[Illustration: Fig. 288.]
=Dulcimer.=
Have the wood about an inch thick: on the top of it, lengthwise through
the centre, draw a straight line as a guide. Along the line drive common
white pins graduated [Illustration: Fig. 489.] in size, placing the
largest at one end and the smallest at the other (Fig. 489). If you can
only get pins of one size, graduate their height by sinking some deeper
in the wood than others. To do so without danger of bending the pins,
first make shallow holes with a large strong pin by screwing it into the
wood; a hat-pin will answer the purpose. Should you happen to have heavy
nippers, the pins may be all of the same height, and you can pinch off
their tops, causing the row to slant down from one end to the other. All
being ready, touch the pins lightly with the quill toothpick, running
the scale first up, then down, the entire length of the pin row. After a
few trials you will be able to play some simple airs on the pin keys.
Doubtless most of you have seen bells of glass which may be rung like
those of metal, but probably you have have never tried bringing
[Illustration: Fig. 489.]
=Music From Every-day Glass Finger-bowls=
and drinking-glasses. Try it. Collect as many different kinds of glasses
as you can find, the thinner the better. Place them on a wooden table
(Fig. 490) and with a wooden hammer made by pushing an empty spool on
one end of a lead-pencil (Fig. 491) gently strike first one glass then
another to find the different tones. Having ascertained these, make the
glasses give forth the simplest chimes of [Illustration: Fig. 491.] the
church bells. But do not stop here; experiment until you are able, with
various taps, to bring out more music than you at first imagined
possible. Let the glasses, like Tennyson’s happy bells, “ring out the
false, ring in the true.” The same poet in “Locksley Hall” has the
speaker ask his comrades to “sound upon the bugle-horn” when they want
him. Few girls will ever try their powers on a real
[Illustration: Fig. 492.]
[Illustration: Fig. 493.]
=Bugle-horn,=
but all can readily make a twig sound an alarm. Get a piece of ordinary
willow-tree (Fig. 492). Be sure it is flawless and perfect; with a sharp
knife slice off a slanting piece at one end (Fig. 493), then cut a notch
in top (Fig. 494). [Illustration: Fig. 494.] Gently tap the bark all
over with one end of a penknife in order to loosen it from the
[Illustration: Fig. 496.] wood. After carefully removing the bark
without breaking it, cut the wood according to the dotted lines in Fig.
495, which will give Fig. 496. The wood is now ready to slip back into
the bark, but before doing so place a pea in the hollow part (Fig. 495);
then slide the bark back in place (Fig. 497). Now blow the twig and
sound the alarm.
[Illustration: Fig. 496.]
[Illustration: Fig. 497.]
A roast of beef hardly seems promising in a musical way, and yet the
roast, though it looks so sober and quiet, can help you with the
orchestra. Save the smallest two of the long, flat
=Bones=
(Fig. 498) and, after cleaning and drying them, hold both in your right
hand, one bone between the first and second [Illustration: Fig. 498.]
finger, the other between the second and third, so that the convex or
outward curved sides lie next each other and the top ends of the bones
extend slightly beyond the knuckles. Then double up your hand, holding
the first bone securely, the other loosely, and in this position give
your hand a quick twist and jerking motion, causing the loose ends of
the bones to come together with a click, click, clickity, click. The
bones should not be cooked, as too much heat will crack them.
Another home-made instrument of music is the
=Crystal Flute,=
fashioned of small bottles. Any kind of bottle which sounds well when
you blow into it will answer the purpose. Use coarse darning-cotton to
sew the bottles in a row on a strip of pasteboard, commencing with the
deepest toned and leading up to the highest toned (Fig. 499). Place the
flute against your lower lip and blow into the open mouth of the bottle.
Continue blowing as you move the instrument along, sounding each bottle
in turn. After a few trials you can manage the crystal flute well enough
to have all the bottles join in the grand chorus of the musical jubilee
you intend to give with the home-made instruments.
------------------------------------------------------------------------
[Illustration: The Dance of the Dolls.]
------------------------------------------------------------------------
[Illustration: Fig. 499.]
A little ingenuity will enable you to made a fine fiddle, strings and
all, of a common field cornstalk, and a good flute may be manufactured
from a section of an ordinary pumpkin vine. Naturally you must think a
little over the matter before you will be able to solve the problem.
Take some hollow door-keys of different sizes and use them to play on;
they are well worth trying, because a hollow door-key, when blown into,
will give much the same sound as a bottle. You might add the keys to
your collection of instruments.
Even an
=Ordinary Comb=
can do duty as a musical instrument. Over one side of the comb lay a
piece of common white tissue-paper; then hold this queer instrument to
your lips, allowing the paper to come between the comb and your mouth;
blow against the paper with lips gently parted somewhat as one blows on
a horn or rather on a harmonica. Should the comb not respond at once,
try again; when the secret is once learned, there is no limit to the
tunes which may be played.
For giving a queer whistling noise there is scarcely anything better
than an ordinary broad
=Blade of Grass=
laid lengthwise between the entire length of the two thumbs, one end of
the grass extending beyond the tops of the thumbs and the other below at
the wrist line.
Certain tribes of people are experts in forming
=Sea-shells=
into musical instruments, but for you the shell need not be altered.
Take it as it is, and holding the pretty thing to your ear, listen while
the shell tells of the far-away blue [Illustration: Fig. 500.] sea,
which, singing gently, imparts to her children, the shells, power to
transmit the sound of murmuring waves to those who will listen to the
voice.
=The Musical Fountain=
is one of the prettiest and most interesting experiments and is a very
simple one. Remember, you must use a goblet for the purpose, not a
tumbler, as the latter will not work well. Choose a goblet of very thin
glass, fill it almost full of water, dip the end of your finger in water
and rub the edge of the glass quickly around and around until it rings
with a humming sound. You will soon find the surface of the water
shivering and wrinkling up its face in tiny waves, then it will become
greatly agitated, sending up wee streams and drops of water. Wet your
finger again and keep on with the circular motion until a little
fountain of fine spray shoots up into the air, accompanied by the
musical sound from the glass (Fig. 500).
CHAPTER XX
WHAT TO MAKE OF EMPTY
SPOOLS
Gather up all the spools you can find, big, little, thick and thin; no
matter how many, you can use them all. There is no end of fun to be had
with these always-on-hand, easily found toys; they may be made into
almost everything. Tell your mother that you can build
=The Parthenon=
if she will give you enough spools, and see her smile at the very idea.
But say you are in earnest and ask her not to look until you call
“Ready.” Then go to work and surprise her with a miniature
representation of one of the most beautiful temples ever built. Begin by
standing four spools in a row for the first side of the building,
allowing about the width of a spool between each two. Place eight in a
row for the second, four for the third, and eight for the fourth side.
Have the spools all of the same size, that the walls may be alike and
perfectly even, because, as you know, the walls are to be formed of
columns, not as many as in the original, but enough to give an idea of
the Greek temple. Build up the spools three deep into pillars; then lay
a piece of pasteboard on the top of the columns for a ceiling. Bend
another piece of pasteboard lengthwise through the centre for the roof,
and stand it tent-like on top of the ceiling. [Illustration: Fig. 501.]
You can measure the correct size of the ceiling by laying a piece of
pasteboard down flat on the floor along the eight-columned side of the
Parthenon to obtain the length, and placing it flat on the floor across
the four-columned side to mark the width. Make the roof the same length
and a little wider than the ceiling to allow for the height of the bend
through the centre.
Now let your mother see
=The Little Greek Temple=
(Fig. 501) and tell her that she must imagine a space immediately
beneath the roof filled in with the most beautiful statuary she can
think of, that the spools are white marble columns and she should see,
in fancy, another row of stately columns inside the ones you have built.
Your mother will be greatly interested and can tell you all about the
real Parthenon, and probably will hunt up a picture of the temple that
you may see just how near you came to making the little model look like
the wonderful Parthenon, on the Acropolis, in Athens.
After admiring the building for a while, pretend that a left-over spool
=Is a Venetian Shell=
shot from a cannon, and toss it gently against the roof at one end of
the temple; then see the columns totter and fall, [Illustration: Fig.
502.] leaving only a portion of the Parthenon standing, in the same way
that the real marble columns fell when the original structure was
shattered and practically destroyed by the soldiers.
Take all the spools from the ruins, put away the ceiling and roof for
future use, and make the spools into
=A Set of Furniture.=
Use four for the legs of a bedstead, place them in position and lay a
piece of stiff white paper, bent up at one end, on [Illustration: Fig.
503.] top of the spools. The bed will then be ready for the doll (Fig.
502).
A table can be made in a moment’s time. Choose a large spool (Fig. 503)
and place a round [Illustration: Fig. 504.] piece of paper (Fig. 504) on
the top (Fig. 505). For chairs use [Illustration: Fig. 505.] spools with
bent pieces of paper for seat and back. Make the bureau of six spools
close together in two rows of three spools each and cut the top of a
piece of paper with a high extension in the centre which you must bend
upright for a mirror. The wash-stand can be four spools quite close
together covered with a piece of paper. A piano is easily made, but you
must think it out for yourself. Use a small spool for the piano stool.
=The Lamp=
(Fig. 506) is a spool with a little roil of white paper shoved into the
hole and a circular piece of paper crimped [Illustration: Fig. 506.]
around the edge for a shade. Unless you need the spools to use again in
other ways you might paste the paper on tight and make a lamp which will
not come apart, and you could also glue the top on the table and the
seats on the chairs. This is not necessary, however, for if you are
careful and do not knock against the furniture, it will remain secure.
When enough furniture has been manufactured [Illustration: Fig. 507.]
for the patient little dolls who have been waiting all this time, give
them a present of
=A Wagon=
in which they can enjoy the fresh air. Cut Fig. 507 from heavy paper or
card-board that will fold without breaking. Bend all the dotted lines
and cut all the heavy lines in the pattern. Push a burnt match, or a
wooden toothpick, through one hub, then through an empty spool and the
second hub. The spool forms the wheels. Screw a small pin cautiously
through each of the two projecting ends [Illustration: Fig. 508.] of the
match, piercing the wood and leaving the head and point of the pin
standing out (Fig. 508). Tie a knot in the end of a string to prevent
its sliding out and thread it through the hole in the dash-board (Fig.
508). Help the dolls into the vehicle and take them for a ride.
Next build
=A Memorial Arch=
(Fig. 509) something like the one which was erected in New York City.
Commence with two groups of spools a short [Illustration: Fig. 509.]
distance apart; have three in each group, two in the back and one in the
front. Build up columns four spools high; then lay a strip of pasteboard
across from one to the other. On top of the pasteboard place two more
groups of smaller spools a little nearer together than the first groups.
Make these columns two spools high and crown each with a single spool
decorated with a bright-colored paper flag fastened on a slender stick
pushed down in the spool. At the base of the arch add three more spools
on each side (O and O, Fig. 509), and the famous structure will be
completed. This is not exactly like the original, but for a spool arch
it is fine, and a spool procession will feel honored to march through
it.
You might make bridge piers of spools and use a strip of pasteboard to
form the several spans; then the procession [Illustration: Fig. 510.]
could cross the river safely and march on the other side.
Did you ever
=Blow Bubbles with a Spool=
—beautiful bubbles, which float and glide in the air with all the charm
of clay-pipe bubbles? Mix strong soapsuds, dip one end of a large spool
in the water; wet the spool, then blow. If the bubble refuses to appear,
dip the spool in the water again, put your head down to the spool and
blow a few bubbles while the spool is in the water, then quickly raise
it and try again. Nine times out of ten you will succeed, and a bubble
will swell out from the spool as in Fig. 510. These wooden
bubble-blowers last a long time, with no danger of breaking when
accidentally dropped on the floor, and you may always find enough to
provide each of your playmates with one when you meet for a trial of
skill in bubble-blowing.
After you tire of this sport try the
=Pretty Winged Creatures.=
Cut a butterfly (Fig. 511) from bright-colored tissue-paper or thin
writing-paper, bend at dotted line and paste [Illustration: Fig. 511.]
on the large end of a very small cork. Fit the small end of the cork in
top of the hole [Illustration: Fig. 512.] of an empty spool (Fig. 512).
Then blow through the spool and see the butterfly ascend rapidly to the
ceiling and float down again. If you could make several different
colored butterflies, you might invite some young friends to help you
fill the room with the pretty winged creatures.
[Illustration: Fig. 513.]
Take another empty spool and stick a common wire hairpin partially into
the hole, bend the hairpin slightly down against the edge of the hole,
do the same with three more hair-pins, and you will have a spool with a
funnel-like opening of hair-pins at the top (Fig. 513). In the funnel
place a small, light-weight ball made of a crushed bit of bright paper
wound around with thread. Raise the spool to your lips and blow gently
(Fig. 514). The ball will rise and fall in mid-air, in the same way that
you have seen one of rubber dance at the top of a small fountain or jet
of water.
[Illustration: Fig. 514.]
Spools may do duty as
=Cannon,=
and from them sticks be made to fly quite a distance. Select a
large-sized spool, cut the rim off one end, cut two dents, one on each
side of the shaved end of the spool, and then tie over this end a piece
of black cotton elastic. On each side tack a large button-mould; these
serve for wheels and also cover the fastening of the elastic. Paint the
cannon black, and it is ready for use. Insert a stick, pull it back with
the elastic, and fire; the stick will shoot swiftly through the air.
There are many other toys, besides useful articles, which can be made of
empty spools. Find out by experimenting what they are, so you may have
the triumph of originality, of making things which differ from articles
made by others.
The empty spools do not cost money, nor does the pasteboard from old
pasteboard boxes, yet they may furnish more genuine enjoyment than could
be derived from the most expensive toys.
CHAPTER XXI
CHRISTMAS DECORATIONS
When the air is cold and frosty, and people move quickly through the
streets, stopping to loiter only in front of the shop windows; when
groups of merry girls hurry along on their way to school, their cheeks,
glowing rosy under the brisk greetings of a northwest wind; when the
evergreens displayed for sale upon the sidewalks send forth a spicy odor
which ascends like incense and the very atmosphere seems pulsating with
pleasurable excitement, there is no need of a calendar to tell us that
the holidays are close at hand. As surely as a cloudless sky betokens a
fine day, so surely do these signs indicate that Christmas will soon be
with us.
Purse-strings, even if kept tightly drawn the rest of the year, are
loosened now, and money is spent freely and ungrudgingly, not only for
gifts, but also for Christmas greens with which to decorate and beautify
the home.
------------------------------------------------------------------------
[Illustration: Some of the Portières are Woven in this Style.]
------------------------------------------------------------------------
[Illustration: Fig. 515.]
Stars, wreaths, and ropes of evergreen and holly will soon adorn the
interior of almost every house. There are always plenty of willing hands
ready and eager to help, but there should be a head to devise a plan of
decoration and to direct and superintend the carrying out of the idea;
for there is no necessity for festooning a room and hanging up stars and
wreaths in the same way year after year. A great variety of new designs
may be made.
For instance, Fig. 515 shows a beautiful and
=Effective Portière=
composed simply of ropes of evergreen fastened to the curtain pole by
looping one end of a rope over the pole, bringing it down and tying it
securely to the same rope just under the pole. Each piece is fastened on
separately and hangs loosely down.
[Illustration: Fig. 520.]
[Illustration: Fig. 522.]
Fig. 520 is a
=Star and Shepherd´s Crook=
grouped to form a pretty wall decoration, the design symbolizing the
star of Bethlehem and the shepherds who, watching their flocks by night,
heard the angel chorus “Peace on earth, good-will toward men.”
Make the star of five flat sticks (laths will do), two and a half feet
long, and put them together as shown in Fig. 521; then cover the frame
with holly so that [Illustration: Fig. 521.] none of the wood is
visible. Make the crook of a broomstick, to which fasten with strong
twine, or flexible wire, a piece of rather stiff wire bent in the shape
of Fig. 522. Wrap evergreen closely around the wire and stick until
every bit is covered and it looks like one piece. Then place the crook
behind the star and wire or tie it in place.
[Illustration: Fig. 518. Fig 516.]
Fig. 516 is
=A Silver Star=
on a background of evergreen, the rays being made of strips of tinsel
which is sold for decorating Christmas-trees. The frame for the
background is made like Fig. 517, and should be about two feet square.
Over this frame stretch ropes of evergreen, close together, and fasten
with tacks at each end. Cut the [Illustration: Fig. 517.] star from
card-board, cover it with crumpled tin-foil and fasten to the centre of
the frame with a small nail. Sew tinsel threads on the points of the
star before it is secured to the background; then when the star is in
place spread out the tinsel in straight rays and fasten it to the frame
as shown in illustration (Fig. 516).
Fig. 518 is a design for
=A Sconce=
upon which one or more candles may be placed. The tin which forms the
back of the sconce reflects the light and produces quite a brilliant
effect.
[Illustration: Fig. 519.]
Nail a block of wood one and one-half inches square to a piece of tin
seven inches wide and fourteen inches long (Fig. 519). Silver or gild a
number of pine cones and hang them from the lower edge of the block;
then tack evergreen around the three sides as shown in illustration
(Fig. 518). Fasten the sconce to the wall with small nails driven
through each corner of the tin and place on the bracket a candlestick
containing a lighted candle.
[Illustration: Home-made Christmas Tree Decorations.]
[Illustration: Fig.523.]
One of the most quickly made
=Festoons for a Christmas Tree,=
and one which has never been thought of until now, is of tin-foil, the
common kind of foil to be found at the florist’s. It also comes around
cakes of chocolate, rolls of cream-cheese, and large packages of tea.
You can make the trimming any length desired by pasting strips o f the
tin-foil together, but, before joining the pieces, fold one at a time
and cut slashes on each side nearly across to the opposite edge as in
Fig. 523. Unfolded, the strip resembles Fig. 524; pulled at each end it
opens and lengthens out into Fig. 525.
This decoration catches the light and glistens beautifully, but it must
be handled [Illustration: Fig. 525.] carefully and not laid down after
it is stretched open. As soon as ready hang the strips upon the tree,
where they will be [Illustration: Fig. 524.] safe. The best plan is to
make these loopings after the other decorations are finished and on the
tree. When the pieces are cut they are more easily handled if but a few
are put together at a time before they are pulled open; then the
decoration will appear in perfect shape and look like polished shining
silver hanging in delicate, graceful festoons.
[Illustration: Fig. 526.]
Another effective trimming made of tin-foil is in the form of
=Fringe Ruching.=
Fig. 526 shows fringe partially cut; use three layers of the foil and
cut them into fringe; then take a strong, coarse string and twist the
tin-foil fringe around and around it, forming a rope of silvery fringe
(Fig. 527).
An ornament that delights children, the idea of which comes from
Germany, is a jolly little black
[Illustration: Fig. 527.]
=Chimney Sweep,=
with his funny broom held high in air. He wears a peaked white hat and
carries a bag filled with goodies. He is made entirely of prunes (Fig.
528)—one for the head, two for the body, one for each arm, one for each
hand, two for each leg and one for each foot. The prunes are
[Illustration: Fig. 528.] strung together with a coarse needle and
thread. If he is too limber, give him a backbone by running a slender
stick through the back of the head and body. Make him a paper hat shaped
like a wide-mouthed horn, and cut out a paper face and paste it on the
little man’s head; then tie the sheer white bag across his shoulders,
fasten it at the side with a pin and fill the bag with sweets; the broom
can be fashioned of a wooden toothpick with a bunch of broom-straws
bound upon one end. The happy child who receives the chimney sweep from
the tree may devour the prunes when tired of the toy.
Home-made
=Fancy Cakes=
cut in odd shapes make fine decorations and will be eaten with delight
by the young people. Select a simple recipe, roll the dough out flat and
cut into the shapes of men, women, animals, and birds. When baked,
ornament the cakes with icing put on in thin, slender lines; in most
instances outline the figures in white sugar.
Yellow is a color which stands out well in the midst of the dark green
foliage of the fir, and
=Oranges=
may be used to supply it. A few can be hung to the tree by means of
ribbons; others may be made into pretty little [Illustration: Fig. 529.]
baskets and filled with the candied sections of orange. Tie a piece of
tape or any kind of band around an orange as a guide for cutting the
rind evenly; stick two pins on each side to designate the location and
width of the handles; then, with the small blade of a knife carefully
cut [Illustration: Fig. 530.] the handle, keeping it the same width all
the way from side to side. Next cut the rind along the edge of the tape
(Fig. 529). Remove the skin, in bits if necessary, to avoid tearing the
handle or edge of the basket. Work the inside juicy fruit free from the
remaining rind and take it out of the basket (Fig. 530). If there is
difficulty in doing this, cut the fruit out in pieces. Pass a narrow
ribbon under the basket and up over the handle, tie the ends; then bind
them around under and over [Illustration: Fig. 531.] the middle of the
handle, finishing with a bow-knot on top. The ribbon strengthens the
handle, without it the weight of the basket when hung on the tree would
cause it to break from the handle and fall.
Fill the orange basket, with sections of the fruit, which have received
a brittle coating by being dipped in clear, hot, home-made sugar candy
(Fig. 531).
Make a number of pretty,
=Fancy Boxes=
of pasteboard cut in different shapes and covered with various colored
paper. One in imitation of a large stick of peppermint candy may be made
of a strip of stiff white paper ten or twelve inches long and three and
one-half inches wide; unruled writing-paper will do. Paste the two
lengthwise edges together, forming a cylinder. Around this paste a long,
narrow strip of bright-red paper, wrapping it spirally around the white
tube. Slash two circular pieces of paper around the edges so that the
disks may fit into the ends of the roll when the slashed portions are
bent forward. Fix one of the round pieces in the bottom of the box with
mucilage. When dry fill the box with small bits of candy or kernels of
nuts; then glue a loop of narrow ribbon or one of red worsted at the
top, fasten in the round cover, and hang the box on the tree.
Be sure to save some of the prettiest paper for
=Cornucopias=
Cut them according to the dark portion of Fig. 532, and make the
white-paper lining extend higher than the outside. [Illustration: Fig.
532.] [Illustration: Fig. 533.] Glue the two papers together, inserting
a narrow ribbon for a handle between outside and inside papers. Let the
colored paper project a quarter of an inch beyond one side of the lining
in order that the edge A may fit neatly over the lining B (Fig. 532),
avoiding unnecessary bulkiness where the two sides join. Ornament the
cornucopias in different ways, according to fancy and the material you
happen to have for the purpose. Fig. 533 shows a gold-paper cornucopia
decorated with white beading on a scarlet ground and a fancy picture in
a red and white embossed frame. You can also make little bright-colored
cheese-cloth
=Christmas Stockings=
by cutting them out and sewing the edges together with far apart
button-hole stitches of gay worsted. When finished fill them with
sugar-plums or small cakes.
=Bobbinet Bags=
made small and button-holed in the same way, with drawstrings of
worsted, look well on the tree when filled with nuts or pop-corn, and
little bird’s-nests of egg-shells covered with moss and filled with eggs
of sugar are charming.
=Holly-leaved Festoons=
of gold paper with scarlet-paper berries will make the tree very gay.
Cut the gilt paper into a number of squares [Illustration: Fig. 534.]
(Fig. 534), fold each piece through the centre (Fig. 535), and fold
again, forming a small square (Fig. 536). Crease this diagonally through
the centre and [Illustration: Fig. 535.] cut according to the dotted
lines of Fig. 537, clipping off the point C to make a hole in the centre
of the design. Open out the paper, and it will be a conventionalized
group of Christmas holly leaves (Fig. 538). Fold smaller squares of red
paper in the same manner and cut the design shown by [Illustration: 75]
[Illustration: 150] the dotted lines of Fig. 539, unfold and the paper
will be a formal pattern of red berries (Fig. 540). Now lay the berries
(Fig. 540) out flat on the leaves (Fig. 538), adjust the two together;
then lift the berries, put a little glue on the edge of the hole and
fasten the berries on the leaves, pasting them together at the centres
only. Fasten another layer of leaves on the other side of the berries,
also at the centre, putting the berries between the leaves. To the tips
of the large leaves on the last group (D, E, F, and G—Fig. 538) fasten
the tips of corresponding [Illustration: Fig. 539.] leaves on another
bunch; at the centre of these glue more berries, then leaves, with their
four tips pasted to four [Illustration: Fig. 541.] other leaf tips, and
so on, following, in order, leaves, berries, leaves with points pasted
to points of other leaves, then berries again (Fig. 541), making the
rope of golden holly as long as needed. Tie a strong string to a small
circle of gilded card-board and run it through the holes in the festoon.
You can close the holly and berry garland up flat against the card-board
ring by shoving the leaves and berries together down the string, as an
accordion shuts flat when one side is pushed toward the other. In this
way the trimming may be kept in good order and packed safely to serve
again next year.
=Pop-corn Balls=
look tempting on a Christmas tree. They are easy to make, and taste very
good indeed. Have the fire clear and hot, with no flames, and put in the
popper at one time only enough corn to cover the bottom a single kernel
deep; shake the popper constantly while the corn is over the fire until
it has all popped. Then boil one-quarter of [Illustration: Fig. 542.] a
cupful of molasses with a little sugar until it hardens in water, remove
from the fire before it turns brittle and pour it over two quarts of
corn. Mix well with your hands, make into balls about the size of
lemons, suspend the sweet, white ornaments from the twigs, and use the
remaining corn for a different decoration. String a lot of the
flower-like kernels with a large needle and strong thread, loop the
strands from branch to branch, and the snowy ropes will lighten up the
foliage beautifully (Fig. 542).
=Strings of Red Cranberries=
with knots of narrow red satin ribbon tied here and there on the
strands, make a fine [Illustration: Fig. 543.] decoration.
=Peanuts=
wrapped in yellow, red, white, light blue, and pale-green fringed
tissue-paper (Fig. 543) and tied on pendent lengths of string, three or
four to each (Fig. 544), and attached at varying lengths to the limbs of
the tree are a [Illustration: Fig. 544.] splendid decoration, for these
peanut kisses give quite a gala appearance to the tree.
Do not forget to have some form of
=Jewelry for the Tree=
bracelets or necklaces—not of gleaming precious stones nor yet of gold
or silver, but of toothsome nut kernels and delicious, dark rich
raisins. With needle and strong thread string first a peanut, then a
raisin, a peanut, a raisin, an almond, a raisin, a filbert,
[Illustration: Fig. 545.] a raisin, and so on, using as many kinds of
nuts as you deem best (Fig. 545). The girl or boy receiving this
necklace will be charmed and later may devour the queer beads one by one
as they are pulled from the string.
A simple decoration is made of
=Colored Paper Chains=
the first link being formed of a narrow strip of paper pasted together
into a ring; the next link is a piece of paper passed through the first
ring before the two ends are joined. Each succeeding link of the chain
is made in a similar manner. Rosy apples are acceptable as ornaments and
are always to be found on the tree in Germany, the land that first
introduced the Christmas tree to other countries.
There is one style of ornamental gift which in Germany must hang on the
tree until New Year’s Day—the
=Gilded English Walnut=
(Fig. 546). The preparation of these can be made a delightful frolic if
there are several young persons in the secret. [Illustration: 125]
[Illustration: Fig. 547.] Crack open the nuts so there will be two
perfect half shells to each (Fig. 547). Inside the empty nut place a
motto or device which will tell the fortune, or part of it, of the
recipient of the gift. Ideas will come to you as the work goes on. For a
hint to help a little at the [Illustration: Fig. 549.] start, cut two
hearts of red paper and fasten them together with a dart made of a pin
and piece of white paper (Fig. 548). This denotes that the girl or boy
who gets it will be the first to marry. Fig. 549, the water-color brush,
means that the happy lad or lassie to whose lot it falls will be an
artist. Fig. 550 signifies ability to appreciate music. Fig. 551 ensures
[Illustration: Fig. 550.] plenty of worldly goods. One suggestion gives
rise to another, and you will think of more than enough for all the
empty nutshells. After the “fortune” is placed within the nut, glue the
halves firmly together. When dry, work a tack in the end where the stem
grew, twisting it slowly that the shell may not split or break. When the
tack seems firmly in place, gild the entire nut, including the tack; tie
a strong string on this and hang the “fortune” on the tree. As
[Illustration: Fig. 551.] all the nuts look exactly alike, no one can
tell which is which—not even those who made them will know who receives
the different “fortunes” until the nuts are opened and the secrets
revealed.
Most of the ideas given are for a daytime Christmas tree where lights
are not used. If candles are employed, no paper festoons can be placed
on the tree. Lights are always dangerous, and the tree may be quite
brilliant without them.
Toys and useful little articles, such as you can make as presents for
all the members of the family, big and little, and for friends, will
surely add to the interest and appearance of the tree.
CHAPTER XXII
CHRISTMAS DEVICES
“Christmas gift! Christmas gift! Ah, I've caught you! Hand over my
present!” With a gay laugh the children exchange this salutation,
without a thought of the request ever being granted, but simply for the
fun of being the first to call out the Christmas greeting. Sometimes the
forfeit is paid, usually with a handful of nuts or candy, a pretty
trifle or anything the captive happens to have convenient at the moment.
The giver enjoys the fun fully as much as the recipient, and with a hop,
skip, and jump departs in hopes of likewise finding a fellow-playmate or
some member of the family off guard, that she may, in turn, be the first
to wish a “Merry Christmas” and claim a gift.
=An All-day Christmas Pie=
is a charming device for delivering gifts intended for one person, and
the fun and expectancy last the entire day.
Cover the outside of a new tin pan with plaited white tissue-paper, and
paste the paper along the top and over the bottom edges. Decide on the
number of gifts you intend the pie to contain, and cut a corresponding
number of slits in the circular piece of white tissue-paper which is to
form the top crust (Fig. 552). Wrap each present in a bright-colored
piece of tissue-paper, and tie with a narrow ribbon [Illustration: Fig.
552.] of like hue (Fig. 553); be sure to fasten the knot on top of the
package securely, so there will be no possibility of its slipping from
the parcel when it is jerked out of its bed of bran. Fill the pan with
bran or sawdust, arrange the gifts on top in the order you wish, then
put more bran over the parcels, heaping it in the centre; thread each
ribbon through its respective slit in the cover and bring the cover
[Illustration: Fig. 553.] cautiously down over the pudding without
tearing. Gather the edge a little at a time with your fingers, and paste
it down over the sides (Fig. 554).
Paste a double-edged fringe of white tissue-paper around the top edge of
the pie. To do this, fold several [Illustration: Fig. 554.] slips of
paper, as in Fig. 555; fold again through the centre and cut in a fringe
(Fig. 556). Open the fringe, gather it in the centre with thread and
needle, and at short distances sew on tiny bells; then fasten the fringe
in place (Fig. 557). Puncture a hole with a large needle in the centre
of the top of the pie, and insert a twig of holly.
Cut as many small squares of writing-paper as you have ribbons, label
each with the hour when the present [Illustration: Fig. 555.]
[Illustration: Fig. 556.] is to be drawn, slip them on the ribbons near
the ends, and below each tie a little silver bell, as shown in
illustration (Fig. 557).
If there are to be only three packages, let one be drawn in the morning,
another at noon, and the last in the evening. If more, distribute the
gifts as evenly as possible through the day.
[Illustration: Fig. 557.]
=The Magic Fireplace=
is another means of delivering the Christmas gifts, and the delight of
the children when they see their presents come tumbling down the chimney
in a way they have only dreamed of, will repay the thought expended in
preparing the surprise.
[Illustration]
The Magic Christmas Fireplace.
Two wooden packing boxes, one about four feet square and a foot and a
half deep, the other somewhat smaller but of nearly the same depth, form
the framework of the fireplace. Stand the large box on its side—the
longest side if the box is not exactly square—and the smaller box within
it as shown by Fig. 558. Remove the top pieces of both boxes (A B, Fig.
558), and over the top of the small box tack a piece of doubled
light-weight wrapping paper. At each end of this false cover fasten
securely a piece of strong twine, then puncture two small holes near the
centre of the paper and pass the ends of the twine through them, drawing
it down as shown by letters C D, Fig. 559. Saw the board, which was
taken from the top of the small box, into two pieces, and place them in
a slanting position reaching from the top edge of the small box to the
upper corners of the large one (letters E F, Fig. 560). The
[Illustration: Fig. 558.] boards are kept from slipping by small nails
driven half way into the edge of the small box. Cover the spaces at the
sides and top, between the two boxes, with heavy brown wrapping paper,
tacking it smoothly down along the edges. This paper should be marked to
represent bricks. Pile a few sticks of charred wood on the inside hearth
[Illustration: Fig. 559.] and, to make it appear that they are still
smouldering, tack red tinsel paper upon them here and there.
Into the receptacle at the top of the mantel (letter G, Fig. 560) place
all the presents, resting them upon the paper top of the small box.
Things [Illustration: Fig. 560.] that are easily broken should be
covered with soft wrappings, for in the grand climax, when the toys roll
pell-mell down into the fireplace, the fragile articles might come to
grief.
When the last package has been stowed away, replace the top of the large
box. Decorate the completed fireplace with evergreen, and bring the two
strings, C and D, which hang down upon the hearth, outside, looping them
back over tacks at either side of the fireplace, as shown in Fig. 560.
At the appointed time the group of eager children will stand and gaze
with awe at the wonderful and mysterious fireplace, which, like a fairy
house, has shot up in a night.
Two persons, one on either side, must grasp the strings tightly, and
simultaneously give a pull. With a ripping, tearing sound the paper
gives way and whiz! bump! bang! the toys come tumbling down, rolling and
bounding out on the floor.
Because it is Christmas we find ourselves longing to render little
services, to make others happy and cause their eyes to brighten and
sparkle with pleasure, for this is the season of giving as well as
receiving, and the privilege belongs to all.
If there is a little convalescent in your family or among your
acquaintances, one who will not be allowed to share the Christmas
dinner, prepare for her a
=Christmas Tray=
You can make it very attractive.
Have a Christmas tree for a centre-piece (Fig. 561), a very modest yet
charming little affair—only a wee tree fashioned from a branch of
boxwood, beautified with homemade toys and decorations cut from gilt and
bright-colored papers. Use a large-sized button-mould for the tree
stand; push the end of the stem into the hole in the centre of the
mould, and the tree will stand alone. Should you have no boxwood, take
any green twig and turn it into a miniature Christmas tree by trimming
off the ends of the branches until the little tree somewhat resembles a
cone in shape. It will require only a few moments to [Illustration: Fig.
561.] make the tree, and the sick child will exclaim with pleasure at
the sight of it.
A house with
=Santa Claus=
climbing down the chimney (Fig. 562) is, in reality, a piece of prosaic
bread and butter transformed. After spreading the bread with butter, cut
out the door with a sharp, small-bladed knife; then the two windows, and
the chimney. Procure a jolly little paper Santa Claus and fasten him in
place by making an incision in the top of the chimney and inserting one
leg of the figure; serve this on as pretty a plate as you can find,
preferably a decorated one.
A Christmas pie is another form of bread and butter. Cut the shape out
with a large-sized tin biscuit-cutter, and after buttering the bread
mark it into wedge-shaped pieces. Cut a slice or two (Fig. 563), leaving
the rest to be cut by the child. If permissible, a little white sugar
sprinkled over the top of the pie will enhance its appearance. Layer
[Illustration: Fig. 562.] jelly cake is made of two round pieces of
bread and butter, spread lightly, with a [Illustration: Fig. 563.] layer
of chicken jelly placed between and over the top of the cake. Odd
designs are always attractive to children and may be introduced in
=Serving Toast=
Make the toast very carefully, allowing the bread to turn only a light
brown on both sides, and keep it hot between two hot plates. Toast
should be eaten immediately after it comes from the fire; it loses its
delicacy [Illustration: Fig. 564.] [Illustration: 150] by being scorched
or served warm or stale instead of fresh and hot. After the rest of the
meal is ready on the tray and the two plates are heated, set several tin
cake-cutters in the oven to heat; then make the toast with a fork, not a
toaster, one piece at a time, and as each is done, cut it while hot into
queer forms with the warm cake-cutters. Arrange the pieces on one of the
hot plates and cover them with the other. The child will be entertained
by the fanciful shapes (Figs. 564, 565, 566), and eat them with a
relish.
In place of the family roast, a lamb chop will probably have to do duty
as the
=Pièce De Résistance=
Select the best cut and broil the chop skilfully over a clear fire. Let
it be well done but not burned; sprinkle with a [Illustration: Fig.
567.] little salt and pepper. Have ready some fringed tissue-paper and
wind it around the end of the chop; decorate with a pretty sprig of
Christmas green tied with a narrow ribbon (Fig. 567). Eggs of
blanc-mange (Fig. 568) [Illustration: Fig. 568.] are made by using empty
eggshells as moulds. The shells must be wet on the inside when the
blanc-mange is poured into them to harden. If it is best for the patient
to have only a little blanc-mange, mould in small shells and serve one
or two.
[Illustration]
=Jelly=
is acceptable and can be given in most cases of illness. Instead of
using a regular mould pour the liquid jelly into a wineglass, and if the
white of an egg has previously been beaten up with the jelly, it will
rise in a white foam at the top of the glass; after the jelly has
hardened the resemblance will be so close it will be difficult to
believe the glass does not contain wine (Fig. 569). The child will enjoy
this little make-believe. If fresh
=Apples=
[Illustration: Fig. 570.]
are allowed, cut them as Southern people cut their watermelons (Fig.
570). Slide the knife-blade in the side of the [Illustration: Fig. 571.]
apple, and cut downward, making a slanting outward incision about an
inch and a half long; draw out the knife, insert it again at the top of
the first cut and make another slit in the opposite direction, the two
slits forming the letter A without its cross piece. Again take out the
knife and, commencing at the bottom of the second cut, bring the knife
upward and outward, as in the right side of the letter V; continue
cutting these points until the last one meets the first, being careful
to push the knife to the centre of the fruit at each cut. When finished
pull the two halves of the apple apart.
Plum pudding the child cannot have, but a fine baked apple will answer
the purpose and may be made almost as attractive. Select a baking apple
free from all flaws, wash it well and “bake to a turn”; serve steaming
hot, with a sprig of holly in the top (Fig. 571).
CHAPTER XXIII
PICTURE WRITING AND
SIGN LANGUAGE
The next best thing to seeing one’s friends is hearing from them, and
the more interesting the letter the greater the enjoyment, particularly
when the communication is intended to be passed around the entire home
circle. There is a delightful way in which to express yourself
differently from ordinary writing, a method used by the early Egyptians,
called picture writing. The Egyptian pictures were not at all like those
made by modern artists; their representations were crude and unfinished,
yet they answered very well for the people and the times. You have
advantages over those ancient people inasmuch as you need not even
attempt to draw the designs. All that is necessary for you to do is
merely to look over the newspaper and magazine advertisements, select
the prints needed, and after cutting out and pasting them on a sheet of
paper, with a few connecting words between, you will have produced an
odd, interesting letter, and the work will be pure fun.
[Illustration: Fig. 572.]
Fig. 572 gives an idea of such a letter, supposed to have been written
on Thanksgiving. Try to read it. For fear you might not quite catch the
meaning, here it is interpreted for you:
"Dear Grandmother, Aunts, Uncles, and Cousins: I send you greetings. I
know there will be a cooking of tarts, turkey, puddings, and lots of
good things. I like sweetmeats and fruit best. Please use the camera
and send me a picture of the family while at dinner, and of my cousins
standing in a row. Wishing you a jolly time,
“As ever, your
”HOPEFUL ONE."
This is intended only as a suggestion; if you can write your letter
entirely with pictures, without the aid of words, it will be much
better.
There is another method you might employ; take the well-known
=Symbols=
and compose your missive of these. Such as the dove, meaning peace,
gentleness; anchor, hope; ark, refuge; key, explanation; chain, bondage;
star, promise; lamb, innocence; scales, justice; horn of plenty,
prosperity; heart, love; shepherd’s crook, protection, and hour-glass,
time. The list is much longer, but enough has been given to explain the
scheme; other designs may be added as needed, but use only those whose
significance is well established and commonly understood.
=Flower Writing=
makes a charming letter, the blossoms being placed in rows according to
their meaning as given in the language of flowers. Compose a sentence of
white clover, oats, and balm, and it will read:
“I promise (white clover) music (oats) and social intercourse (balm).”
This might form part of an invitation to your house-party.
[Illustration: Come]
[Illustration: to dinner]
[Illustration: go out in a boat]
[Illustration: and return.]
[Illustration: to my house]
[Illustration: we will make footsteps]
[Illustration: and fish]
Fig. 573.
[Illustration: to-day]
[Illustration: for the water]
[Illustration: then have a swim]
For a regular
=Indian Powwow=
letter you must do as the red man does and write in Indian signs, which
are usually rudely drawn figures meaning much to our copper-colored
brother, but often requiring ingenuity on the part of the white man to
translate. Some of the best examples are to be seen on sandstone in
Dakota County,
[Illustration: Fig. 574.] Neb., where there are hundreds of sketches.
One of the most distinguished of Indian artists or historians is said to
have been Lone Dog, of Yankton, Dak., who made most of his pictures on
skins. Neither stones nor skins will answer your purpose; ordinary paper
is more convenient and will be as fully appreciated if you use thought
and care in drawing and composing your message. Make simple, rude
pictures of different objects, borrowing the Indian’s idea but adapting
it to your needs. Fig. 573 gives an example of a girl’s powwow letter.
You may invent as many designs as you choose, that will be part of the
fun of Indian writing. Fig. 574 shows some of the signs needed.
=A Letter of Colors=
is something entirely new; it should be composed of thoughts embodied in
colors, without alphabet, words, or pictures—nothing but brush strokes
of delicate pinks, tender greens, soft grays, deep orange, rich purples,
and all the many and varied tones, tints, shades, and hues known to man.
The following example, being fully interpreted, will initiate you in
color meanings and composition:
Light Scarlet.
My Dear Friend:
Light tone of Drab. Blue. Red brown.
yellow. you have thought the truth My interest in
I am glad out
Scarlet red. Myrtle green. Orange. Different tones
and friendship Nature is gaining of yellow.
for strength. I travel miles
Variety of color flecks in rows.
for the flowers.
Yellow pink.
Your
enthusiastic
Scarlet.
Friend.
The name signed at the close of the letter need be the only writing. A
list is given of the meaning of some of the colors, but you will
probably need more; work out the extra combinations for yourself. The
system being once understood it will not be a difficult task.
Rich red—Love or loved one.
Red brown—Interest in or for.
Orange—Strength, force.
Indigo—Wisdom.
Blue—Truth.
Green—Life, freshness, youth.
Yellow pink—Enthusiasm.
Blue pink—Politeness.
Gray—Doubts, fears.
White—Intelligence, light, innocence.
Black—Ignorance, darkness, night.
Bright yellow—Joy, gladness, sunlight, day.
Drab—Thought.
Scarlet—Friendship.
Myrtle green—Nature.
Different tones of yellow grouped together—Travel, motion.
Brown in solid squares—Rocks.
Blue and green in horizontal lines—Water.
Brown and green in horizontal lines—Summer.
Brown and black in horizontal lines—Winter.
Color dashes in wedge shape, variety denoted by colors used—Birds.
Pink—Acquaintance.
Mingled flecks in a row of any color or colors with green denotes one or
more variety of flowers.
Green in long perpendicular dashes—Trees.
Tints may include the personal pronouns I, my, me, or mine.
Shades may include the pronoun you or your.
PART II
WHAT A GIRL CAN DO
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[Illustration: GALATEA]
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CHAPTER XXIV
STATUARY TABLEAUX
In the first place the statues must be white—not nearly white, but very
white—flesh, hair, and costume; then the background must be black, a
dead, lustreless black. Given these two requisites any figure, or group
of figures, will look like statuary; and when care and pains are taken
in the posing and draping and the proper light is thrown on them, the
living, breathing, warm flesh and blood so closely resembles the cold,
lifeless marble, it is difficult to realize one is not looking at
statues carved by the hand of man.
=The Stage=
Arrange the background on the stage in the form of a three-fold screen,
with sides slanting outward to the front. When possible, the top of this
space should also be covered with the black material, slanting up to the
front; in this way the statues are entirely boxed in, the only opening
being the front of the stage. That is, the only apparent opening, for
between the back and side panels a space about one foot wide must be
left for side-lights, and on this account the back should extend at
least one foot beyond each side-panel.
=The Lights=
A strong calcium light directly in front of the stage, though some
distance from it, is best for amateur tableaux, and the side-lights at
the back need be used only when it is imperative that no shadows shall
be cast on the background, as in the case of the armless statues. With
the cross-lights thrown behind the statue, the black-covered arms melt
into the black background with no shadows to betray their presence. Tall
piano lamps are best for this purpose.
Again, the front light may be placed nearer one side of the
audience-room, and a pleasing effect of light and shade on the statuary
itself be produced.
=Pedestals=
Place a platform about one foot high, and of a size to hold the largest
group, in the centre of the stage, and leave it there as a base for all
other pedestals. Packing boxes of various sizes, chosen to suit the
statues, make excellent pedestals, and these, as well as the platform,
must be smoothly covered with white cotton cloth.
[Illustration: The costume for almost any statue]
=Costumes.=
Pure white Canton flannel is the best material to use, as it drapes most
beautifully and takes the true sculptor’s folds. It should not, however,
be too heavy in weight, else it will be stiff and unmanageable.
The Greek or classical costume is almost the only kind you will need,
and it is made simply of two breadths of the canton flannel sewed
together and fastened at the shoulders; the slits for the arms being
left open nearly to the waist. Under this is worn a sleeveless waist of
the same material. A cord tied around and just under the bust, and the
dress pulled up to bag over gives one style of costume; tied around the
waist and bagging down far below it, gives another, and both under the
bust and around the waist, still another. The dress should be long
enough to allow of all this pulling up, and if too long when the statue
is mounted on her pedestal, it can be turned up underneath; no hem is
necessary on these garments. An extra piece of drapery is almost always
a part of the costume, and is used for wrapping around the figure to
give the narrow effect at [Illustration: Fig. 575.] the feet; this
should be about two yards long and of two breadths of the material sewed
together.
[Illustration: Fig. 576.]
Make the sandals of white insoles or two pieces of heavy card-board, cut
to fit the bottom of the foot, extending half an inch beyond all around.
Cover the card-board with white material (Fig. 575), and sew together as
in Fig. 576. Fig. 577 shows a simple and modified form of sandal. Cut
the side and back pieces from the white material like Fig. 578, and sew
them to the soles as in the Fig. [Illustration: Fig. 577.] 577. Also sew
white tape to the points of toe and heel pieces, as shown in the
diagram, leaving free the two ends at the ankle for tying.
[Illustration: Fig. 578.]
Mop-rope, the loosely twisted rope used for floor-mops, is the material
from which to fashion imitation
=Marble Locks.=
Make a tightly fitting white cap to entirely cover the hair, as a
foundation for the wig.
In order to have the parting of the hair directly in the middle of the
head, put the cap on and, with a lead-pencil, mark the desired line. The
rope must be then untwined and the middle of each strand laid across the
top and stitched down along the pencil line, half the length falling on
one side, half on the other. After this the wig can be donned, the hair
arranged and pinned in place according to taste or the fashion selected,
and then stitched securely to the cap.
When the hair is done up high and a side or back view is shown, it is
necessary to sew the ends of the rope along the bottom edge of the cap
at the sides and back, as the locks are drawn up from there. A narrow
border of raw cotton sewed entirely around the edge of the cap so that
it will extend a trifle over the forehead and neck, does away with the
dark edge of hair which it is, otherwise, almost impossible to hide.
When only a front view is desired, the back of the cap need not be
covered with the rope. Men’s and children’s wigs are made on the same
principle, be their hair long or short.
The face, arms, neck, and hands must be as white as it is possible to
make them. Face powder applied in the ordinary way will not give the
required whiteness, and it is easily rubbed off.
Here is a professional actor’s recipe which is perfectly harmless and
will make the
=Flesh Like Marble:=
Take one ounce of white-zinc powder and three ounces of glycerine and
rose-water—two-thirds glycerine, one-third rose-water. Shake the
glycerine and rose-water together, mixing them well, then add the ounce
of white-zinc powder and shake again until thoroughly mixed. Apply with
a sponge and let it dry, then smooth it with your hand and powder with
any pure face powder.
=To Remove=
First wash with warm water, then rub with cold-cream. Wipe the cream off
with a soft linen cloth, after which powder the skin to prevent
chapping. Always allow plenty of time for making the flesh absolutely
white, as this can not be done in a hurry.
=Subjects for Tableaux=
It is a wise plan to choose a subject already presented by some sculptor
and copy his work as closely as possible, for the artist has given much
thought and study to the posing of his figures and the lines of his
drapery, and one can be sure the artistic effect will be good; or a
subject may be found in some painting which will be suitable for
statuary, and this also will have the advantage of having been designed
by an artist. Most of the tableaux should be selected in this way, but a
few variations, where a surprise for the audience is prepared, or
seemingly impossible effects are produced, gives piquancy and charm to
the entertainment.
=The Armless Bust=
The effect of armless or mutilated statues which, to the audience,
appear almost miraculous, may be produced by simply covering the parts
of the body, supposed to be missing, with dull black cloth. Everyone
knows that by covering one of the front teeth with a piece of black
sticking-plaster the perfect effect of a lost tooth is given, and it is
on the same principle that limbs are cut off or figures decapitated in
statuary tableaux.
The illustration of the armless bust shows how the arms are made to
disappear by drawing over them a pair of black [Illustration: Fig. 579.]
[Illustration: IN THIS MANNER MAKE THE ARMLESS BUST.] stockings, or
long, narrow bags. In this tableau the side-lights must be used to
prevent any shadow from being cast upon the background; the lights must
shine behind the statue, not on it.
The pedestal is made of a packing box, with the top cut out to admit the
figure, as shown in the diagram (Fig. 579). A fine color effect is
produced when this pedestal is covered with dark red material, upon
which rests, to all appearances, the pure white marble bust. In covering
the top of the pedestal cut the cloth to extend around over the opening
at the back, and it can be fastened down after the bust is
[Illustration: Fig. 580.] in place. For this statue the front light must
not be too strong and its full force should be concentrated on the head
and bust, leaving the arms in shadow.
Another quite wonderful effect is that of the
=Portrait Medallion=
To produce this set a frame up near the front of the stage, over which
is tightly stretched the black material of the background. In the centre
sew a piece of white cloth cut in an elliptical shape, about two and a
half feet long by two feet wide (Fig. 580). Make a laurel wreath of
white paper leaves fastened on wire stems and tie at the bottom a bow of
white ribbon. Sew or pin the wreath upon the black [Illustration:
Portrait Medallion.] background, near enough to allow its inner leaves
to lap over the white. Cut in the medallion, and through the background,
a hole the shape of, but smaller than, the head and bust. This should be
experimented with on other material before the medallion is cut, so that
no mistake be made.
The medallion must be placed at a height easily reached by the standing
figure of the person posing for the portrait. The head is thrust through
the hole, then turned to present a profile view, while the shoulder is
held back that it may not protrude too far through the opening. The
illustration shows the effect of this tableau.
=An Egyptian Statue=
is an innovation in statuary tableaux which will receive a warm welcome,
but, like the others, it must be well carried out to be a success. The
figure and everything pertaining to it must be of one color, not white
this time, but gray, all gray, to represent stone.
Study the pictures of old Egyptian statues; notice the costumes, and
copy one carefully in gray canton flannel. Gray stockings must be worn
and gray sandals, or the sandals may be omitted. Paint the face, arms,
and neck with gray pastel, rubbing it on lavishly; this has been used
without any harmful effect and is easily washed off with warm water and
pure soap. Cover the hair with the typical Egyptian headdress (Fig.
581), made of a square of the gray material. Make [Illustration: Fig.
281.—Side View.] [Illustration: Fig. 281.—Front View.] a seat for the
statue of a box which should be only wide enough to be comfortable and
of a height to allow of a footstool under the feet. Nail a board the
width of the box to the back to form a back for the seat and let it be
high enough to extend a few inches above the statue’s head when she is
seated. Cover the chair and footstool with the gray canton flannel.
The Egyptian statue must be stiff and formal, seated on her chair as in
Fig. 581, with hands on knees and feet together. The entire absence of
graceful curves of body or drapery makes a charming contrast to the
other statues. In statuary tableaux the eyes must be kept closed, except
in the tableau of Galatea, and the eyelids should be as white as the
rest of the face. The eyelids of the Egyptian statue must, of course, be
gray.
=Pygmalion and Galatea=
This tableau includes the sculptor as well as the statue, and requires a
little acting on the part of the statue—herein lies the surprise.
The tableau illustrates the old story of the Greek sculptor Pygmalion,
who fell in love with the statue he had made, and prayed to the gods to
endow it with life. His [Illustration: First Position.] [Illustration:
Second Position.] prayer is granted and the statue, Galatea, gradually
awakens.
When the curtain is drawn aside, Pygmalion, dressed in Greek costume of
brilliant colors (to contrast with the white statue), is seen kneeling
with arms extended at the feet of Galatea, who stands in the pose shown
in “first position” of the illustration.
Pygmalion maintains his position without moving while Galatea awakens.
Standing, as in “first position,” with bent head, closed eyes and
clasped hands, the right foot a little in advance of the other, the
weight of the body resting principally upon the left, Galatea slowly,
very slowly, unclasps her hands and gradually separates them. The left
hand moves out from her side while the right hand, at the same time, is
lifted outward and upward to her throat, “second position.” Keeping the
left arm extended a little from her side, the hand slightly raised and
fingers bent, she continues to raise her right hand until it covers her
eyes, at the same time swinging her body around, bearing the weight
heavily on the left foot, until the “third position” is assumed. Holding
[Illustration: Third Position.] [Illustration: Fourth Position.] this
pose for an instant, she turns slowly back again, lifting her hand until
it shades her eyes; she then raises her chin and bends slightly forward
as she opens her eyes and beholds Pygmalion. This is the “fourth
position.”
Again she pauses for an instant, then by slow degrees the left arm is
raised while the right one is lowered and the hands are held out in
welcome, as in the “fifth and last position.”
At no time must the arms form parallel lines; even at the last the
extended arms should be bent very slightly outward at the elbows. The
two sharp angles, formed by bending the elbows in the same direction at
the same moment, should be especially avoided. At all times during the
awakening Galatea must be so posed that her movements might, at any
moment, be stopped and she would [Illustration: Fifth Position.] be
found standing in a graceful and charming position. Success in this can
only be obtained, and little awkwardnesses avoided, by practice before a
large mirror, where every movement and every curve of the body may be
seen.
No quick or sudden motion must mar the beautifully slow awakening; all
should be as gradual as the unfolding of the petals of a rose until the
climax is reached, where Galatea extends her arms to the waiting and
expectant Pygmalion and the curtain is dropped.
There is no doubt of the success of the tableau when this little bit of
silent acting is well done, and it makes an excellent winding-up piece
to an evening’s entertainment.
CHAPTER XXV
WITCHERY
Assured of their welcome, laughter, jollity, and mystery all attend the
Halloween frolics which are given up to sports with kale, apples, nuts,
mirror, etc. These ordinarily commonplace articles are claimed, on this
eventful eve, to be touched with magic, endowed with the power of
prophecy and enabled to tell of wonderful adventure or fortune which
will befall any one who puts their virtues to the test. And it is
Halloween, of all the nights in the year, that is best loved by the
sprightly little fairies, gnomes, and elves, who delight in sallying
forth from their homes under stones and in old hollow trees to play
pranks on us poor mortals. The witches also are out, flying through the
air to their annual dance, on their queer steeds, either cats or
broomsticks.
James Hogg’s poem, “The Witch of Fife,” gives a comical description of
the witch who flew out of the lum (chimney) and left her husband, who
soon followed with his coat “waflling in the wynde.” The witches’ rides
would not be apt to injure old broomsticks, but should you happen to see
any cats the morning after Halloween, notice how tired the poor
creatures look after carrying the witches all night! That is why the
Scotch lads and lassies pity the pussies.
Of course, there are really no fairies, genii, or witches; they are all
only “make-believe.” Nor are we to put any faith in
=Halloween Fortunes,=
for these are merely tried to furnish sport for the time and to make us
merry; a hearty laugh of itself is good fortune. Often it is the best
kind of medicine.
[Illustration: Fig. 582.]
Whether you will be
=Rich or Poor=
can be ascertained with three saucers. Fill one with salt, which, being
white, stands for silver; another with cornmeal, signifying gold, its
color being yellow; while the third remains empty (Fig. 582). If you dip
your left hand into the cornmeal, you will be very wealthy; if into the
salt, you will be comfortable, but lack the luxuries of life; if into
the empty saucer, you will be obliged to work hard for a living.
=Feather Tests=
To foretell the complexion of your future mate, select three of the
softest and fluffiest feathers you can obtain. If none is handy, take a
pillow and rip open the end seam about an inch or so, making the hole
scarcely large enough to admit of your pulling out a few feathers with
the thumb and forefinger. The little opening can be sewed up again in a
moment’s time. On the bottom end of each downy messenger fasten a small
piece of paper; a drop of paste or mucilage will be sufficient to gum
all three in place. Write the word “Blond” on one paper; on another,
“Brunette,” and on the last, “Medium.” Label the papers before gluing
them on the feathers (Fig. 583). With your right hand daintily hold up
one feather, by its top, in front of you, and gently send it flying with
a puff of breath. Do the same with the next, and also with the last one;
the feather landing nearest to you denotes the complexion of your true
love. To make the test sure, try the charm three times, but be careful
not to use too much force when blowing the feathers.
[Illustration: Fig. 583.]
For the
=Touchstone Charm=
seven small, clean stones are required—six of the common grayish color,
the seventh white.
[Illustration: Fig. 584.]
All should be as nearly as possible the same in shape and size (Fig.
584). After being blindfolded and having the position of the stones
changed on the platter, describe a circle in the air three times with
your left hand, at the last bringing the forefinger down on one of the
stones. Try the charm three times. Should you touch the white one twice
your life will be full of light and happiness; if the gray twice falls
to your share there will be shadows with the light.
=New Friends=
Old friends are treasures and cannot be too highly valued, but new ones
also frequently prove to be added joys in our lives. To determine how
many new friends you will find in the ensuing year, count the number of
buttons on the dress or coat of the first person the fairies send to you
after twelve o’clock at noon on October 31st. Should someone enter whose
clothing shows no buttons, you will be obliged to rest contented with
the friends you now possess, as no more will be added to the list until
the expiration of a year.
=Naming the Bedposts=
Before going to sleep on the last night of October name each of the four
bedposts, the first being “Art”; the second, “Science”; the third,
“Literature”; and the fourth, “Business.” The post you see first upon
awakening will denote the pursuit in which you will delight. Should your
eyes first rest upon the post called “Art,” many beautiful things are in
store for you. If the “Science” post is first seen, you will rejoice in
deep learning, etc. Be sure not to get the posts confused; remember the
order in which they have been named.
=Witch Writing=
Should you wish to know how any one of your friends may feel toward
you, here is the test. Write your name out in full (Fig. 585—we will
suppose the name to be yours). Under your name write that of a friend
(Fig. 586), then carefully cancel all letters in the coupled names
which are [Illustration: Fig. 585.] the same (Fig. 587). Let us go
over the first two names that we may thoroughly understand how it is
done. Take the first letter in the first name—K; [Illustration: Fig.
586. Fig. 586.] you will not find the same letter in
either Mary or Hallon. Take the next letter—a; there it is in Mary and
in Hallon. We will cross out all the a’s. There are no t’s in the
lower name, so we go on to the next letter—h—which is an initial in
Hallon and again occurs in Smith. Cancel them all. There are no e’s,
but we find r and n in the other name. Mark them both. I is not
repeated in the lower name, and in [Illustration: Fig. 588.] Smith we
find only m (h being previously cancelled), which is the first letter
in Mary. Cross them out, then repeat aloud these potent words:
“Friendship—Love—Indifference—Hate,”
giving each cancelled letter one word in the magic order (Fig. 588). In
this way you find that the girls love each other. Try your name with a
number of others. The results constantly vary. Couple two friends’ names
together and put them to the test.
=Home or Travel=
Apple-seeds, too, will act as charms. Stick one on each eyelid and name
one “Home” and the other “Travel.” If the seed named “Travel” stays on
longer than the other, you will go on a journey before the year expires.
If “Home” clings better, you will remain at home. Again, take all the
apple-seeds, place them on the back of your outspread left hand and with
your loosely clenched right hand strike the palm of the left. This will
cause some, if not all, of the seeds to fall. Those left on your hand
show the number of
=Letters=
you will receive in the coming fortnight. Should all the seeds drop, you
must wait patiently for your mail.
=Your Fate=
Gather up all the seeds and make them do duty again. There must be
twelve of the little brown charms. Put them carefully to one side while
you cut twelve slips of blank paper exactly alike and on one side of
each write the name of a friend. Turn them all over with the blanks
uppermost and mix them so you will not know which is which; then holding
the seeds in your left hand repeat this verse:
“One I love,
Two I love,
Three I love, I say;
Four I love with all my heart and
Five I cast away.
Six he loves,
Seven she loves,
Eight they both love;
Nine he comes,
Ten he tarries,
Eleven he courts and
Twelve he marries.”
Stop at each line to place a seed on one of the papers, and then turn
the slip over to discover the name of the one you love or cast away, as
it happens. Continue matching each apple-seed with a piece of named
paper, as you count, until all twelve seeds and papers are used. It is
both surprising and interesting to have one’s fate forecast in this way.
“Bobby” Burns’s well-known poem “Halloween” tells of many charms and
spells to be tried on “Witch Night.”
=Dreams=
mean much on Halloween, but certain ceremonies must be carefully
followed in order to insure the spell. Before going to sleep for the
night have someone bring you a small piece of dry bread. No word should
be spoken after this; silence must invariably prevail. Eat the bread
slowly, at the same time making a wish and thinking of the pleasantest
things imaginable. Then smilingly drop off to sleep, and your dreams in
the land of Morpheus will be sweet and peaceful, and your wish will come
true if the charm works in the way it should.
Here is an old verse on
=Shooting Stars=
which has been handed down for generations:
“If I a shooting star can see
And before it falls count one, two, three,
I'll find my love in the nearest tree,
For I hunt him and he hunts me.”
Watch for the star and when it comes, if your courage does not fail,
look up a tree. Though you may possibly not find the desired sweetheart,
you can make a wish on the shooting star, at the same time repeating
these lines:
“Star, star, bright star light,
First star I have seen to-night,
I wish I may, I wish I might,
Have the wish I wish to-night.”
An entertainment suitable for any season of the year is called the
=Ghost Ideas=
It is intended only for the older girls, not being adapted to little
ones. The ghosts are jolly, bright, realistic beings, full of fun, who,
being invited to your house, enter heartily into the frolic, each doing
her best to make the entertainment a success. All the prominent past
century ghosts must be included in the party. Artistic, dramatic,
historic, literary, and political ghosts should be present, also the
spirit of customs, ideas, events, and things belonging to the past
century. Summon your fellow-ghosts to haunt your house three hours
before midnight, appearing in costumes appropriate to their earthly
existence.
Tell them that not a word must be spoken until the company is relieved
from the spell of silence and state in your invitation that all ghosts
are expected to promptly signify their acceptance in writing, otherwise
they will not be admitted to the haunt.
When the ghosts have assembled each character should be announced as she
enters the reception-room, where the hostess and one or two other
spirits of the occasion await the arrivals. The announcement must be
made in clear, well-enunciated tones, and always be prefaced by the
words “The Ghost.” Guests after their introduction are allowed to speak
and they should talk and act as nearly as possible like the spirits they
represent. The event will then be a success if carefully planned, and
you will have given to your friends a novel and delightful treat.
=Fortune’s Wheel=
is a midsummer game for little folks. Such a beautiful, long day for a
holiday, and no one remembers to keep it now, although many, many years
ago Midsummer Day, the longest day in the year, was looked forward to
with as much pleasure as we find in the anticipation of Christmas.
The people had strange beliefs in those days, and they thought a being
called Fortune would send them gifts on this holiday if they went
through certain performances to gain her good-will.
Now suppose we make believe, for a time, there is such a person as
Fortune, and one of you shall play her part, and we will have a game of
“Fortune’s Wheel,” which will be very appropriate and interesting for
June 21st. At one end of the lawn we will mark off as many spaces, six
feet square, as there are players, not counting Fortune.
[Illustration: FORTUNE’S WHEEL]
Rope or twine tied to the fence at the back, and to stakes driven into
the ground in front, as seen in the illustration, will mark the
boundaries nicely, and we will tie some small flags or bright-colored
streamers to the tops of the stakes to make them look pretty. These
spaces we will call stalls. About ten yards from the stalls, and
directly in front of them, we must stretch a rope, tying it to stakes or
trees, so that Fortune shall be kept within bounds.
Now bring your rolling-hoop, and we will turn it into Fortune’s wheel by
tacking two tapes across it, as shown in the diagram. In the centre,
where the tapes cross, we will tie a little bag, which is to hold a
gift.
Simple little toys, bonbons, and cake, only one at a time, however, are
the gifts Fortune’s wheel will carry.
Come, little girl, whoever is to be Fortune, whip out your handkerchief
and tie up your eyes, for Fortune must be always blindfolded; then stand
by the rope, which will keep you from going too far away.
The rest of you scamper off and take your places, each one in a stall.
Now, Fortune, walk up and down a little that you may not know exactly
where you are; then, standing so that you can reach the rope with your
hand, take your wheel and strike it hard, sending it down toward the
other players.
Whoever catches Fortune’s wheel may have the gift it carries, but no one
must go beyond his stall to reach it. The wheel must enter a stall
before it can be caught by the player in that stall, and when it enters
a stall and falls to the ground before being caught, the player whose
stall it is in must change places with Fortune, become Fortune, and roll
the wheel. When the wheel stops before reaching the stalls and does not
enter any of them it must be carried back to Fortune, who will roll it
again.
Each time before the wheel is started the players in the stalls must
change places.
When one gift has been won and taken from the bag put another in its
place and Fortune will roll the wheel until all the gifts are gone and
the game ended.
CHAPTER XXVI
LIVING ALPHABET
CHARACTERS: _All the letters of the alphabet, half girls, half boys;
teacher._
COSTUMES: _Girls dressed entirely in red, boys in white. Teacher wears a
pretty Dolly Varden costume, and carries a white switch tied with red
ribbon._
_The back of the stage is decorated with palms and other greens. The
overture is played, which glides into a march as the curtain rises._
_Enter the teacher and letters from the right. The letters march in
single file in the order of the alphabet (alternately a girl and boy)
headed by the teacher, who keeps time with her switch. After crossing
the stage the teacher leaves the procession and stands at the left. The
letters turn, march back to the right behind the advancing line, turn
again, forming a reversed S, march to the left, then around the front of
the stage to the right, marching in a circle until a half circle is
formed at the back of the stage, where they halt and remain standing.
Fig. 589 shows the order of march. As the letters enter they carry their
shields on their left arms; as they turn to the right they shift them
onto their right arms, always keeping the face of the shield toward the
audience. When standing the shield is held with both hands directly in
front so that the letters may be plainly visible._
TEACHER. Attention! Present a greeting to our friends!
The letters A E L S T U step to the front of the stage and stand in
line.
TEACHER. Well, what do you say?
The letters change places and form the word SALUTE.
TEACHER. Very good. Retire to your places.
The letters step back in line of the alphabet.
TEACHER. We all know the alphabet is made up of two families. The name
of one family is Vowel, and the name of the other is Consonant. The
vowels will please step forward.
[Illustration: Fig. 589.]
The letters A E I O U advance to the front.
TEACHER. There are two step-sisters which we sometimes call Vowels.
Where are they?
The letters W and Y join the others.
TEACHER. That will do.
The vowels return to their places.
TEACHER. Consonants come forward!
All of the letters except A E I O U W and Y advance then W and Y join
the consonants.
TEACHER. Very well.
The letters return to their places.
TEACHER. We will now have our spelling-class, and be careful that you
spell correctly. The letters for “Cat” step forward.
[Illustration]
The letters ACT run to the front and stand spelling ACT.
TEACHER. You are not spelling “Cat.” Try again.
The letters shift their position to form TAC.
TEACHER. Dear me!
You haven’t got it right yet. I'm surprised!
The letters change, forming the word CAT.
TEACHER. Right at last. Now spell something that cats love.
The letters NIP join CAT, spelling CATNIP.
TEACHER. Can you spell another word?
C turns her back, while the others change places to spell PAINT.
TEACHER. Another.
P turns his back, and the rest spell ANTIC.
TEACHER. Spell one more word.
P remains with his back to the audience, I turns away, and the others
spell CANT, and then return to their places in the alphabet line.
[Illustration]
TEACHER. Are you ready for your grammar?
The letters YES run to the front, spell YES, and then retire.
TEACHER. Well, then, we will try verbs. Verbs signify action. Give me a
word that denotes action.
The letters remain quiet.
TEACHER. I will illustrate. Your sister _runs_. What does that signify?
The letters A M O U S E run out, spell A MOUSE, and return.
TEACHER. We will try conjugating the verb “to be.” It begins: I am, you
are—well?
The letters TIRED walk slowly forward, spell TIRED, and return to their
places.
TEACHER. So am I; we might sit. What do we stand for?
_Here, for the first time, the letters speak. A steps forward two steps,
answers immediately, and steps backward to her place. Then B does the
same, followed by each letter of the alphabet in turn._
A. A stands for Action, and that means to run.
B. B stands for Baker and also for Bun.
C. C stands for Catnip, the best of all tea.
D. D stands for Darling, and that stands for me.
E. E stands for Emerald, a most precious stone.
F. F stands for Fun and my own Funny-bone.
G. G stands for Gold, which is yellow and bright.
H. H stands for Hope, Heaven, Holy and Height.
I. I stands for Ink, which is not a good toy.
J. J stands for Jelly and Jumping and Joy.
K. K stands for Kitchen with a dear little stove.
L. L stands for Laddie and Labor and Love.
M. M stands for Maiden and Merry and May.
N. N stands for Nonsense and Noddle and Neigh.
O. O stands for Omelet and Only and Off.
P. P stands for Painter and Palace and Puff.
Q. Q stands for Quaker and Quiet and Queer.
R. R stands for Rabbit and Racing and Rear.
S. S stands for Sampler and Sewing and Shears.
T. T stands for Taffy and Tar-drops and Tears.
U. U stands for Upper and Under and Urn.
V. V stands for Vane, which the winds always turn.
W. W stands for Winter, snowy and white.
X. X stands for Xylite, I think I am right.
Y. Y stands for Yes, but never for no.
Z. Z stands for Zero, and now we must go.
_Music. Here the march music strikes up, the pianist playing “Marching
Through Georgia.”_
_The teacher leads the procession, and the letters follow, singing to
the air “Marching Through Georgia” these words_:
We are going now, Alphabet at play,
Holding in our hands all that’s grave or gay;
See how we are marching all the letters in array,
Marching onward to Dreamland
CHORUS.
Speak low, speak low, we sing a lullaby;
Speak low, speak low, pray children do not cry,
Though we now must leave you and say a sweet—
_Here the letters G O Q D B Y leave the ranks and stand at the front of
the stage. D places his hand over the quirk of the letter Q, making it
an O, and they form the word GOOD-BY._
_The march has carried the rest of the letters to the back, where they
stand in a semicircle. The music accommodates itself to the movement, so
that the GOOD-BY comes in at the right time, then all take up the song
again with the words_:
While we are marching to Dreamland.
_Curtain._
=After-word=
The endeavor throughout this little play has been to keep it as simple
as possible and quite within the capacity of the children taking part.
The girls and boys should be well drilled in the marches, that they may
keep step and perfect time, also in the song; and they should know to a
certainty what places they are to take in spelling the words. Then if,
when speaking, they enunciate clearly and speak slowly the success of
the play is assured. Very slowly and clearly each word must be spoken,
otherwise the meaning and point will be lost.
The character of the teacher should be taken by a young girl old enough
to lead and direct children. The marches may be as elaborate as the
manager chooses, but they should not be too long or intricate.
The shields are made of heavy white card-board after the pattern shown
in Fig. 590, and the handles are strips of tin fastened in the middle of
the shield. To secure the handle in place, with a sharp knife cut two
horizontal slits about one inch long in the shield near the centre.
These must be about five inches apart, and one directly over the other.
Then make two more slits of the same size, one two inches above the top
slit, the other two inches below the bottom slit. Pass one end of the
tin through the [Illustration: Fig. 590.] lower top slit, working from
the inside of the shield, and bend the end up, slipping it back through
the upper top slit as if taking a stitch; then fasten the end by bending
it up close to the inner surface of the shield. Care must be taken not
to tear the card-board during this process. Now reverse the order of
work, and passing the other end of this tin through the two lower slits
in the shield, fasten it by bending the end down. The loop of the handle
must be sufficiently large to allow a child’s hand to slide in and grasp
it easily. When the tin is well wrapped in strips of cotton cloth there
is no danger of a cut from the sharp edges.
Large black letters are either painted on the shields or cut from black
paper or cloth and pasted on. These letters must be simple and plain in
design, that they may be instantly recognized. All the shields should be
of one size, and as a rule should reach from the shoulder almost to the
knee of the bearer. The children, also, should be as nearly of one
height as possible.
CHAPTER XXVII
ODD GARDENS
Summer is coming! Don’t you see it? Don’t you feel it? Even while the
trees are still leafless and the grass-plots still brown we know spring
is here, almost as the plants themselves know it, by the surging up of
new life in our veins.
We open wide our windows to let the sweet sunshine in and make ready to
welcome the blessed summer so near at hand.
What if you cannot leave the city, as some do, to enjoy the delights of
a summer in the country; what if you have not even a foot of ground, you
may still have some of the sweets with which summer is so lavish; you
may, nevertheless, have your flower-garden. Summer will help you grow
your plants. The sun is knocking now on your window, bidding you prepare
the ground for summer to make fruitful.
=A Country Garden in the City=
A real hanging garden, with creeping vines and fragrant flowers, will
prove a delight, and it may be yours though your window is your only
garden plot.
[Illustration: A Country Garden in the City.]
[Illustration: Fig. 591.]
[Illustration: Fig. 592.]
Take your tape-measure and find the width of your window. It is about
three feet wide, isn’t it? Well, it doesn’t matter. Whatever the width,
add two feet more and you have the length for your garden. Thus, for a
three-foot window you will have a five-foot garden. Go to the
planing-mill and select a wide board of that length. See that it is
without flaws, and do not be afraid of having it thick, for it must bear
a heavy weight. Buy a pair of strong iron brackets, or very likely at
the mill they will give you two three-cornered pieces of board like Fig.
591, which will answer the purpose as well. With screws fasten these
brackets to the board, about half a foot from each end, as in Fig. 592.
Near the back edge of the board, directly above the two brackets, screw
in good-sized screw-eyes, as shown by A, B, Fig. 592. Measure the
distance from the bottom edge of your board to the top of the screw-eye,
as designated by the dotted line C in Fig. 593, and fasten strong hooks
in the outer wall on either side of your window at the same distance
above the window-sill. Be careful about your measurements and have your
hooks just as far apart as the screw-eyes. Go to a hardware store and
get a piece of wire netting, such as is used for fences, long enough to
go around the front and [Illustration: Fig. 594.] [Illustration: Fig.
593.] side edges of your board. Have three strips cut from it, one
eighteen inches wide for your garden fence, the other two each twelve
inches wide and about three feet long for trellises for your vines. Fit
the fence around the board, bending it sharply at the corners, and tack
in place along the edge of the board, using double tacks, called staple
tacks, for the purpose. Paint the board and wire netting dark green,
and, when dry, lift it out of the window, and, resting the board on the
outside window-sill, slip the screw-eyes on the hooks in the wall, as in
Fig. 592. With two staple tacks fasten the ends of the fence to the
wall.
Now you are
=Ready for Your Boxes=
Get two strong wooden ones from your grocer, about eight inches deep and
of a size to fit the board at either side of your window, and another to
fit between the two end ones. Bore several holes in the bottom of each
box, bind the edges where they meet with strips of tin, as shown by the
dark strips in Fig. 594. Have the tinsmith cut the tin the required
lengths and also bend it to fit your boxes. It will then be easy work to
tack it on yourself.
Binding the boxes in this way makes them strong and prevents their
bursting apart, as they are very apt to do with nothing to stay them.
Paint the boxes dark green, like the board, and on the bottom of each
place a layer of charcoal, next a layer of sand and then fill with
earth, enriched with fertilizer obtained at the drug-store. Weave two
straight sticks, about four feet long, in and out through each piece of
wire netting for your trellises. Stand a trellis upright in either end
box by pushing the end of the sticks deep into the soil.
It is a country, not a city, garden you want, is it not? Then don’t be
persuaded into buying geraniums, fuchsias, verbenas, etc. They are very
lovely, but you can have them all winter long, if you wish. What you are
trying for now is
=A Real Summer Garden=
—one where you plant the seeds and have the excitement of seeing them
come up, then watching them grow, and finally of discovering the first
buds which so soon are to blossom and reward you with their beauty and
fragrance for all the care bestowed upon them.
Have you ever seen the hop-vine? It is very pretty, with its soft
festoons of feathery tassels. The hop-vine, running up the trellis on
one side of the window; the red bean, with its scarlet blossoms, on the
other, will bring a bit of the country to you as little else can.
Around the front and side edges of the end boxes plant nasturtium seeds,
and midsummer will find a wealth of tangled vines and fragrant flowers
which will clamber over, under, and through your fence in wild abandon.
In the middle box plant bachelor’s-buttons (corn-flowers), which blossom
from July to late autumn with white, blue, and pink flowers. Plant also
mignonette for its sweetness, and, to complete the country effect, add
lady-slippers.
All these flowers are raised from the seed, except the hop-vine. For
this you will have to get the “sets,” which are the underground stems of
the old vines cut into pieces. Three or four “sets” planted together
will give you a nice vine.
One of the oddest of odd gardens is
=A Water Garden=
This, too, may be just outside your window if you are so fortunate as to
have a balcony large enough to hold a good-sized tub; or one corner of
your backyard may perhaps be spared for a place in which to rear your
water-babies.
Half of a good, strong hogshead barrel makes a fine bed for a miniature
pond; a molasses barrel will answer or any kind of tank that will hold
water and is at least two feet deep can be used for the purpose.
Do not choose too shady a spot for your water garden. There are very few
plants that are not the better for a little sunshine. An unsheltered
corner which must endure the burning heat of the afternoon sun is also
undesirable, but a place which only the morning sun can reach will be
suited to almost any water plant. You will need
=Soil=
as well as water for this aquatic garden, and if you are living in the
city it will be a good idea to take a trip to the suburbs, where you can
fill a tin pail with the muddy, freshwater swamp soil. Failing that, you
may procure from a florist some turfy loam and enrich it with a good
fertilizer.
[Illustration: Water Garden.]
Fill the bottom of your tank with the soil to the depth of one foot and
plant your roots before adding the water. It is a good thing to anchor
the plants with stones to prevent them from floating out of place when
the water is poured in.
For most of your
=Water Plants=
you will probably have to visit the country, as there appears to be no
way of getting the simpler kinds but by going directly to Mother Nature
and transplanting them from her garden to yours.
Before starting on your search make inquiries and learn what you may
expect to find in the various localities.
Water lilies are not found on all ponds, but they are well worth any
amount of travelling, and secure some you must, even if several trips
have to be taken before they are discovered.
There is a water garden in our neighborhood which is a source of great
pleasure to its owner. Floating on the surface of the water in two great
stone tanks are pond lilies of several varieties. As the great buds grow
and unfold they are watched closely and with intense interest until they
are suddenly found full-blown, fair and pure, a floating mass of
loveliness.
Any and every plant which grows in the ponds and swamps may be made to
grow in an artificial pond or swamp in your own house or yard. The water
arum or arrow-leaf; the pickerel-weed, with its spikes of pale-blue
flowers; the sagittaria, whose flowers are white, and the water hyacinth
are all pretty in the water garden.
There are vines that grow readily in water which you can put around the
edges of the tank, allowing them to hang over and partially hide the
outside. The Wandering Jew is one which is very hardy and will droop in
graceful festoons of green. It is not a water plant, but will thrive in
water and should not be planted in the soil at the bottom, but allowed
to send out its roots into the water near the surface.
Aquatic plants are the simplest of all kinds to transplant, because the
sun does not wilt them when their roots are kept wet. Transfer the
plants in baskets filled with wet moss, or make them in packages covered
on all sides with several wrappings of wet paper. They can be preserved
an indefinite length of time _if kept wet_.
Cat-tail seeds will grow in mud; so will other swamp plants, and a swamp
garden, kept always wet, may be an accessory to your water garden.
From time to time you must add fresh water to supply the loss by
evaporation in the tanks, but as the growing things keep the water pure
it does not need changing.
You may arrange smaller and
=Simpler Water Gardens=
for the window in glass dishes or bowls, or even glass jars, and grow
there the small and delicate water plants. Only a layer of clean sand is
needed for soil, and some plants do not even require that. The
water-milfoil is an ornamental little plant; the eel-grass which,
growing at the bottom, sends up its long spiral stems to lift its
blossoms above the water, is interesting, and the horn-wort and
water-purslane do well in narrow quarters. The duck-weed is a surface
plant which drops its slender roots into the water without touching
soil. Besides these there are
=Plants Grown Artificially in Water=
A friend of mine tells the story of a morning-glory vine which, growing
in water, draped her window luxuriantly and even blossomed in a timid
way. This plant was taken from the garden when its stem was several
inches long and placed in a bottle of water, where it sent out more
roots and grew rapidly.
It is possible, too, and is a very pretty experiment, to start the seeds
without soil. Among the plants in my studio window, a short time ago,
was a green glass finger-bowl filled nearly to the brim with water. On
the surface of the water rested two layers of raw cotton cut to fit the
bowl, and on top of the cotton were scattered a number of morning-glory
seeds. They lay quietly on their soft, floating bed for a few days, then
the seeds began to send out white worm-like shoots, and shortly there
appeared on each a pair of small heart-shaped leaves tightly clasped
together at the top by the now empty seed-shell. Soon down into the
water, piercing the cotton, little thread-like roots made their way,
growing thicker in mass and stronger as the young plants shot up in a
wonderful growth. We watched them from their birth until they were three
or four inches high, when an accident brought their existence to a close
and our experiment to an untimely end.
Almost any seeds will sprout when treated in this manner, and in order
to keep the water pure during the waiting period it is well to drop into
it several small pieces of charcoal. Charcoal is a great purifier and
its use is advisable in all water gardens.
=The Green Sponge=
appears quite marvellous to one who sees it for the first time. Take a
large, rather coarse sponge, put it in a glass bowl, sprinkle it with
sand and give it as much water as it will hold, then scatter all over it
flaxseed or mustard seed, clover seed or buckwheat and place in your
window. It will not be long before you have a sponge of living green,
the secret of whose beauty lies in its being kept always wet.
=Vegetables=
of the tuber variety will grow, not in the water, but with water in
them. The sweet potato, which puts forth a pretty vine, the white potato
and the turnip have all proved successful experiments in my window, and
it is said [Illustration: Fig. 595.] that the carrot and parsnip can be
made to grow in the same way; their tendency, however, is to split at
the sides, which allows the water to escape and causes them to dry up. I
am told that another way to grow them is to immerse each half way in a
bottle of water, keeping the vegetable suspended by means of a
darning-needle thrust through it and resting on the edge of the bottle.
In selecting potatoes choose those which have a number of well-developed
“eyes,” and avoid the sweet potatoes which look temptingly clean and
smooth. In nearly every case these are kiln-dried, or dried by
artificial means, and no amount of coaxing will induce them to sprout.
Take a large potato which will hold considerable water when hollowed
out, cut off one end and clean out the inside to the depth of several
inches. Puncture holes on opposite sides about half an inch from the
edge, pass one end of a string through each hole and tie, leaving a loop
at the top (Fig. 595), then fill with water and hang at the side of your
window, where it will not touch the glass nor get the direct rays of the
sun.
In preparing the turnip remember to turn it upside down, as it is the
root end you are to cut off; this is pointed and generally ends in a
string-like root; the leaves sprout from the other end and form a pretty
foliage. The turnip will not only send out its own leaves, but vines may
be planted inside which will grow down to meet the upward growing leaves
of the vegetable.
English ivy grows well in water, and you all know that the Japanese lily
requires only a layer of pebbles in a dish of water to grow and blossom
most beautifully. Hyacinths in their own peculiar glasses are also
raised entirely in water.
Of other odd gardens which are full of interest there is one called a
=Friendship Garden=
This is composed entirely of plants given by various friends of the
owner, and each plant is called by the name of the giver. Devote one
flower-bed, large or small as the case requires, to your friendship
collection, and set out all your plants there. They will probably form a
strange medley; but so much the better, it will only make the queer
garden the more interesting. Roses, geraniums, lilies, fuchsias,
heliotrope, sweet violets—sheltered from too great heat by the larger
plants—verbenas and mignonette may all grow in this odd companionship.
Endeavor not to crowd them too closely and study the habits of each
plant, that it may be kept from encroaching upon the rights of its
neighbor, if aggressive, or be crowded out of existence if of a retiring
and yielding nature. Give all equal care, and your love for each plant
and its giver will also grow and blossom in a way most sweet and
marvellous.
=The Memory Garden=
is in reality a collection of souvenir plants brought from various
places one has visited.
You may have your memory garden in your window if you like, for your
plants will probably not be large and very likely will do best each in
its separate flower-pot with soil adapted to its needs.
From various parts of the United States, from foreign countries, from
places of historical and geographical interest you can bring mementoes
for your garden that will be beautiful reminders of the pleasant scenes
and incidents of your travels.
CHAPTER XXVIII
ACTIVE GAMES
=Weavers and Weft=
In this game there are two sides, so that only an equal number can take
part. Each player is provided with a new, shallow tin pan, the parties
then separate, and stand in two lines, facing each other, about eight or
ten feet apart.
The starter at the head of one of the lines fastens one end of a ball of
yarn to a door-knob or chair just behind her and, putting the ball on
her pan, tosses it to the player directly opposite, who endeavors to
catch it on his pan, and toss it to the person on the other side, who
stands next to the starter.
The third player in turn sends it back to the one standing second on the
opposite side (Fig. 596).
In this order, going back and forth, the ball travels down the ranks.
When it reaches the end of the line, it is started back again, and kept
going until the yarn is all unwound.
In no case may the ball be touched with the hands. When it falls to the
floor, it must be lifted up with the pan by the player who drops or
fails to catch it, and when the yarn fastens itself to the clothing, or
becomes entwined around the body of a player, it must not be touched, no
matter how much it may inconvenience the movements.
[Illustration: Fig. 596.—Weavers and Weft.]
Great care should be taken not to break the thread, anyone doing so is
counted out of the game, she cannot leave her place, however, for moving
may disturb the yarn attached to others. The ends of the broken yarn
must be tied together before the game is resumed.
When the yarn is all unwound it is the object of each player to loosen
himself from the tangle without breaking the thread.
The time must be noted and five minutes only be allowed for the
disentanglement.
At the end of this time the side which has the greatest number of
members free from the meshes of yarn wins the game.
The flashing of the bright tin pans, the struggles of the players to
catch the ball and elude the loose thread, the comically careful
movements of those who have become entangled in the yarn, all tend to
make the game a very merry one, to the lookers-on as well as the
participants.
=Hoop Dance=
Some of the games played with wooden hoops are full of fun, and the
constant changing of position of the players forms a very pretty moving
picture for the spectator.
[Illustration: The Hoop Dance.]
Four boys and four girls make up the set for the “Hoop Dance,” and
chance allots the partners, in this way: A stick is placed on the ground
and the group, standing about twelve feet away, take turns in tossing
small stones as near to it as possible. The girl and boy throwing
nearest the goal take first position; the girl and boy throwing second
nearest take the second position, and so on. The four couples stand
quite a distance apart, at least six yards being allowed between those
facing each other, as in Fig. 597. (Crosses represent boys and circles
girls.) One of the players is chosen leader, and it is his duty to call
out the different figures of the “Hoop Dance.” At “Attention!” all take
position and stand ready, hoop in hand, to respond to the first call.
The leader then prompts, “First and second couples cross over right and
left.” Immediately the two boys, B and F, move to the left, as in Fig.
598, in order to give space for E to roll her hoop between A and B, and
A to pass between E and F. As the leader prompts the two couples roll
their hoops to the opposite sides. Then the leader calls, “Third and
fourth couples right and left.” They follow the example of the first
couple, the boys H and D moving to the left to give space for C to pass
between G and H, and G to cross between C and D. The leader next calls,
“First couples right and left back to places,” and this movement is
repeated by the last couples.
=In the Second Figure=
of the dance the girls of the first couples change places, as in Fig.
599, where A and E roll their hoops diagonally across the intervening
space according to the dotted lines. This brings A in E's place and E in
A's. Next the girls change places on the sides; C and G cross over to
opposite sides. Then the leader cries out, “Girls of first couples
return to places,” and E and A roll their hoops back to first position.
“The sides do the same.” In like manner the boys change, first B and F,
then D and H, and return to places, taking great care not to allow their
hoops to fall or get beyond their control.
=The Third Figure=
is “Hoops all around.” At “Attention!” from the leader each player
turns, facing the back of the next player. Arrows point the direction
players are to take (Fig. 600). A turns toward B; B faces C; C looks at
D, and so on. Then, with hoops in position, at the word “Hoops all
around” each player follows the companion directly ahead, rolling his
hoop as he goes around the circle, stopping only when his original place
is reached.
=The Fourth Figure=
Again the leader calls, “Attention.” This time each player faces his
partner, stepping a little to one side to allow the partner to pass
(Fig. 597), which brings all the girls A, C, E, and G, facing the left
and outside the ring, while B, D, F, and H, the boys, face the right and
are inside the ring. At the call from the leader, “Grand right and
left,” each player carefully rolls his hoop first to one side, then to
the other of those whom he meets on his way around the circle, beginning
with his partner (Fig. 597). The girl A passes to the right of her
partner B, left of D, right of F and left of H. All the other players
weave in and out in the same way, as in the ordinary quadrille, the only
difference being that instead of the hands being grasped in passing the
hoops are rolled to right and left. This figure concludes the “Hoop
Dance.” Should the players be all girls, let four of them tie
handkerchiefs on their left arms to show that, for the time being, they
represent the sterner sex.
The Game of Tag never loses its charm. Who can resist rushing after a
companion at the words “last tag.” No girl with any daring or enterprise
can rest content until the compliment be returned. Somewhat differing
from the original tag, but none the less attractive, is the game of the
same name played with wooden hoops.
=Hoop Tag=
keeps one constantly on the alert. Any number may join in this game, and
all, except one, must be provided with hoops and sticks. Decide who
shall be “It” by some counting-out rhyme—such as
High peg, low peg,
Mary and Ann,
Tom, Dick and Harry,
Jim and Dan,
Roly Poly, cod and trout,
Stingelium, Stangelium,
You are out!—
This important person has a stick, but no hoop. From some particular
starting-point determine the distance the players may roll their hoops
before “It” is permitted to follow. The distance is optional—eight yards
or so would do, the place being designated by a house, tree or fence, as
the case may be, and made plain to all by “It” saying, “I'll stand here
and give you all a chance to reach that tree”—or whatever the object may
be—“before I follow.” At the signal, “Are you ready? Go!” from “It,” all
except “It” start rolling their hoops in the same direction. As soon as
the first player reaches the tree “It” calls out, “Coming!” and
immediately follows. The other players hearing the word “coming” scatter
in all directions while “It” endeavors to strike someone’s hoop with her
stick. When she succeeds the captive surrenders the hoop to “It,” who
scampers away with her prize to join the others. The loser, instantly
becoming “It,” starts in pursuit of the nearest hoop. She cannot,
however, strike the hoop she has just lost until the player has had time
to run several yards beyond her reach. The game continues until each
player has been “It.”
When at the circus, has not everyone seen the clown and other members of
the sawdust ring jump boldly through a hoop held in the air? They
perform the feat with such skill that it looks very simple, but it is
less easy than it appears.
=The Circus-hoop Game=
though, is not difficult, for a wooden hoop takes the part of the clown.
The game calls for one extra hoop large enough to allow the remaining
hoops to pass through it (Fig. 601.) Count out to determine who shall be
“It” and when that is decided let the other players take their places at
a given distance—about fifty feet—from the large hoop, which is held
perfectly still in position by “It.”
The object of the game is that each player, in turn, shall roll her hoop
through the large one without allowing the [Illustration: Fig. 601.]
rolling hoop to fall on its way to the other side of the large hoop. The
first player to miss changes places with “It” and holds the big hoop,
giving her smaller hoop to the first “It”; and the latter joins the
ranks of the players, taking the last place in the row. The second to
fail surrenders her hoop and in turn becomes “It.” The game proceeds in
this way until only one player remains who has not been obliged, through
failure, to take the part of “It.” Such a one is victorious and the
winner of the game. No player is allowed to be “It” a second time in the
same game. The second miss debarring her from any more trials, she drops
from the line to await a new game, when she will be entitled to the same
chance of winning as the others.
Racing always has its charm, and wherever there is a group of young
girls, sooner or later there will be a race of some kind. There is no
fixed number of players for the
=Hoop Race Game=
Still it is better not to have more than eight. In determining the
couples who shall race together, eight slender sticks or broom-straws
are used, making four pairs of straws, each pair of a different length.
A player holds the straws in her hand, showing one end of each. They are
placed evenly, all projecting out the same distance from the closed hand
(Fig. 602). When each player has drawn a straw and found her partner,
who has its mate, the two holding the longest straws roll their hoops
from the given starting-point to the goal previously determined. The
distance [Illustration: Fig. 602.] should not be more than three or four
hundred feet. The two players having the next two longest straws take
second turn. Third place belongs to the two holding the next longest
straws, leaving those with the shortest straws last. All who fail to win
the first or trial race fall out of the game, and the four victors again
draw straws for places as in the first trial. The two couples race, and
then comes the final test between the last two victors, the other two
having dropped out. The last trial is watched eagerly by the six who are
out of the game and stand as spectators on each side of the course,
cheering the players as they race after their hoops. The first to reach
the goal in this run is hailed as the champion.
When you learn to jump rope you acquire unconsciously at the same time a
delightful sense of rhythm in addition to the exercise the sport
affords. In the lively
=Jumping Rope Conquer Game=
the players choose a leader and use a long rope which is turned at each
end by two of the players. The others, in turn, follow the leader, doing
everything she does, even to the turn of the head and the movement of
the hands. When all is ready, the rope turning evenly and steadily
toward the leader, she runs in and through to the opposite side without
jumping, calling out “Follow me”; the other players do likewise. Then
with the rope turning away from her she runs back in, jumps once and
runs out on the opposite side. The others follow. Next the leader runs
in, jumps once, then stoops and picks up a small stone or pebble, which
has previously been placed near the rope, regaining her position in time
to jump over the rope when it next comes to her feet. Again she stoops,
lays the pebble back in place, jumps once and runs out. The others
repeat this. The leader runs in, jumps first on one foot, on the other,
then on both, and runs out. The others do likewise. The leader runs in,
calling to one of the followers to join her. They face, grasp each
other’s hands and jump. Still holding hands they raise them over their
heads and jump. The others, in couples, follow in like fashion.
[Illustration: Jumping Rope Conquer Game.]
Should the leader at any time fail, she must take an end of the rope,
and the one next in line becomes leader, while the player relieved from
turning goes to the bottom of the line, her turn coming last. At the
first miss of the second leader the player directly following takes the
leadership; each follower becomes leader in turn. When one of the
followers misses she takes an end of the rope, and the player released
goes to the bottom of the line to await her turn. The game continues
until each player has enjoyed the distinction of being leader.
=Going to Market=
is a jumping-rope game played by three or more. Two turn the rope, each
taking an end; they walk along, turning as they go. The other players
run in at the start and jump forward at each turn of the rope, keeping
pace with the rope-turners. As soon as one trips she changes places with
the player at the end of the rope. The point of the game is that the
entire group shall keep constantly moving forward, each player being
obliged to take an end of the rope when she fails.
In the game of
=Passing By=
a long rope is necessary and at least four players, two to turn and two
to jump. If more join the game, they must divide into couples and take
turns jumping, as the sport requires two to enter and jump the rope
together. The places are taken as in Fig. 603. One player is stationed
as near as possible to one end of the rope, and the other player close
to the other end on the opposite side. As the rope turns the players A
and B (Fig. 603) advance, jumping toward each other. They meet, pass and
continue on their way toward the opposite end of the rope until they
have changed positions, A being in B's place and B in A's. They return
to their first positions and run out, leaving the rope free for the next
two to have their turn.
[Illustration: Fig. 603.]
One of the liveliest rope games is
=Red, White and Blue=
A long rope is turned by two of the players; another runs in and jumps
once; they all sing in chorus “Red, white and blue,” slowly keeping time
with the rope, which is turned three times high in air above the head of
the jumper. The first turn is for red, the second for white, and the
third for blue. As the turners lower the rope to the ground, without
once stopping in the turning, the player jumps once, and again the rope
goes up and is turned three times in the air while the chorus is
repeated. Then, after another jump, all chant the words, “Salt,
_pepper_, MUSTARD, VINEGAR,” the rope turns very slowly for salt, faster
for pepper, still faster for mustard and at lightning speed as vinegar
is pronounced; the jumper increasing her speed at each turn of the rope.
CHAPTER XXIX
EXPENSIVE GAMES WITH LITTLE OR
NO EXPENSE
Everybody plays
=Ping Pong=
Young and old alike enjoy the game whose object is merely to strike a
small ball backward and forward over a net stretched across a table. If
you have never played the game it will seem very simple, but upon first
trial you will probably realize that keeping the ball in motion is not
as easy as it appears, for, instead of returning over the net in an
orderly manner, the ball shows an uncontrollable inclination to jump
down on the floor and hide in some obscure corner, thereby causing the
player to enter reluctantly into a game of hide-and-seek with the
tantalizing little object. However, it requires only slight practice to
gain control of the ball, and the game is then very fascinating.
Any girl may have a set of Ping Pong, for she can make it at the cost of