. Stir it just once as you put 
 it on to boil, but not at all afterward, else it will not be 
 creamy. Then pour it into a dish but do not scrape out the 
 saucepan into it, or leave a spoon in it. When it has become 
 blood-warm begin to stir it, and stir and beat it till it is 
 white. It will very soon be too stiff for the spoon. Then 
 roll and work it with your hands, the more the better. It 
 soon becomes like firm lard, and in this form, by covering it 
 with waxed paper you can keep it for weeks. It should be 
 firm enough when cold to cut easily with a knife, and if it 
 
410 HOME-MADE CANDY, 
 
 does not, it has not been boiled enough, in which case you 
 have only to boil it over again, using as little water as 
 possible — a tablespoonful or, at the most, two, should be 
 enough. This cream can be colored red with a few drops 
 of cochineal ; green, with the juice of spinach, one drop or 
 so giving it a pale green, and more as deep a shade as 
 desired. Settle beforehand what sorts are to be made, and 
 prepare your nuts, chocolate, and any thing else desired, as 
 ♦•here must be no stopping after work begins. 
 
 NUT OR CHOCOLATE CREAMS. 
 
 For chocolate creams, melt chocolate as directed in the 
 rule given. Mould small bits of the firm cream, and drop 
 them into it, taking them out with an oiled fork and drying 
 on waxed paper. For nuts a different method is needed. 
 Take part of the firm cream and put it in a bowl, standing 
 the bowl in a saucepan of boiling water. Stir the cream 
 steadily as it melts, letting the water boil around it all the 
 time till melted, then leave it still in the saucepan, but re- 
 move to a table. Drop in almonds or filberts, let them get 
 well coated ; then lift out with an oiled fork, give it a tap on 
 the side of a bowl to free it from superfluous candy, and 
 drop the balls on waxed paper to dry. A second coating 
 when dry is always an improvement, but is not necessary. 
 
 PEACH OR GINGER CREAMS. 
 
 Take a preserved peach, or piece of preserved ginger, 
 crush it well to get rid of all the juice, add then a few drops 
 of lemon juice and enough confectioner's sugar to make a 
 firm and easily handled paste. Roll it then into finger 
 lengths, cut into pieces half an inch thick and dip into the 
 melted cream. Any rich sweetmeat, cherries, apricot, and 
 
ALMOND CREAMS. 4II 
 
 the like, can be treated in the same way, the cherries, of 
 course, being each dipped separately. Preserved quince 
 makes a delicious cream. 
 
 ORANGE, LEMON, OR PEPPERMINT CREAMS. 
 
 Make a cream candy as already described, and when cool 
 and in shape, divide into three parts, working into each part 
 from two to four drops of the oil of peppermint, of lemon 
 or of orange. This is far stronger than the essence and 
 must be used carefully. To the lemon and orange add half 
 a teaspoonful of lemon juice. The strength varies, and as 
 the oils are powerful flavors, you had better begin with two 
 drops for each portion of the candy, and add more if needed. 
 If you get it too strong add some of the plain cream. 
 
 To shape these creams either make some stiff paper forms 
 an inch deep and wide and six inches long, or you can get 
 small boxes that have held a dozen spools of cotton. Oil 
 them well and press in the candy. When it is quite firm 
 turn it out, cut it in caramel shapes with a warm knife and 
 do up each one neatly in waxed paper in the same way that 
 caramels are wrapped. 
 
 ALMOND CREAMS. 
 
 Almond paste, ready for macaroons or candy, can now 
 be had at the large grocers and is much less troublesome 
 than to blanch and pound the almonds separately. These 
 creams are most delicious, and are made by boiling half a 
 pound of granulated sugar with just enough water to dis- 
 solve it, till a little will harden slightly in ice-water. Grate 
 the yellow rind of a lemon ; strain the juice of a lemon and 
 a half, and shave four ounces of the almond paste very thin. 
 Have these all ready and add to the candy, when it hardens 
 
412 HOME-MADE CANDY. 
 
 a little in water. Stir till well mixed, and now and then to 
 prevent burning, and boil steadily till it cracks crisply on 
 dropping in ice-water. Oil or butter a dish, and pour the 
 mixture on it. When cold it will not be hard, but can be 
 cut in squares like caramels, or you can mould it in balls or 
 any shape you like, and dip in the cream candy. In either 
 case, It is delicious and easy. 
 
 GEORGIA TAFFY. 
 
 This rule was given me many years ago by a Georgia 
 friend, and has won applause wherever tried. One quart of 
 roasted peanuts, shelled and chopped or pounded very fine. 
 One pound of brown sugar; a teaspoonful of butter, the 
 strained juice of a lemon, or a teaspoonful of vinegar and a 
 tablespoonful of water, or just enough to dissolve the sugar 
 when put on the fire. Boil the sugar, lemon, etc., for twenty 
 minutes, stirring to keep from burning. Then mix in the 
 nuts, boil up once, and pour thin, in buttered pans. 
 
 BUTTER SCOTCH. 
 
 This form of taffy is so popular in England that a great 
 factory in London does nothing else. To make it on a small 
 scale, take one pound of brown sugar, one teacupful of mo- 
 lasses, half a teacupful of butter, two tablespoonsful of vin- 
 egar. Boil all together about twenty minutes, or till it 
 hardens in cold water, then pour thin on buttered tins, cut- 
 ting in squares while still warm. For a variation it can be 
 pulled like ordinary molasses candy till it is a light straw 
 color, twisted and cut in short lengths. In either case it is 
 the best form of molasses candy, the brown sugar being but 
 one remove from molasses. 
 
A PERFECT CARAMEL. 4I3 
 
 A PERFECT CARAMEL. 
 
 One large cup of molasses ; a teacupful of sugar, and one 
 of milk ; one heaping tablespoonful of butter ; a pinch of 
 salt ; quarter of a pound of chocolate, cut or scraped fine. 
 Boil all together about half an hour, or until it hardens when 
 dropped in cold water, then pour on buttered tins, and as it 
 cools cut into small squares. 
 
 These rules are given because they have been tested over 
 and over again, and if followed to the letter never fail. If 
 the forms given are carefully made, boxes can be filled quite 
 as attractive in appearance as the French candies selling at 
 from eighty cents to a dollar a pound. The candy made at 
 home can be sold for sixty cents a pound and is worth it> 
 but even at fifty a fair profit can be made. To those who 
 want to experiment with it as a source of income, I com- 
 mend a little book by Catherine Owen, one of the best 
 writers in America on such topics: ** Candy Making," pub- 
 lished by Clark, Bryan, & Co., Springfield, Mass. But it is 
 quite as well to begin with a few simple kinds, make them 
 as perfectly as possible, and, finding out what you can do 
 best, make that your specialty. In fact a specialty is much 
 more likely to make money than indiscriminate variety. 
 One woman in Philadelphia has made a fortune by thirty 
 years of making walnut molasses candy, and, though often 
 tempted, refused to add any other variety, and she was 
 right. 
 
414 A NEW HOME INDUSTRY. 
 
 CHAPTER XXII. 
 
 A NEW HOME INDUSTRY. 
 
 Just off Regent Street, in the crowded West End of 
 London, whose roar is sounding in my ears as I write these 
 words, is a quiet corner known as Langham Chambers, 
 where in the pleasant rooms one may see the latest novel- 
 ties in what they call the " minor arts." These " minor 
 arts" take in every form of home decoration, and include 
 wood-carving, modelling, and various possibilities already 
 described in these pages. But one of them was so surpris- 
 ing, and the effect so far beyond what could be dreamed of 
 from the materials used, that I made haste to get every de- 
 tail, and present them now, as not only the clue to inter- 
 esting and even fascinating work, but also as the solution of 
 at least part of one of our household problems — what to do 
 with the broken china and broken pottery in general. 
 
 The process is said to have been invented by a popular 
 dentist of aesthetic tastes, who was in despair over the 
 breakage of some of his favorite bits of china and pottery. 
 He determined not to lose them entirely, and the result of 
 his experiments was a set of tiles, and the birth of what is 
 nearly a new art, and might well stand as the title of the 
 present chapter. 
 
 MOSAIC WORK IN BROKEN CHINA. 
 
 Here the art has become so popular that it is actually 
 taught in some of the evening schools ; and frames and all 
 
MOSAIC WORK IN BROKEN CHINA, 4I5 
 
 needed appliances are now made, and can be had very 
 cheaply. But it is still unknown in the United States ; and 
 so the learner must trust to the village carpenter, or possibly 
 to her own skill, already acquired in handling tools, for the 
 small frame which is the first necessity. 
 
 This frame must be the size of the ordinary tile, and of 
 eight pieces. First, two cradles, or supports, on which you 
 lay the flat piece of board the size of the tile ; four side 
 pieces must be made, two of .hem a little longer than the 
 others, and with a groove into which the shorter pieces fit, 
 just as you would make a box. These are to fit around the 
 flat board, and to fix and hold them tightly ; a peg at each 
 end will be best. The frame is then complete and ready for 
 work. 
 
 The iron chopper is made here so that it can be raised or 
 lowered by a peg; but a very good substitute will be a meat- 
 cleaver, such as can be bought at* a hardware store. A 
 small wooden mallet, a bottle of mucilage, a traced paper 
 pattern, a piece of glass cut just the size of the tile, and a 
 package of Portland cement, which can be had at a good 
 paint-shop, or from the manufacturers of tiles. A stock of 
 broken china is the next need ; and the commoner sorts are 
 best. Yellow pie dishes are an essential, a great deal of 
 white, some black, if it is possible to get it, though there is 
 very little black pottery, and red and white and brown ; in 
 short all the colors you can secure. If the home heap of 
 broken crockery does not suffice, any china-store will be glad 
 to get rid of its stock of this nature. 
 
 Now for the method. Choose for a beginning a very sim- 
 ple pattern, say a circle enclosed in a diamond, and let the 
 colors be as simple ; say, yellow for the circle, red for the 
 projecting triangles of the diamond, and white for the 
 ground. A favorite Roman combination is red, black, and 
 
4l6 A NEW HOME INDUSTRY, 
 
 white in this same pattern ; but it may not be possible to 
 get black. 
 
 Draw the pattern carefully over a sheet of paper ; lay it 
 on the board which makes the bottom of the frame, and 
 cover it with the piece of glass. In this way your pattern 
 is not destroyed in working, and you have a perfectly flat 
 surface, as glass never warps as wood does. Now you must 
 prepare your china, and can make as large a stock as you 
 like, depending upon the number of tiles you plan for. If 
 you have not the chopper with a peg which will hold the 
 china, simply put your broken piece under the cleaver, and 
 strike that with the mallet. Begin with the yellow pie-dish, 
 and a little practice will very soon enable you to chop it 
 into rectangular bits quarter of an inch square, the most 
 useful size. Triangles are very useful, and the pieces will 
 often break in this way. It is important that they should 
 all be perfectly flat, and the glazed surface must always be 
 put next to the glass. 
 
 When your stock of pieces, " tesserae " the mosaic work- 
 ers call them, is ready, brush a little mucilage over the glass 
 to help hold the bits steady. Then begin to form your 
 circle-, arranging the bits so that their outer edge just touches 
 the outer edge of the pattern. If you take care to follow 
 the general outline carefully, the inside ones take care of 
 themselves. Remember, too, that you only see the back 
 of the tile while working ; that the glazed surface must al- 
 ways go against the glass, and the unglazed be uppermost. 
 Make the outline very carefully, using the triangles for the 
 corners, if a circle can be said to own comers, and not leav- 
 ing the bits quite touch, since the cement is to be poured in 
 to hold them together. 
 
 For the points of the diamond, take a piece of red-glazed 
 earthenware and cut into pieces, taking care to have four 
 
MOSAIC WORK IN BROKEN CHINA. 417 
 
 very neat triangles for these points. Outline the diamond 
 as you did the circle, and fill up the centre. For the back- 
 ground use your white " tesserae," gumming the surface as 
 before, and outline the entire diamond in even pieces. 
 Next outline the frame, taking care to leave here a little 
 space between the outline and the sides of your box frame, 
 so as to make a firm edge when the cement is poured in. 
 Fill up this space carefully and the ** setting " is done. 
 
 Now, first being perfectly certain that all your pieces 
 touch the glass evenly, wet the entire rough back by pass- 
 ing a wet brush over it, the object of this being to prevent 
 the porous earthenware from sucking the water too quickly 
 out of the cement. The tile is then ready for the final and 
 most critical operation. Pour a pint of water into a com- 
 mon earthen bowl, shaking in the powdered cement from 
 your package, letting the water damp it slowly, and then, 
 with an iron spoon mixing it in, till the whole is like smooth 
 thick custard. Take this by the spoonful and pour very 
 carefully over your tile, seeing that it sinks down well be- 
 tween the " tesserae." When this is done mix more cement 
 with the custard till it is quite thick and firm, and spread it 
 over this first thin coating till you have filled up to the level 
 of the frame. If it seems too liquid at the top, sift on some 
 dry cement which will absorb the water. Put the frame in 
 a dry, warm room, and in two or three days the cement will 
 be hard and white. Take out the pegs, remove the sides 
 and back very carefully, and the tile is before you. If the 
 first filling was not perfect, there will be little gaps and hol- 
 lows in your " tesserae," but these can be filled from the 
 front if done very carefully. 
 
 There is one very curious fact about Portland cement 
 which must be guarded against very carefully. If it is not 
 fresh it " dies," as the makers say ; that is, it will not co 
 
41 B A JV£PV HOME INDUSTRY. 
 
 here, but falls to dust again. For this reason a packet 
 should never be opened until wanted, and what is left 
 should be put away in an air-tight box, though it is far 
 better to use it all up at once. The basin and spoon must 
 be cleaned at once to keep the cement from hardening on 
 them, and in throwing away any that is left, remember not 
 to throw it down a sink, as it would harden and stop up the 
 pipe. You can have several frames, and thus fill a number 
 of tiles at once with the mixture, which is the most practical 
 way. 
 
 Tiles of this nature are not suitable for floors, since the 
 china might chip off if much walked upon. But for bath- 
 room walls, flower stands, dados, and fireplaces they are ad- 
 mirable, and patterns innumerable may be found in the 
 head- and tail-pieces of old books. The fact that the china 
 can not be cut very small or very evenly, prevents making 
 very elaborate designs, but this is no disadvantage. Walter 
 Crane's picture books have many conventional designs 
 which can easily be followed, and books of architectural 
 plates will give you old mosaic floors. Your own invention 
 will come to your aid, and you will find that tiles which are 
 now a luxury can be made so cheaply that they become 
 possible for those who have very little tnoney. The work 
 itself seems to fascinate all who undertake it, and the effect 
 has none of the cheapness which might seem to result from 
 the use of such materials, but, when carefully done, looks 
 and is like good mosaic work. The frames may be larger 
 than the ordinary tile, but if too large may break. Nothing 
 can be prettier than these tiles in a bath-room, and if they 
 are to be set against a wall, the backs must be roughened 
 with a knife before the cement is entirely dry. Do this by 
 simply cutting lines with the back of a knife. It is better 
 to keep them some time before using them, and their uses 
 
MOSAIC WORJC IN BROKEM CHINA, 410 
 
 are countless. As a finish above the kitchen sink, nothing 
 could be cleaner or more easily cared for, and whoever be- 
 gins to utilize them will discover many places where they 
 " fill a long-felt want " as nothing else has or can. In 
 short, I should like to begin some with you at once, regard- 
 ing the inventor as a genuine benefactor, and believing 
 that you will agree with me when your first set is finished. 
 
4^ COOKING-CLUBS AND WORK IN GENERAL. 
 
 CHAPTER XXIII. 
 
 COOKING-CLUBS AND WORK IN GENERA^ 
 
 Cooking-clubs have been formed at so many points all 
 over the country, and are always so popular, that they need 
 little description, and certainly no recommendation. What- 
 ever helps to interest one in the best preparation of food is 
 certainly a benefit. But the best is by no means the richest ; 
 nor is it to be limited to cakes, creams, and salads. As these 
 clubs are generally organized, they include from six to a 
 dozen girls, whose object is to prepare dishes elaborate 
 enough to form, when finished, a lunch for the party. This 
 is all very well : yet it results, usually, in two or three cakes, 
 oysters in some form, and a salad ; bread being bought, or 
 provided beforehand. 
 
 It is much easier to scallop oysters than to make good 
 bread, to make a cake than to boil a potato perfectly ; and 
 chocolate bears being poorly made much better than tea or 
 coffee, which demand just the right handling to give the best 
 return. 
 
 And so, while it will still be well to include something 
 savory and desirable in the list of dishes, a cooking-club which 
 decides in the very beginning to devote its chief energies to 
 the simple things, really the most abused and hopelessly 
 ruined articles that come on our tables, will do far better work. 
 The club that will offer a prize for the best loaf of bread both 
 white and brown, the best pan of rolls, the mealiest potato, 
 the clearest coffee, will have laid a foundation for good food 
 
COOKING-CLUBS AND WORK IN GENERAL, 42 1 
 
 at home ; and, when the power to succeed always in these 
 articles is gained, any fancy dishes may take their place. 
 Bread will perhaps be less interesting than cake ; and yet 
 I have known many girls who became fascinated with its 
 making, and who prided themselves at last on the perfectly 
 baked, golden-brown loaves, with something of the feeling 
 they had had for a good drawing, or a bit of successful paint- 
 ing. Blunders will be made at first ; and often there is great 
 objection to the occupation of the kitchen, — made, sometimes 
 by the cook, and as often by the busy mother, who dreads 
 waste, and loss of time, and sundry other evils, not one of 
 which can compare for a moment in importance with the loss 
 of such knowledge. Many a bride has wept very bitter tears 
 over her own ignorance of how to prepare even the simplest 
 meal ; but a season with a persevering and enthusiastic cook- 
 ing-club would make the way easy. 
 
 And it is far more possible to make money from such an 
 accomplishment than is generally supposed. In small vil« 
 lages this is not the case perhaps, though even there the 
 advent of some wandering baker's-cart is hailed with delight. 
 But in towns and cities there is immediate demand, and any 
 article perfect of its kind sells at once. It cannot be out of 
 order to speak of one lady, whose cakes are now known in all 
 our large cities, being kept by every prominent grocer. Miss 
 Martin took up this occupation as a resource when her health 
 had failed from teaching, and began with simply filling the 
 orders of friends. Within a year the demand so increased, 
 that she had to secure special quarters ; and her income now 
 is six times what even the best teaching at present secures. 
 Her sister has had equal success in canning, pickling and 
 preserving, and supervises personally every detail of the 
 operations. It is this personal supervision that means the 
 delightful "home-made" quality all bakers fail to give; and 
 
422 COOKING-CLUBS AND WORK IN GENERAL 
 
 it is always possible for any girl of good judgment and some 
 training to take up this industry, and not only dignify it, but 
 earn, when known, a handsome livelihood. Where it is con- 
 fined to a village or town, there should be, in all cases, a labor 
 exchange, which may mean simply power to display articles 
 prepared for sale in a portion of some good store, or a room 
 in some accessible house. Let it be known that this or that 
 one, with a peculiar gift in certain directions, will either make 
 for pay, or will exchange for some needed thing in which she 
 has less skill, and there will soon be a demand. 
 
 Of many other occupations for pleasure or profit, there is 
 no room to speak ; but a final word on some possibilities of 
 village-life must be said. For most of them there is a stag- 
 nation which paralyzes thought, and drives both sons and 
 daughters out into the world as soon as they are old enough 
 to take such a step. Yet there might be a far different life, 
 if families would band together, recognke that recreation is 
 as much a necessity as is toil, and seek every means of bring- 
 ing people into a better knowledge of one another. Caste 
 is often as sharply defined in a New-England village as if 
 all were Brahmins. Sects are numerous : everybody cleaves 
 to his or her " doxy," and any concerted action is impossible. 
 
 A "village improvement society" might be the first organ- 
 ized effort. Perhaps the cemetery is an eyesore, overgrown 
 with weeds and nettles ; perhaps the yards of the houses are 
 shrubless or treeless, and nobody has time to think how bare 
 and forlorn it all is. Every possibility of work in such direc- 
 tions is given in a delightful little book, called " Villages and 
 Village Life," by Nathaniel Hillyer Eggleston, the full title 
 of which is on p. 412, and which holds not only hints, but the 
 fullest and plainest directions, for beautifying and improving 
 outward surroundings, and this with no extravagant outlay 
 of either time or money. 
 
COOKING-CLUBS AND WORK IN GENERAL, 425 
 
 If life is to be passed in the remote and quiet country, — 
 and many a tired dweller in cities will tell you it is the only 
 peaceful one, — refuse to let it be shut in, and barren of 
 interest. Apathy and inertia often settle down upon one. 
 Drive them away by constant intercourse with others. Plan 
 a village library, a reading-club, some form of entertainment 
 in which all can join, a magic-lantern, a stereopticon, — any 
 thing that will bring about a working-together and a feeling 
 of common interests arid purposes. 
 
 As I write I seem to see the heavy, uninterested, self-con- 
 scious faces I have ached over in many a village church, but 
 I see also the sudden brightening as any live word reached 
 them ; and I know that for every life there is the power of 
 enjoyment, which can be cultivated as thoroughly as any 
 other power, and which grows in making others enjoy. And 
 so, my girls, for whom I would gladly do far more than the 
 limits of this book allow, open your eyes. See what is wait- 
 ing for every one of you. Find out your bent, and follow it ; 
 or if you have no bent, and can only jog along from day to 
 day, jog cheerfully, and think of brave, sweet words Charles 
 Kingsley wrote for just such lives as yours : — 
 
 ** Be good, sweet child, and let who will be clever ; 
 Do noble things, not dream them, all day long : 
 And so make life, death, and that vast forever 
 One grand, sweet song." 
 
AUTHORITIES 
 
 CONSULTED IN PREPARING THE AMERICAN GIRL*S HOME BOOK OP 
 WORK AND PLAY. 
 
 The Girl's Own Book of Amusements, Studies, and Employ- 
 ments. By Mrs. L. Valentine and others. 
 
 The Girl's Own Treasury ; specially designed for the Amusement 
 and Instruction of Young Ladies. 
 
 Every Girl's Book. A Compendium of Entertaining Amusements 
 for Recreation in Home Circles. By Louisa Lawford. 
 
 The Home Book for Young Ladies. Edited by Mrs. Valentine. 
 
 Every Girl's Annual. Edited by Miss Alicia A. Leith. 
 
 The Girl's Own Annual. 
 
 Evening Amusements; or. Merry Hours for Many People. 
 
 Footlight Frolics. Entertainments for Home and School; com- 
 prising School Opera, Charades, Plays, Christmas Capers, etc. By Mrs. 
 Charles F. Fernald. 
 
 Dick's Parlor Exhibitions. 
 
 How to Amuse an Evening Party. A Complete Collection of 
 Home Recreations. Illustrated. 
 
 The Ladies' Guide to Needlework, Embroidery, etc. By S. 
 Annie Frost. 
 
 Household Elegancies. By Henry T. Williams and Mrs. C. S. 
 Jones. 
 
 Ladies* Fancy Work. 
 
 A Sewing-Primer. By Mrs. Louise J. Kirkwood of the Wilson 
 Industrial School, New York. 
 
 Amateur Work. Illustrated. 
 
 Money-Making for Ladies. By Ella Rodman Church. 
 
 42$ 
 
426 AUTHORITIES CONSULTED. 
 
 Villages and Village Life. With Hints for their Improvement 
 By Nathaniel Hillyer Egleston. 
 
 Wood-working Tools. How to use them. 
 
 The Young Mechanic : Containing Directions for the Use of AU 
 Kinds of Tools, and for the Construction of Steam-Engines and Mechani- 
 cal Models, including the Art of Turning in Wood and Metal. By the 
 Author of " The Lathe and its Uses," etc. From the English edition with 
 Corrections, etc. 
 
 The Family Aquarium; or. Aqua Vivarium. A New Pleasure 
 for the Domestic Circle. By Henry D. Butler. 
 
 The Illustrated Natural History. By the Rev. J. G. Wood. 
 3 vols., 1,500 Illustrations. 
 
 gymnastics and physical culture. 
 
 Moral, Intellectual, and Physical Culture. Professor F. G. 
 Welch. 
 
 The New Gymnastics. Dr. Dig Lewis. 
 
 Our Girls. Dr. Dio Lewis. 
 
 A Military System of Gymnastic Exercises, and a System op 
 Swimming. By Edward S. Farrow, United-States Military' Academy. 
 
 The Witchery of Archery. By Maurice Thompson. 
 
 For Girls. A Special Physiology ; being a Supplement to the Study 
 of General Physiology. By Mrs. E. R. Shepherd. 
 
 What our Girls ought to Know. By Dr. Mary J. Studley. 
 
 rearing and training of the canary. 
 
 Manual of Cage-Birds. 
 Canary-Birds. Pamphlet. 
 Book of Household Pets. 
 
 silk-culture. 
 
 Manual of Instruction, Books, and Pamphlets to be procured 
 at the office of the Woman's Silk-Culture Association o^ \h^ United States, 
 1328 Chestnut Street, Philadelphia, Penn. 
 
 BEE-KEEPING. 
 
 The a B C of Bee-Culture : a Cyclopaedia of Every Thiag pertain- 
 ing to the Care of the Honey-Bee. By A. I. RoOT. 
 The Blessed Bees. By John Allen. 
 
AUTHORITIES CONSULTED. 42/ 
 
 Quinby's New Bee-keeping. 
 
 The New Bee-Keeper's Text-Book. A. J. King. 
 Langstroth on the Honey-Bee. Manual of the Apiary. Pro- 
 fessor Cook. 
 
 POULTRY. 
 
 Wright's Practical Poultry-Keeper. L. Wright. 
 Tegetmeier's Poultry-Book. W. B. Tegetmeier. 
 Geyelin's Poultry-Breeding in a Commercial Point of View. 
 George Kennedy Geyelin. 
 
 strawberries and small fruits. 
 
 Success with Small Fruits. E. P. Roe. • 
 
 Gardening for Profit. Peter Henderson. 
 
 Cole's American Fruit-Book. 
 
 Barnard's Gardening for Money. Charles Barnard. 
 
 The Small Fruit Culturist. Andrew S. Fuller. 
 
 canned fruit, preserves, and pickles. 
 
 Common Sense in the Household. Marion Harland. 
 The Easiest Way in Housekeeping and Cooking. Helen 
 Campbell. 
 
 drawing and designing. 
 
 Series of Drawing-Books. By Walter Smith. 
 
 Elements of Art-Criticism. G. W. Samson. 
 
 A Handbook of Art-Culture. Rev. W. H. Platt. Selections 
 ffom Ruskin. 
 
 Great Lights in Sculpture and Painting. S. D. Doremus. 
 
 Books on Art, by Mrs. Susan N. Carter ; and The Art Inter- 
 change, a Household Journal, New- York City. 
 
 Art Education applied to Industry. George Ward Nichols. 
 
 window-gardening and floriculture. 
 
 Gardening for Pleasure: A Guide to the Amateur in the Fruit, 
 Vegetable, and Flower Garden, with full Directions for the Greenhouse, 
 Conservatory, and Window-Garden. Peter Henderson. 
 
 The New Book of Flowers. Joseph Breck. 
 
 Winter Greeneries at Home. Rev. E. A. Johnson. 
 
 BursT's Flower-Garden Directory. 
 
INDEX. 
 
 Amusements, rainy day, for young 
 children : a picture - puzzle, 4 ; col- 
 oring pictures, 2; cork -work, 12; 
 cocked hats, 14; home newspapers, 
 2C; home post-offices, 20; keeping 
 store, 17; making scrap-books, 3; 
 paper dolls and furniture, 4; paper 
 bed, 6 ; paper bureau, 10 ; paper re- 
 ception - chair, 5 ; paper rocking- 
 chair, 8; paper ottomans, 8; paper 
 sofa, 7 ; paper table, 9 ; paper wash- 
 stand, 1 1 ; paper boats, 1 5 ; paper 
 fly-boxes, 13; pricking pictures, 16; 
 soap - bubbles, 16. 
 
 Aquarium, the, 215; aquarium cement, 
 215; aquarium, marine, 217; aqua- 
 rium, short rules for, 222. 
 
 Archery, 175; the bowstring, 177; the 
 arrow, 178; how to shoot, 180; rules 
 for target-shooting, 181 ; the target, 
 179. 
 
 Autumn leaves, preserving, 294. 
 
 Ballads in action : Auld Robin Gray, 
 102; Lord Ullin's Daughter, 109; 
 The Mistletoe-bough, 104; Villikins 
 and his Dinah, 106. 
 
 Badminton, 184. 
 
 Billiards, lawn, 187. 
 
 Boating for Girls, 196; parts of a boat, 
 197; short rules fpr rowing, 19S; 
 towing, 202. 
 
 Bread, 408. 
 
 Canary-birds, their rearing and train- 
 ing, 380 ; diseases, 383 ; feeding, 381 ; 
 food, 382; hatching, 382; pairmg, 
 380; training, 382. 
 
 Cardboard and its uses, 290; card- 
 board cottage, 290; crosses, 293; 
 perforated card, 292. 
 
 Carpentering, light, 339. 
 
 Charades, 116; acting charades, 120; 
 a stitch in time saves nine, 118; 
 bookcase, 122; childhood, 118; dra- 
 matic, 117; helpmate, 126; hunger 
 is the best sauce, 119; Dlustrated 
 poems, 127; incautious, 126; Jack 
 and the beanstalk, 127; mischief, 
 123; Mortality, 125; petticoat, 121; 
 post-chaise, 122; postman, 122; ring' 
 let, 120; wardrobe, 124; wedlock, 
 123; Woodstock, 125. 
 
 Christmas gifts, fifty for small fin- 
 gers: autumn leaves, 271; baby's 
 blanket, 268 ; barrel - chair, 273 ; 
 bean-bags, 268; birchbark presents, 
 259; book-covers, 265; bureau cov- 
 ers, 253; cabin-bags, 266; candles, 
 decorated, 273; Christmas - pie, 273; 
 coseys, tea and egg, 274; drawn- 
 work, 253; fern-work, 272; feather 
 screens, 261; garters, 250; glove-box, 
 270 ; hemlock pillow, 268 ; linei^ ^m- 
 499 
 
430 
 
 mr>EX. 
 
 broidered, 269; napkin-bands, 269; 
 penwipers (baby -shoe, 248; bird's- 
 nest, 270; broom, 274; leaf, 249; 
 parasol, 258) ; pincushion, pansy, 
 258; "Polly put the kettle on," 251 ; 
 sachet for linen-closet, 268; sand- 
 bags for windows, 267 ; scent-cases 
 for trunks, 265; scent-cases, pretty, 
 252; shaving-paper case, 250; shadow 
 pictures, 264; spectacle-wipers, 248; 
 shoe - cases, 267 ; shawl - bags, 270 ; 
 summer blankets, 269; spatter-work, 
 263 ; straw wall - baskets, 260 ; tooth- 
 brush rack, 266; turtle cloves, 251 ; 
 walnut boats, 253; scent-cases, 252; 
 work-cases, 259. 
 
 Cooking-clubs, 407. 
 
 Compost, 399. 
 
 Collections, Hints on making small, 
 204 ; butterflies and moths, 205 ; cat- 
 erpillars, 206; mounting, 212; pins, 
 212. 
 
 Croquet, 183. 
 
 Croquet-pool, 183. 
 
 Designing : doll's dress-making, 234 ; 
 apron for, 242 ; boy dolls, 244 ; doll's 
 chemise, 239; doll's drawers, 240; 
 china dolls, 243 ; costume dolls, 245 ; 
 knickerbockers, 244; doll's night- 
 gown, 239; Italian peasant, 246; 
 Normandy peasant, 245; marquise 
 dress, 247 ; Spanish dancer, 247. 
 
 Doll's houses, 276; beds, 278; chairs, 
 281; home-made furniture, 281; 
 tomato-can box houses, 276. 
 
 Doll's housekeeping, 276. 
 
 Drawing, 403 ; art manuals, 406 ; geo- 
 metrical drawing, 404 ; sketching, 
 405 ; paper, 403 ; pencils, 403. 
 
 Enigmas, literary, 147. 
 
 Fifty forfeits, 41. 
 
 Fruit, canning, 371; canning, 373; 
 
 glass cans, 371; jelly, 372; pre- 
 serves, 374; profits, 375. 
 
 Fruit, small, culture of, 367 ; land, 
 367; pruning, 367; profits, 369; 
 raspberries, 368. 
 
 Floriculture, 394; dress, 394; plants, 
 396; preparing ground, 394; seeds, 
 396. 
 
 Games: bachelor's kitchen, 82; bal. 
 loons, 84; buff, 27; bonbons, 84 
 consequences, 63; Easter eggs, 83 
 French blind man's buff, 82; galoo, 
 81 ; German dwarf, 32 ; girofle, giro- 
 fla, 70; gooc'-day, Cecilia, 73; grab- 
 bag, 85; "how do you like it? when 
 do you like it? where do you like 
 it?" 28; how to guess any number 
 thought of, 67 ; here I bake, and 
 here I brew, 67 ; how two children 
 may stand on a handkerchief without 
 touching one another, 82 ; house that 
 Jack built, 36; Kentucky giant and 
 Kentucky giant's wife, 34; magic 
 music, 28; magic lantern, 35; many 
 words in one, 59; little Miss MufEet, 
 39; paper bags, 85; scissor pres- 
 ents, 85; shadow buff, 52; sowing 
 oats, 78; stage-coach, 24; the black 
 art, 81; the elements, 55; the em- 
 peror of Morocco, 31 ; the elephant, 
 35; the merchants, 62; the new 
 French fashion, 76; the puzzle wall, 
 68 ; thus says the grand mufti, 31 ; to 
 put three children through the key- 
 hole, 82. 
 
 Gardening, parlor, 399; boxes, 400; 
 bulbs, 401 ; compost, 399 ; cuttings, 
 400; flowers, 400; hanging-baskets, 
 402. 
 
 Gymnastics, light, 230; dress, 230; 
 dumb-bells, 232 ; rings, 231 ; wands, 
 232. 
 
INDEX. 
 
 431 
 
 Halloween : diving for apples, 145 ; 
 melting lead, 145 ; needle test, 145 ; 
 nut-burning, 144 ; snapdragon, 144 ; 
 the looking-glass test, 146. 
 
 Home-made candy, 407 ; cream for 
 candy, 407 ; chocolate creams, 408 ; 
 walnut creams, 408 ; pure delight, 
 408 ; cream candy, 409 ; nut or 
 chocolate creams, 410 ; peach or 
 ginger creams, 410 ; orange, lemon, 
 or peppermint creams, 41 1 ; almond 
 creams, 411 ; Georgia taffy, 412 ; 
 butter Scotch, 412 ; a perfect cara- 
 mel, 413. 
 
 Honey-bee, the, 384 ; eggs, 385 ; hives, 
 384 ; honey-making, 386 ; Italian 
 bees, 388 ; profits, 389 ; queen-bees, 
 384 ; queen-rearing, 385 ; swarming, 
 
 387. 
 
 Leather, what may be done with, 298 ; 
 convolvulus flowers and leaves, 304 ; 
 decorative leather, 316 ; large garden- 
 rose, 306 ; materials, 299 ; mouldings, 
 307 ; spray of ivy-leaves, 300 ; re- 
 demption of the tin can, 308 ; tools, 
 299 ; vine, leaf, and stalk, 303. 
 
 Mosaic work in broken china, 414. 
 
 New home industry, 414. 
 
 Parlor plays, hints for, 86 ; Caractacus, 
 100 ; execution of Joan of Arc, 94 ; 
 faith, peace, and glory, 93 ; ignorance 
 is bliss, 93 ; justice, mercy, and peace, 
 100 ; living statuary, 95 ; Maud Mul- 
 ler, loi ; monumental group, 99 ; 
 Nydia, 100 ; plan for the frames, 91 ; 
 simple tableaux vivants and frame 
 pictures, 89 ; the angel of sleep, 99. 
 
 Preserving leaves, ferns, etc., 294 ; 
 drying flowers, 296 ; gathering ferns, 
 
 294 ; mounting, 298 ; pressing leaves, 
 
 295 ; skeletonizing leaves and flowers, 
 297. 
 
 Poultry, rearing of, 376 ; coops, 377 ; 
 eggs in winter, 379 ; food, 377 ; hatch- 
 ing, 376 ; profits, 379 ; roosts, 378. 
 
 Shells, mosses, pine-cones, etc, 335 ; 
 brackets, 335 ; cement, 335 ; cones, 
 336 ; lawn flower-box, 337 ; mosses, 
 336 ; shell pincushions, 336. 
 
 Silk culture : cocoons, 392 ; eggs, 390 ; 
 feeding, 391 ; hatching, 391 ; mul- 
 berry planting, 390 ; profits, 392 ; 
 shrubs, 397. 
 
 Strawberry culture, 362 ; ground, 362 ; 
 picking, 364 ; plants, 362 ; returns, 
 365 ; varieties, 363. 
 
 Swimming-school, home, 189 ; miscel- 
 laneous instructions, 193 ; swimming 
 on the chest, 191 ; swimming on the 
 side, 193. 
 
 Tennis, lawn, and its laws, 151 ; four- 
 handed games, 171 ; holding the 
 racket, 162 ; seaside tennis, 174 ; 
 strokes, 160 ; the serve, 162 ; the take 
 and the return, 165 ; volleys and half- 
 volleys, 169 ; winter tennis, 173. 
 
 Tissue-paper, what can be done with, 
 
 283 ; lamp-shades, 288 ; patterns, 
 
 284 ; tools, 283. 
 Walking-clubs, and camping out, 225 ; 
 
 dress, 227; camping, 228: shoes, 227 ; 
 rest, 227. 
 
 Wax flowers, 318 ; China rose, 326 ; 
 leaves, 322 ; patterns, 319 ; stephan- 
 otis, 332 ; tea-rose, 329 ; tools, 319 ; 
 wax, 318 ; wax fruit, 334 ; white 
 camellia, 320 ; white jasmine, 324 ; 
 white pink, 324. 
 
 Wood-carving and light carpentering, 
 339 ; light, 359 ; manuals, 339 ; pol- 
 ishing, 360 ; sharpening tools, 352 ; 
 spray of ivy-leaves, 355 ; tools, 345 ; 
 woods, 347. 
 
 Work in general, 420, 
 
Tales of the Heroic Ages. 
 
 toy ZewaIde a. Ragozin, author of " Chaldea," " Vedic India," etc. 
 No lo — Siegfried the Hero of the North, and Beowulf, the Hero 
 
 of the Ani^lo-Saxons. Illustrated. 12° . . . $1.25 
 
 No. II.— Frithjof, the Viking of Norway, and Roland, the Paladin 
 
 of France. Illustrated. 12° $1.25 
 
 No. III.— Salammbo, the Maid of Carthage. Illustrated. 12° . $1.25 
 
 " The author is one who knows her subject as a scholar, and has the skill and 
 imagination to construct her stories admirably. Her style is terse and vivid, well 
 adapted to interest the young in these dignified and thrilling tales." — Dial. 
 
 Plutarch for Boys and Qirls. 
 
 Selected and Edited by John S. White. Illustrated. 8°. $1.75 
 
 Library Edition. 2 vols. 16° $2.50 
 
 " It is a pleasure to see in so beautiful and elegant a form one of the great books 
 of the world. The best Plutarch for young readers." — Literary World. 
 
 " Shows admirable scholarship and judgment." — Critic. 
 
 Pliny for Boys and Qirls, 
 
 The Natural History of Pliny the Elder. Edited by John S. White 
 
 With 52 illustrations. 4° $2.00 
 
 " Mr. White's selections are admirably made. He has gleaned in all directions 
 for his notes, and the result is one which reflects on him great credit, and adds 
 another to the number of juvenile books which may be commended without reser- 
 vation.' ' — Independent. 
 
 " For the libraries of the young — and every boy and girl in the land should 
 collect a library of their own — these superb books have a special adaptation ; they 
 open the classics to them." — Boston Journal 0/ Education. 
 
 Herodotus for Boys and Qirls. 
 
 Edited by John S. White. With 50 illustrations. 8° . $1.75 
 Library Edition. 2 vols. 16° $2.50 
 
 " The book really contains those parts of Herodotus which a judicious parent 
 would most likely have his boys and girls acquainted with, and Mr. White has 
 succeeded in condensing these by omitting multitudes of phrases inserted in the 
 Greek text. The print is so large and clear that no one need fear that it will 
 foster a tendency to near-sightedness on the part of boy or girl." — Nation, 
 
 The Travels of Marco Polo, 
 
 Edited for Boys and Girls, with explanatory notes and comments, by 
 Thomas W. Knox. With over 200 illustrations. 8°. $1.75 
 
 " To the student of geography Marco Polo needs no introduction. He is 
 revered as the greatest of all travellers in the Middle Ages, and by more than one 
 careful geographer his work is believed to have led to the discovery of the New 
 World by the Hardy Mariner of Genoa. . . . The story of his travels was 
 received with incredulity, and he died while Europe was gravely doubting its 
 truth. ^ It has remained for later generations to establish the correctness of his 
 narrative and accord him the praise he so richly deserves." 
 
 G. P. PUTNAM'S SONS, New York and London 
 
By ELBRIDQE S. BROOKS 
 
 1ibf0tOnC ^0^6. "^heir Endeavcis, Their Achievement'* «*nd 
 Their Times. With 29 full-page illustrations. 8°, pp III 
 + 259 • . . $125 
 
 •' Told with a spirit that makes them capital reading for boys. Mr. Brooks 
 writes in a clear and vivacious English, and has caught the art of throwing 
 into high relief the salient point of his stories." — Christian Union. 
 
 •fciStOriC (3irlS. stories of Girls Who Have Influenced the 
 
 History of Their Times. 8°, illustrated, pp. viii4-225. $1.25 
 
 *' The stories are worth telling on their own account, and will serve at once 
 to give their young readers some knowledge, and to quicken the historical 
 imagination."— A'^. Y. Evening Post. 
 
 CbiValriC Dags and Youthful Deeds. Stirring Stories, pre- 
 
 senting faithful pictures of historic times. Illustrated, 
 
 8° $1.25 
 
 ** The historic episodes upon which these stories are based are well chosen, 
 and handled with considerable skill and picturesqueness." — Mail and 
 Express, 
 
 •fcCrOtC l)appentnga, Told in Verse and Story. Illus- 
 trated. 8° $1.25 
 
 ** Told in a manner to elicit and hold the attention of both younger and 
 older readers. . . . The book possesses the fascination of fiction, while 
 imparting the facts of history." — Chautauquan. 
 
 Oteat ^eil'0 Sons, stories of the Sons of Great Men from 
 Socrates to Napoleon. Fully illustrated, 8° . $1.25 
 
 Including the Sons of Socrates, Alexander, Cicero, Marcus 
 Aurelius, Mahomet, Charlemagne, Alfred, William the Con- 
 queror, Saladin, Dante, Tamerlane, Columbus, Luther, Shake- 
 speare, Cromwell, Peter the Great, Napoleon. 
 
 •* Mr. Brooks has performed his task faithfully, and made a book which 
 every thoughtful man ought to read. It is very chanring." — N. Y. Herald. 
 
 ^bC Xong Tllllalld. An American Boy's Adventures in Greece. 
 
 A Story of Digging and Discovery, Temples and Treasures. 
 
 By E. S. Brooks and John Alden. Illustrated by George 
 
 Foster Barnes. 8° $1.25 
 
 ** The characters in the book are clearly drawn . . . the picturesque 
 and exciting adventures are told with vivacity." — Philadelphia Press. 
 
 New York— Q. P. PUTNAM'S SONS— London 
 
By MAUD BALLINQTON BOOTH 
 
 SIeepy=Time Stories 
 
 With introduction by Chauncey M. Depew. With 
 17 full-page illustrations by Maud Humphrey. 
 8vo. (By mail, $1.40.) Net, $1.25. 
 
 ** ' Sleepy-Time Stories * is one of the most charming books 
 for little children. It is dainty and fascinating, and those who 
 can read it, or have it read to them, will want sleepy-time to 
 come very often." — The Congregationalist, 
 
 Lights of Childland 
 
 With II full-page illustrations by Alice Farns- 
 worth-Drew. 8vo. (By mail, $1.40.) Net^ 
 
 $1.25. 
 
 ** Mrs. Booth's genial talent is put to use for the little ones in 
 stories so full of gentle mother-love that they carry the older 
 readers back to the days when they, too, were soothed to sleep 
 by little tales like these." — The Churchman, 
 
 Twilight Fairy Tales 
 
 With 16 full-page colored illustrations and i6 orna- 
 mental half-titles, by Amy C. Rand. 8vo. (By 
 
 mail, $1.40.) Nft, $1.25. 
 
 Mrs. Booth's earliest books won for herself so 
 many appreciative readers that her new book will be 
 sure of a hearty welcome. These stories are for the 
 rainy afternoon, for the fireside, and for bedtime. 
 They are an evidence of the familiarity of the author 
 with the hearts of children. 
 
 Q. P. PUTNAM'S SONS 
 
 NEW YORK LONDON 
 
mm.MMJ^^M'&VM. iLf vr^/Ji^^^i. 
 
 FOR YOUNG READERS 
 
 A^WA IW4:, 
 
 All high-class Juvenile Literature, well printed, on good 
 paper, and illustrated. Uniformly bound in ornate 
 covers. i2mo, cloth, yellow top, decorative linings, 
 each, $1.25. 
 
 Ames, L. T. 
 
 Great Thoughts for Little Thinkers 
 
 Austin. 
 
 Moonfolk 
 
 Bancroft, A. 
 
 Royal Rogues 
 
 Brooks, E. S. 
 
 Great Men's Sons 
 
 
 Historic Boys 
 
 
 Historic Girls 
 
 • 
 
 Chivalric Days 
 
 
 Heroic Happenings 
 The Long Walls 
 
 
 Cooper. J. P. 
 
 The Last of the Mohicans ' 
 
 iH bo ^ 
 <u d fft □ 
 
 
 The Deerslayer 
 
 
 The Pathfinder 
 
 .11^1 
 
 
 The Pioneer 
 
 S? o<5'3 
 
 
 The Prairie 
 
 ^|^> 
 
 
 The Spy J 
 The Pilot ' 
 
 W vO 
 
 
 . . 
 
 
 The Red Rover 
 
 
 
 The Wing-and-Wiijg 
 The Water-Witch 
 
 ■^;i 
 
 
 The Two Admirals 
 
 i^ 
 
 
 The Sea-Lions J 
 
 Chtirch, A. J. 
 
 The Hammer 
 
 
 A Young Macedonian 
 
 
 Three Greek Children 
 
 
 Count of the Saxon Shore 
 
 Eggleston, G. C. 
 
 The Signal Boys 
 
 
 Captain Sam 
 
 
 The Big Brother 
 
 
 The Wreck of the "Red Bkdn 
 
 Eiloart. 
 
 The Boy with an Idea 
 Tales of King Arthur 
 On Board a Whaler 
 
 Farrington, V, V. 
 
 Hammond. 
 
 Hamp, S.^F. 
 
 The Treasure of Mushroom Roc^ 
 
 Irving, W. 
 
 Stories and Legends 
 
 Knox, T. W. 
 
 Life of Robert Fulton 
 
 Le Due, V. 
 
 Learning to Draw 
 
 Leighton, R. 
 
 The Boys of Waveney 
 
 Lukin, J. 
 
 The Young Mechanic 
 
 
 Amongst Machines 
 
 
 Boy Engineers 
 
 Mayne-Reid 
 
 The Boy Hunters 
 
 
 The Bush Boys. A Tale of South Africa 
 
 The Young Voyageurs 
 Under Orders 
 
 
 Munroe, K., 
 
 
 Prince Dusty 
 
 
 Cab and Caboose 
 
 
 The Coral Ship 
 Siegfried and Beowult 
 
 Ragozhi, Z. A 
 
 
 Frithjof and Roland 
 
 
 Salammb6 
 
 Rudd, J. P. 
 
 The Tower of the Old Schloss 
 
 Stoddard, E. V. 
 
 Bertrand du Guesclin — Constable of Frano- 
 
 taylor. B. 
 
 Boys of Other Cotmtries 
 
 
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