MARVEL PICTURES
HERE are Mary, Mary's lamb, and Mother Goose's goose all waiting for you
to dress them and make them into Marvel pictures. Mary must be attired
in her clothes, the lamb in his wool, and Mother Goose's goose in its
feathers, and you can do it every bit yourself. Then when all are nicely
finished you can tack them up in your room for everyone to admire and
wonder over. We will begin with
Mary,
because a little girl is vastly more important than a lamb or a goose,
however much the others may be petted and loved.
[Illustration: Mary.]
Take a smooth piece of white tissue-paper, lay it over the drawing of
Mary given here, and with a moderately soft pencil make a careful
tracing of the little figure. Turn the paper the other side up and go
over the lines again with a very soft pencil; then lay the paper right
side up on a piece of white cardboard, a little larger than the page
of this book. See that the figure is exactly in the middle and again
go over the lines with your pencil. Remove the tissue-paper and
strengthen the lines of your drawing with your hardest pencil. If you
have a box of water-color paints, tint Mary's face, her neck and arms
flesh-pink. Redden her cheeks a little, and paint her lips a darker red.
Make her eyes blue and her hair a light brown and she will be quite
ready for
Her Dress.
Fig. 382 is the pattern, which you must make by tracing it on
tissue-paper and then cutting it out. Choose any material you
like--wool, cotton, or silk, for her dress and any color, only let it be
quite smooth. Lay the tissue-paper pattern down on the goods, pin it in
place and cut around close to the edges. Try the dress on Mary to see
that it fits perfectly; then cover the wrong side thinly with paste,
adjust it to the little figure and press down firmly, smoothing out any
wrinkles that may appear. Cut a white lawn apron like the pattern (Fig.
383), and paste it over the dress bringing the upper edge up to the
waist line.
[Illustration: Fig. 382.--Mary's dress.]
[Illustration: Fig. 383.--Mary's apron.]
[Illustration: Fig. 384.--The brim of sun-bonnet.]
[Illustration: Fig. 385.--Crown of sun-bonnet.]
[Illustration: Fig. 386.--Plait like this.]
[Illustration: Fig. 387.--Cut like this.]
[Illustration: Fig. 388.--Mary's sun-bonnet.]
Make a cunning little
Sun-bonnet
of the white lawn also. Fig. 384 is the brim, Fig. 385 the crown of the
bonnet. Cut out Fig. 384 first and fold back the flap according to the
dotted lines, then Fig. 385, which you must plait fan-shape like Fig.
386, and then cut the shape of Fig. 387. Put a little paste along the
lower edge of Fig. 387, and over it lay the top edge of the brim (Fig.
384), pasting them together like Fig. 388. Fit the bonnet on Mary's head
and paste it in place, but leave the side-flaps to stand out loosely
from her face.
Mary's Lamb
can be traced and then drawn on cardboard in exactly the same manner as
Mary, or it may be drawn on white writing-paper, cut out carefully and
pasted on black or colored cardboard. This last is perhaps the better
plan as the white lamb will show more plainly on a colored background.
[Illustration: Fig. 389.--Pattern of lamb's coat.]
Fig. 389 is the pattern for Master Lamb's coat, which you are to cut
from a sheet of white cotton wadding, opened through the centre to give
the wooliness of the raw cotton. A sheep's wool does not grow long on
its legs, so you need not wonder that the lamb is not provided with
leggings.
[Illustration: Fig. 390.--Lamb's cap.]
[Illustration: Fig. 390.--Lamb's cap.]
Paste the coat on the lamb's back and the little cap (Fig. 390) on top
of his head and he will have all the clothing to which he is entitled.
The dotted line below the lamb's ear shows how far the wool is to reach
on his face, and that on the top of his head gives the limit for the
edge of the cap.
[Illustration: Mary's lamb.]
When you have traced
Mother Goose's Goose
and transferred it to a sheet of cardboard, you must collect a number of
small feathers as much as possible like the shapes given in the page of
diagrams. Perhaps you can get those plucked from the chicken for
to-day's dinner, or you may be allowed to take a few from mother's
feather pillows or cushions. If you do not find feathers of just the
right shapes take a pair of sharp scissors and trim them down to suit.
[Illustration: Fig. 391.--Tail feather.]
[Illustration: Fig. 392.--How to paste on the tail feathers.]
[Illustration: Fig. 393.--Body feather.]
[Illustration: Fig. 395.--Wing feather.]
[Illustration: Fig. 394.--How to paste on the body feathers.]
[Illustration: Fig. 396.--Wing feather.]
[Illustration: Fig. 398.--Neck and breast feather.]
[Illustration: Fig. 397.--How to paste on the wing feathers.]
[Illustration: Caption of Figures 391-397: How to put the feathers on
Mother Goose's goose.]
[Illustration: Mother Goose's goose.]
Select three feathers for the tail like the tail feather Fig. 391, and
fit them in place on the goose to see just where they are to go; then
take them off, cover the tail with glue and carefully put the feathers
back in place, pressing them down until they stick fast (Fig. 392). Find
body feathers like Fig. 393 and, beginning near the tail, cover part of
the body with glue, then stick the feathers on, overlapping them as in
Fig. 394. The under part of the body must be entirely covered with these
feathers, but before going on to the breast and neck the wing must be
attended to.
[Illustration: Fig. 399.]
There are two kinds of wing feathers--some long and narrow (Fig. 395),
and others much shorter (Fig. 396). Begin at the lower edge of the wing
and glue a row of the long feathers in place, allowing the lower edge of
one feather to overlap the upper edge of another, as in Fig. 397. Along
the top edge of the wing glue a row of the small feathers (Fig. 397),
and then, beginning again at the lower edge of the wing, cover the
remainder with the small feathers.
The short, broad feather (Fig. 398), is the kind to use on breast and
neck. Begin at the wing and fasten them on, going upward until the head
is reached, then trim off the stems of the feathers to fit the space
shown by the dotted line on the goose's head (Fig. 399). Do not put too
much glue on the goose at one time, only enough for one row of feathers,
and spread it very thinly, for it takes but little to catch and hold the
light feathers in place.
PART II
RECREATION
[Illustration: Lifting for Pasch eggs.]
CHAPTER XX
EGG GAMES FOR THE EASTER HOLIDAYS
Lifting for Pasch Eggs
"LIFTING" was one of the many curious and interesting Easter customs of
the "good old days" in merry England, and we introduce it here in the
form of a very jolly Easter game.
First you must
Prepare the Pasch, or Easter Eggs
in this way: Select three large white eggs, make a minute hole in the
small end of each, and another hole the size of a silver dime in the
large end. Place the hole at the small end of each shell to your lips
and blow steadily until all the egg has run out. Then set the shells in
a warm place to dry while you make ready "something bitter and something
sweet" with which to fill them. Soft, creamy candies of a small size are
the best for this. Select several pieces for each egg, and pour on each
of these one drop of a weak solution of wormwood or quinine. Mix the
bitter candy with the sweet, and fill the egg-shells.
Cut from gilt or colored paper three scalloped disks four inches in
diameter (Fig. 400). Through the centre of each disk pass a needle
threaded with doubled black linen thread, cover the under side of the
disk with paste, separate the two ends of the thread and hold them down
on each side of the large end of a shell, as shown in Fig. 401; then
draw the disk down and paste it upon the shell over the threads. If the
ends of the thread extend below the disk, clip them off with sharp
scissors. Wait until the paste is quite dry and the paper firmly
attached to the shells, then hang the eggs by their threads in a
door-way so that they will be just one foot higher than you can reach.
[Illustration: Fig. 400.--Cut three scalloped disks like this.]
The Game
There must be at least two girls and two boys to play the game. Fold a
shawl or wide scarf until it forms a narrow band. Wrap it around the
waist of one of the girls, fasten it securely, and blindfold her with a
handkerchief. Let a boy stand on either side of her, grasp the band
firmly, and then march her up to the door-way where the eggs are
suspended, chanting these words:
"Tid, Mid and Mi-se-ra,
Carling, Palm, and Pasch-egg day.
Lift you now off your feet,
Take your bitter with your sweet."
Reaching the door-way they must halt just before it, and when the girl
says "Ready" she must jump, the boys at the same time lifting her by the
band around her waist. As she jumps she must try to catch one of the
eggs. She can have but one trial, and if she succeeds in bringing down
an egg it is hers; failing, she must wait until her turn comes again for
the chance of securing a prize.
One of the boys must have the next trial, while the two girls become the
"lifters." The same ceremony must be gone through with for each player,
a girl and a boy alternately, and the same verse repeated.
[Illustration: Fig. 401.--Paste the disk on the shell.]
It is not necessary to expend any strength in the "lifting," for the
players should jump, and not depend upon the helpers to be lifted up
within reach of the eggs. When the eggs have been pulled down, the fun
consists in eating the candy, with always the certainty of finding some
bitter drops among the sweet, and the uncertainty of how soon and how
often the bitter will be found.
The Egg Dance
The egg dance is very old, so old that it is a novelty to young people
of this generation. It is said that this dance formerly created much
mirth, and no doubt it will afford our modern girls and boys an equal
amount of merriment.
The Eggs
To prepare for it, take thirteen eggs, blow the contents from the
shells, color eight red, gild four, and leave one white. The object in
removing the egg from the shell is to save the carpet from being soiled
should the eggs be trampled on. If the carpet is protected by a linen
cover hard-boiled eggs may be used.
Place the eggs on the floor in two circles, one within the other. The
outer circle, formed of the red eggs placed at equal distances apart,
should measure about eight feet in diameter; the inner circle, formed of
the gilded eggs, should be four feet in diameter, and the white egg must
be placed directly in the centre of the inner circle.
The Dance
The eggs being arranged the company is divided into couples, each in
turn to try the dance. The first couple takes position within the outer
circle--that is, between the red eggs and the gilded ones--and, to waltz
music, they dance around the circle three times, keeping within the
space between the two circles. Entering the inner circle they waltz
three times around the central egg, and all this must be done without
breaking or greatly disturbing any of the eggs. When an egg is broken or
knocked more than twelve inches from its position, the dancers retire
and give place to the next couple. The broken eggs are not replaced, but
those out of position are set in order before the succeeding couple
commence the dance. When each couple has had a turn and none have
accomplished the feat, all change partners and the trial begins again.
The first couple to go through the mazes of the dance without breaking
or disturbing any of the eggs win each a first prize; the next
successful couple receive second prizes, and the third are rewarded with
one colored hard-boiled egg which they may divide between them.
[Illustration: Angling for Easter eggs.]
Easter Angling
The appliances for this game are manufactured at home, and consist of
three toy hoops, such as children use for rolling, eight bamboo
walking-canes, and eight hooks made of wire like Fig. 402. A piece of
twine three-quarters of a yard long is tied to the small end of each
stick, and to the other end of the twine is fastened a hook.
[Illustration: Fig. 402.--Eight hooks made of wire.]
Smooth, stiff, light-brown paper is pasted or tacked over each hoop like
a drum-head, and in this paper covering of each hoop six round holes are
cut, just large enough to admit the small end of an egg, or about the
size of a silver quarter of a dollar. Four of the holes are made at
equal distances apart, twelve inches from the edge of the paper, and the
other two are near the centre (Fig. 403).
Eighteen eggs to be angled for are provided. They are not boiled, but
the shells are emptied and prepared for decoration in the manner
previously described.
[Illustration: Fig. 403.--Cut six holes in the paper like these.]
They may be painted with water-colors, with designs of spring flowers
and butterflies, gilded or silvered, or colored with dyes.
A circle of gilt paper is folded twice, which forms Fig. 404, and an
eight-pointed star is cut by following the dotted lines in Fig. 404. In
the centre of this is cut a round hole, and when opened, the star (Fig.
405) is the result.
[Illustration: Fig. 404.--Cut the star by following dotted lines.]
[Illustration: Fig. 405.--The gilt star.]
A piece of narrow white satin ribbon, three inches long, is folded and
pushed through the hole in the centre of the star, forming a loop; the
ends are then pasted to the point on either side of the star.
When the egg-shell has received its decoration, this star and loop are
glued to the large end of each shell, as shown in Fig. 406.
In twelve of the egg-shells are hidden trifling gifts of candy, a tiny
penknife, silver thimble, or a trinket of any kind; in four are slips of
paper on which are written "Prize Ring," and in the other two are also
slips of paper; on one is written "First Prize," and on the other
"Second Prize."
Every shell being supplied with its gift the holes at the small end of
the egg are covered by pasting over each a small round of white paper,
the edge of which is cut in points to make it fit more easily to the
shell.
Rules of the Game.
1st. Eight players only can take part in the game.
2d. The three hoops are placed on the floor, paper side up, at some
distance apart. In each of the two ordinary rings are placed six eggs
standing upright in the holes, small end down; four eggs contain
presents and two the papers bearing the words "Prize Ring." In the
third, or prize ring, are four eggs containing presents, and the two
which hold the papers with the words "First Prize" and "Second Prize."
[Illustration: Fig. 406.--Glue the star and loop to the shell.]
3d. There must be no distinguishing mark upon any of the prize eggs.
4th. Four players stand around each of the ordinary rings. Having once
chosen their places they must keep them until all the eggs have been
taken from the ring.
5th. Every player is provided with a fishing-rod which is held by one
end, _not_ in the middle.
6th. The endeavor of each player is to insert his hook through the
ribbon loop on one of the eggs and lift it out of the ring, doing this
as quickly as possible and catching as many as he can.
As each egg is taken from the ring its contents are examined and the
player who first gets a prize-ring egg ceases angling until the other
prize-ring egg has been caught.
7th. When the eggs have all been taken out of both ordinary rings, the
two players in each ring who have the prize-ring eggs move to the prize
ring and angle for the eggs which it contains.
8th. Two prizes, the first and second, fall to the lot of the two
players who are fortunate enough to secure the prize eggs in the prize
ring.
The prizes given for the prize eggs at the prize ring should be of a
little more importance than those contained in the eggs. Instead of
trinkets these eggs may contain only candy, which will give more
prominence to the two real prizes given at the end of the game.
Table Egg-rolling.
Everyone knows about the egg-rolling where the eggs are started at the
top of a hill and rolled to the bottom, for it has become almost a
national game, being played annually on the White House grounds in
Washington on Easter Monday; but there is a new game of egg-rolling to
be played in the house, in which any person in any place may take part.
This is played, not with cooked eggs, as in the Washington game, but
with empty egg-shells, which have been blown and left as nearly perfect
as possible; and the field for the game is a table with a chalked line
across either end about eight inches from the edge and another line
directly across the centre.
The players are divided into
Two Equal Forces
which take their places at opposite ends of the table. Each player is
provided with a fan and the egg-shell is placed directly in the centre
of the table on the dividing line. At the word "Ready" all begin to fan,
the object of each side being to send the egg to its goal across the
line at the opposite end of the table, and to prevent its being rolled
into the goal at its own end.
On no account must the egg be touched except in placing and replacing it
on the centre line, which is done whenever a score is made, and when the
egg rolls off the table; in all other cases it may be moved only by
fanning. Each time the egg enters a goal it counts one for the side at
the opposite end of the table, and when the score is marked the egg must
be replaced in the centre; then, at the given signal, the fanning is
renewed.
The winning score may be ten, fifteen, or twenty-five, but it is best
not to make it too large, for several short games are more enjoyable
than one long one.
CHAPTER XXI
MAY DAY AMUSEMENTS
MINGLING with the festivities of May day in the fifteenth and sixteenth
centuries were certain games intended to represent the adventures of
Robin Hood, that bold forest chieftain who with his band of merry men,
all clad in Lincoln green, held many a contest with bow and arrows; and
though most of them were masters of the sport, none could quite equal
the leader, Robin Hood.
From certain customs of these bygone days we can evolve a delightful
entertainment and call it the Twentieth Century May day. The most
important personage on this occasion is the May Queen, who must win her
crown by skill in archery. The next in importance is the King who wins
his title in the same way. Of course,
Bows
and arrows will be needed for the sport, and these we will make at home.
They will be quite small and easy to manufacture, but the bows, though
tiny, will work to a charm and send the home-made arrows flying with
swiftness and precision to their goal. Look up a piece of flat rattan,
from which to form the bow, such as is often used to stiffen stays and
dress waists; cut it eleven and one-half inches in length and burn a
hole in each end by boring through the rattan with a hair-pin heated red
hot at one end (Fig. 407). Holes made in this way will not split or
break the rattan. Pass a strong linen thread through the hole in one end
of the bow and tie it firmly (Fig. 408); then bring the thread across to
the other end, pass it through the hole, leaving a stretch of eight and
one-quarter inches from end to end of the bow, and tie the end securely
(Fig. 410).
[Illustration: Fig. 407.--The bow of rattan.]
[Illustration: Fig. 408.--Fastening on the bow-string.]
Make the Arrows
of slender sticks ten inches in length and sharpened to a point at the
heavier end (Fig. 409). Whittle the arrows as round as possible. If you
happen to have old, slender, long-handled paint brushes, they will make
fine arrows with the brush taken off and the large end pointed.
[Illustration: Fig. 410.--Bow strung ready for arrow.]
[Illustration: Fig. 409.--Arrow of paint brush handle.]
[Illustration: Fig. 411.--Paper cover for target.]
[Illustration: Fig. 412.--Cowslip for target.]
The Target
may also be home-made; for this use a small hoop--a barrel hoop will
do--and cover it with paper. Take any kind of paper strong enough to
hold, but not too stiff, and cut it three or four inches larger in
circumference than the hoop. Lay the hoop down flat on the paper and
draw a line around its edge; then slash the paper around the edge,
cutting deep enough to almost reach the circle marked by the hoop (Fig.
411). Cut silhouettes of spring flowers from various bright-colored
tissue-paper. Lay a piece of tissue-paper over each flower pattern here
given, and trace the outline directly on the tissue-paper. Make a
cowslip (Fig. 412) of yellow paper for the centre of the target, and
above it place (Fig. 413) a violet of violet tissue-paper, and under
the centre fasten a Jack-in-the-pulpit of green tissue-paper (Fig.
414); at the right attach a pink azalia (Fig. 415) and at the left a
scarlet tulip (Fig. 416). Over the remaining blank portion scatter
bright silhouettes of other flowers. Each wild blossom has its own value:
the yellow centre cowslip counts 10; violet, 9; Jack-in-the-pulpit,
8; pink azalia, 7; scarlet tulip, 6, etc. When the paper flowers are
ready, lay the large target paper on a perfectly flat, hard surface;
then, using paste only around the edges of the flowers, fasten each one
in position on the target paper, beginning with the central cowslip.
When finished turn the paper over on the wrong side and lay the hoop on
it over the circular line previously drawn. The hoop must first have a
strong staple driven in its top (Fig. 417). Turn up the slashed edge of
the paper and paste it down over the hoop. Fig. 418 shows a portion of
the flaps glued over it. Be sure when covering the hoop to keep the
paper perfectly smooth and free from all wrinkles or fulness, as shown
in the target (Fig. 419).
[Illustration: Fig. 413.--Violet for target.]
[Illustration: Fig. 414.--Jack-in-the-pulpit for target.]
[Illustration: Fig. 415.--Azalia for target.]
[Illustration: Fig. 416.--Tulip for target.]
[Illustration: Fig. 417.--Staple in hoop.]
[Illustration: May Queen and King and loyal subjects.]
Select a good position on a tree or fence. Drive in a nail at the
proper height and hang the target by the staple in its rim; then with a
stick or stone mark a line on the ground about three yards from and
directly in front of the target. Let each player in turn stand with toes
touching the mark and shoot one arrow at the target. Someone must keep
tally, and as each arrow strikes or misses make a record of the shot.
When all have had one trial the second round may be played; then the
third, which finishes the game of archery and decides the relative
places of all the company.
[Illustration: Fig. 418.--Portion of flaps glued over hoop.]
[Illustration: Fig. 419.--Target with silhouettes of flowers.]
The girl and boy with highest records are
Queen and King,
the next highest maids-of-honor and gentlemen-of-the-Court; the others
fall in line according to their records on the target, and the entire
party strikes out for the nearest stretch of land where wild flowers are
to be found. Out from the shade they go into the sunshine, where the
new springing grass is tender and green, and a little beyond under the
trees where a mysterious perfume, the breath of awakening Nature,
pervades the air, where grow the modest blue-eyed violets, the fragrant
trailing arbutus, spicy and sweet, the funny Jack-in-the-pulpit, without
which no collection of wild flowers would be complete, and where also
may be found the rare and beautiful bloodroot, whose stay is so short
one can scarce catch a glimpse of its pure, white blossoms ere they
vanish.
The Queen Rules,
and the King shares her honors. All the subjects must yield implicit
obedience; but, on the other hand, the Queen should issue only unselfish
and kind commands, such as are sure to render her people happy, for the
thought of their comfort and pleasure should ever be uppermost.
[Illustration: Fig. 420.--Take the flowers up roots and all.]
The delicate little blossoms of early spring need very careful handling,
and it would be well for the King and his gentlemen to be provided with
old kitchen knives or trowels, that they may be able to dig around and
under the little plants in order to take the flowers up root and all,
with the earth clinging to them (Fig. 420); each one can then be
carefully placed upright in a flat-bottomed basket or box and carried
home in safety. Better still would be a number of tiny water-proof paper
flower-pots, which may be purchased per dozen for a trifling sum. In
each pot place one plant with plenty of damp earth surrounding it, and
upon reaching home tie a gay narrow ribbon through holes pierced on each
side; the little receptacle will then make a charming May-basket, and
the wild flowers will keep fresh and blooming for a long time (Fig.
421).
[Illustration: Fig. 421.--Water-proof paper flower-pot May-basket.]
While the King and his men are at work digging up the plants the Queen
and her ladies can gather the buds and blossoms, picking them with as
long stems as possible and remembering to have a few green leaves of
each plant with its blossoms. To keep the flowers from wilting, as they
would if held in the hand, let each girl be provided with a clean,
perfectly dry baking-powder can which has a lid that fits tightly; the
blossoms must be without moisture and very carefully placed within the
can as soon as they are plucked. When the tin box is filled the cover
can be fitted on securely to exclude all the air. The green leaves may
be carried in the hand, and when they droop they can be revived by being
placed in fresh water. The bit of wildwood brought home in the form of
dainty cut flowers could be put in water until dark, when the little
May-baskets
are ready for their reception. These baskets should always be small and
must never be crowded with flowers; it is better to have only one
variety of blossom with its foliage for each basket.
[Illustration: Fig. 422.--Beginning wire May-basket.]
[Illustration: Fig. 423.--Basket ready for handle.]
Manufacture the May-baskets of paper boxes, colored straws, wire, and
cardboard. Those of wire can be made to resemble coral and are pretty
when shaped like that shown at Fig. 425. Make a ring of wire about the
size of the top of a very large teacup by twisting the two ends of the
wire together, then pull it into an oblong shape curved downward at the
two ends. Form another smaller ring, connect the two by a length of wire
fastened on one end (Fig. 422); twist the wire on the bottom loop and
bring it across the bottom and up on the other side end (Fig. 423).
Proceed the same way with the broad sides, extending the wire up and
across the top to form the handle (Fig. 424); if more braces are needed,
add them, and tie bits of string in knots of various sizes at intervals
all over the basket frame to form projections for the branches of coral.
[Illustration: Fig. 424.--Wire basket to be turned into coral.]
Transform the wire into coral by melting some white wax and mixing with
it powdered vermilion. While the wax is in a liquid state hang the
basket on the end of a poker or stick and, holding it over the hot wax,
carefully cover the frame with the red mixture by pouring the wax over
the basket with a long-handled spoon. The wax cools rapidly and forms a
coating closely resembling coral; the little lumps and projections that
form give the basket the appearance of real coral, which is branching
and uneven.
[Illustration: Fig. 425.--Coral May-basket.]
As soon as the wax has hardened (Fig. 425) insert in the basket a
pasteboard bottom cut to fit; and when filling this basket with flowers
place the foliage around the sides first. The fresh green contrasting
with the red coral gives a pretty effect, and the leaves filling the
spaces between the wires prevent the flowers from falling through.
The "Old Oaken, Moss-covered Bucket"
is very appropriate for woodland blossoms. Make the bucket of a strip of
cardboard ten by four inches; sew the two ends together and cut a
circular piece for the bottom; fit it in and fasten with long stitches.
Cut the handle of cardboard one-quarter of an inch wide and sew it in
place. Cover the bucket with strips of olive-green tissue-paper an inch
and a half wide which have previously been crimped by being folded
backward and forward. Cut the strips in very fine fringe, unfold and gum
them on the bucket in closely overlapping rows, as the cardboard must be
entirely concealed to have the appearance of being covered with natural
moss (Fig. 426).
[Illustration: Fig. 426.--Old oaken bucket May-basket.]
A May-basket
which can be made in a moment is simply a bright-colored paper six
inches long and three inches wide, with one of its long sides brought
together at the two corners from the middle and fastened securely. A
narrow ribbon forms the handle (Fig. 427).
Just at dusk the flowers may be arranged in the baskets with as little
handling as possible. Then, when twilight comes, the May day party can
steal cautiously to the door of the house fortunate enough to be favored
by a May-token, hang one of the little baskets of flowers on the
door-knob, ring the bell and scamper away before they are seen, for no
one of the party must be present when the door opens.
[Illustration: Fig. 427.--Colored paper May-basket.]
Bell and Ball May-pole Game for Country or City
If you live in the country erect your May pole on the lawn or in an open
field; if in the city put it up in the back-yard, or if it rains or is
cold hold your May day games in the house. In any case the pole should
be planted in a tub as in Fig. 428, and decorated as shown in the
illustration. The pole must be round and smooth and stout enough to
support the weight of the hoops at the top. For an out-of-doors pole
from ten to twelve feet is a good height, but an indoor pole must be
adapted to the height of the ceiling of the room it will occupy.
Before placing the pole in the tub nail securely to its base a piece of
board eighteen inches square, as shown in Fig. 428. Erect the pole in
the middle of the tub, put in cross-pieces (Fig. 428), nailing them at
the ends and fill in all around with stones or bricks, as in Fig. 429.
[Illustration: Fig. 428.--The pole is planted in a tub.]
[Illustration: Fig. 429.--Fill in with stones.]
[Illustration: The first player throws the ball.]
How to Dress the May-pole
Cover the tub with green crimped tissue-paper and bank up with
flowers--paper flowers if no others can be obtained. Beginning at the
top, wrap the pole with ribbon or strips of pink and white cambric in
alternate stripes. This can best be done before the pole is erected. Buy
two toy hoops, the smallest measuring about three feet, the largest four
feet in diameter. Wrap these hoops with greens of some kind--evergreens
if you can find no others--adding sprays of tree blossoms and all the
flowers you can manage to get.
[Illustration: Fig. 430.--On the end of each ribbon fasten a small
bell.]
Besides the two large hoops you will need fourteen small ones about nine
inches in diameter. These you can make of wire for yourself. Wrap eight
of the small hoops with pink, and six with white cambric, then decorate
with flowers and green leaves. Keep the decoration quite narrow, in
order to leave as large an opening as possible in the centre. Get two
and two-thirds yards of narrow pink ribbon and two yards of narrow white
ribbon; divide the pink into eight and the white into six pieces. On the
end of each ribbon fasten a small toy bell; tie the ribbon on the small
hoops, the white ones on the white hoops, the pink on the pink hoops, as
shown in Fig. 430. Space the largest hoop off into eight equal parts and
tie the small pink hoops to it at these points by their ribbons. Divide
the other hoops into six equal parts and attach the small white hoops in
the same manner. With wire or ribbon suspend the hoops from the top of
the pole as in the illustration. Decorate the top of the pole with small
flags and flowers.
The Balls
Make four paper balls in this way: Take a piece of newspaper and,
placing a small weight of some kind in the middle, crush it and roll it
into a ball four inches in diameter; place the ball in the centre of a
square of tissue-paper and bring the four corners of the paper together
over the top; overlap the corners and fold and smooth down the fulness
at the sides. Wrap the ball with fine cord, making six melon-like
divisions, as in Fig. 431. Make two of the balls of pink tissue-paper
and two of white. Have ready on a tray a number of small favors
consisting of two or three flowers tied together, some with pink, some
with white ribbon.
[Illustration: Fig. 431.--Wrap the ball with fine cord.]
The decorations of the pole may be added to or curtailed as
circumstances permit, and if flowers are scarce paper flowers may be
mingled with the natural ones, and the difference will hardly be
noticed. When
The Game
is held in the house the room is cleared of as much furniture as
possible. The prettily decorated May-pole stands in the middle of the
floor, and the children join hands and dance around it to the
accompaniment of the piano or an appropriate song sung by all. Beginning
with slow time, the music grows faster; faster and faster the wheel of
children spins around the pole until some hand slips from the one
clasping it and the wheel parts. When this happens the circle opens at
the break and the children, still keeping their places, back up against
the wall.
To the first four children at the right end of the line the four paper
balls are given, one to each. The first child, or Number One, takes
three steps forward and, aiming at the bell in one of the hoops, throws
the ball with the purpose of sending it through the hoop and at the same
time striking the bell hard enough to make it ring. If successful,
Number One is given a favor, to be pinned to the front of the coat or
dress, as the case may be, the color of the ribbon attached to the favor
being in accordance with the color of the hoop through which the ball
passed. As it is more difficult to send the ball through the hoops in
the second row, the white-ribboned favors confer the most honor.
As soon as Number One has played he or she gives the ball to Number Five
and returns to his or her place; then Number Two takes a turn, giving
his ball afterward to Number Six, and so on down the line, thus always
keeping the children about to play supplied with balls.
The game goes on until the players are tired or the favors give out, and
the object of the players is to win as many favors as possible.
CHAPTER XXII
HALLOWE'EN REVELS
ON Hallowe'en you will not be obliged to travel way off to shivery, cold
Klondike to dig for your fortune, because the fairies bring the
Gold Nuggets
nearer home; possibly you may have to work a little for the precious
metal, but the exertion will be only fun. Ten little fairies--your ten
fingers--will cheerfully supply the gold as well as the mine from which
the nuggets must come on the eventful night. The fairies should make a
number of small gold parcels which when finished form the nuggets (Fig.
432). Inside of each package is a piece of candy and a strip of paper
with a fortune written upon it, so whatever may be the fate sent by the
gnomes in the mine, it is sure to be sweet. Have enough lumps of gold to
furnish each player with equal portions of one or more nuggets. Let the
little fairies secure a tub, half-fill it with sand or saw-dust and hide
the gold nuggets well in this home-made gold mine, scattering the
little parcels through the sand like plums through a pudding. The
fairies must stand a small shovel by the side of the mine, then all will
be ready and the miners can dig for their fortunes (Fig. 433).
[Illustration: Fig. 432.--The gold nugget.]
[Illustration: Fig. 433.--Hallowe'en miners at work.]
Each player in turn must take the shovel and dig in the mine until one
gold nugget is found. He must then open the package carefully and read
aloud the fortune Fate has given him, while the other players look on
and listen. The fairies can readily whittle or saw out a wooden mining
shovel from a shingle or thin box-lid. Tell them to make it about four
inches long and three wide, with a handle eleven inches in length. Try
to think of original ideas to write on the slips of fortune paper, or,
failing these, look up apt quotations for the prophecies. If you can
have the lines bright and witty, writing something that will cause a
laugh when read aloud, without hurting anyone's feelings, your
Hallowe'en mining will be a great success.
[Illustration: Fig. 434.--Stick for apple witch.]
[Illustration: Fig. 435.--Tissue-paper for making witch.]
The Apple Witch
understands well the art of fortune-telling. She is a funny little
creature made of a stick (Fig. 434), some yellow tissue-paper and an
apple. A strip of the tissue-paper is gathered (Fig. 435), drawn tight
together at the top and placed over the stick with a thread wound around
a short distance from the top to form the head (Fig. 436). The arms are
pieces of tissue-paper (Fig. 437) folded lengthwise (Fig. 438) and run
through a hole punched in the body (Fig. 439). The face is marked with
ink on the head (Fig. 439). Small strips of tissue-paper gathered like
Fig. 440 are sewed on each arm to form the sleeves. Hair of black thread
or darning cotton tied in the centre (Fig. 441) is sewed on the yellow
paper head.
[Illustration: Fig. 436.--Head formed for witch.]
[Illustration: Fig. 437.--Tissue-paper for witch arms.]
[Illustration: Fig. 438.--Paper folded for arms.]
The Witch's Hat
is a triangular piece of paper (Fig. 442) with edges pasted together and
a circular piece of paper slightly slashed around the small hole in the
centre (Fig. 443). The circular piece is slid down over the peak to form
the brim (Fig. 444), glued on, and the entire hat is inked all over,
dried and fitted on the little woman's head. A broom made of a strip of
folded tissue-paper (Fig. 445) with a fringed piece of the same paper
bound on for the broom part (Fig. 446) is sewed in the folded-over end
of the witch's arm. When finished the point of the stick is pushed into
an apple, and the apple placed upon a piece of paper divided into
squares in which different fortunes are written (Fig. 447). When you
want the witch to tell your fortune, spin the apple on the blank centre
of the paper and wait until the witch is again quiet, and she will point
with her broom to some spot where the fortune is written especially for
you. Each girl and boy must be allowed three trials with this apple
witch (Fig. 448).
[Illustration: Fig. 439.--Arms run through hole in body of witch.]
[Illustration: Fig. 440.--Sleeves for witch.]
[Illustration: Fig. 441.--Black hair for witch.]
[Illustration: Fig. 442.--Crown of witch hat.]
[Illustration: Fig. 443.--Brim of witch hat.]
[Illustration: Fig. 444.--Witch hat.]
[Illustration: Fig. 445.--Witch broom handle.]
[Illustration: Fig. 446.--Witch broom.]
Ghost Writing
is very mysterious and exciting. Dip a new clean pen in pure lemon juice
and with this queer ink write mottoes or charms on a number of pieces of
writing-paper. Allow the ink to become perfectly dry, when it will fade
out completely; then place the charms in a box and let each girl and boy
in turn draw what appears to be a blank slip of paper. After examining
it, the paper should be handed to some grown person present who is in
the secret and who has provided a lighted candle by means of which he
may read the ghost writing. All the young people will cluster around and
with bated breath watch the magical developing of the words on the blank
paper as the reader moves the message back and forth over the lighted
candle. The heat brings out the writing in distinct letters that all may
see. A second charm must not be taken from the pile until the first has
been read aloud.
+------------+-------------+-----------+---------------+------------+---------------+---------------+
| YOU WILL | YOU WILL | YOU WILL | YOU WILL BE | YOU WILL |YOU WILL ALWAYS| YOU WILL |
| PASS YOUR | BE A | WRITE A | A COMFORT TO | LEARN TO | BE KIND AND | PAINT A |
|EXAMINATION.| FAVORITE. | BOOK. | YOUR FAMILY. | SING WELL. | CONSIDERATE. | PICTURE. |
+------------+-------------+-----------+---------------+------------+---------------+---------------+
| YOU WILL | YOU WILL | YOU WILL | YOU WILL HAVE | YOU WILL | YOU WILL | YOU WILL |
| GO ON A | HAVE A | COMPOSE | BEAUTIFUL | HAVE A | GO TO | EARN A |
| JOURNEY. | HORSE. | MUSIC. | GARDEN. |CANDY PULL. | A FAIR. | FORTUNE. |
+------------+-------------+-----------+ _____ +------------+---------------+---------------+
| YOU WILL | YOU WILL | YOU WILL / \ YOU WILL BE | YOU WILL | YOU WILL |
| ALWAYS BE | MEET NEW | GO TO A | | A CHAMPION | GO TO A | ALWAYS BE |
| HAPPY. | FRIENDS. | DANCE. \ / GOLF PLAYER.| CIRCUS. |BRIGHT & SUNNY.|
+------------+-------------+-----------+ ----- +------------+---------------+---------------+
| YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL | YOU WILL |
| LIVE IN A | BE WISE | BE AN | HAVE LOTS | HELP | WRITE | PADDLE |
| CASTLE. | WHEN GROWN. | INVENTOR. | OF PETS. | OTHERS. | POETRY. | A CANOE. |
+------------+-------------+-----------+---------------+------------+---------------+---------------+
| YOU WILL | YOU WILL | YOU WILL |YOU WILL BE THE| YOU WILL | YOU WILL | YOU WILL |
| BE | LIVE IN A | VISIT THE | BEST SCHOLAR | WALK ON | SAIL A | RUN A |
| FAMOUS. |FOREIGN LAND.|WHITEHOUSE.| IN THE CLASS. | STILTS. | BOAT. | RACE. |
+------------+-------------+-----------+---------------+------------+---------------+---------------+
[Illustration: Fig. 447.--Fortune chart.]
If you have
A Four-leaved Clover,
even though it be a pressed one, you can put it in your shoe on the
morning of October 31 and wear it until you retire at night. The clover
is a charm which will bring good luck and will insure at least one
hearty laugh before the next day.
[Illustration: Fig. 448.--Apple witch.]
A glimpse into the future showing the disposition of your sweetheart may
be had by
Tasting Apple-seeds
which have previously been dampened and each dipped into a separate
flavoring. The moisture will cause the spices, etc., to cling to the
seed, giving various flavors. Those dipped in liquids must, of course,
be afterward dried. If to your lot falls a seed which has been powdered
with pulverized cloves, your life companion will never be dull and
uninteresting; pepper denotes quick temper; sugar, affection and
kindness; cinnamon is lively, buoyant and bright; vinegar, sour and
cross; gall, bitter and morose; molasses, loving but stupid; lemon,
refreshing and interesting. Add as many more flavors as you wish. When
the seeds have been prepared and dried wrap each one in a small piece of
white tissue-paper and pass them around to the young people, allowing
each girl and boy to take two of the prophecies; then all the children
must be quiet while each in turn tastes first one, then the other seed,
telling aloud as he does so the particular flavor he has received.
Should a player find the first seed sweet and the other sour, it would
mean that the disposition of the future wife or husband will vary,
partaking more of the stronger flavoring. If the taste of the first
apple seed is pleasant, the married life of the player will be
reasonably happy. If the flavor is very agreeable, the married life will
be very happy; if the flavor proves unpleasant, it is best to remain
single.
A very jolly time may be had with
Fortune Bags.
Purchase or make a number of brown paper bags of medium size. In each
place a simple little gift such as a tiny home-made doll, a paper toy
you have manufactured or a picture of a young woman or man cut from a
newspaper and pasted neatly on a half sheet of fresh writing-paper, drop
a nut in the fifth bag and add other home-made gifts for other bags, and
label each appropriately. Pin a piece of paper on the doll with these
words written on it, "Dorothy's new doll" (if none of the girls happens
to have that name use another in its place). Under the young woman's
picture write, "Marie when she is grown," and under the young man's
write, "This is Malcolm when he is a man." Change the names if they do
not represent any of the party. After a gift has been dropped in, take
the bags one at a time and blow them full of air, do not allow the air
to escape while you wind a string around the openings and tie them
securely. The bags, being puffed out with air, will appear much the
same, rendering it impossible to tell, by merely looking at them, which
contain the largest gifts. All the bags should be tied on a strong
string, forming a fringe of bags stretched across the room. The young
people should draw lots for first choice of the fortune bags, then each
player in turn must point to the bag selected, no one being allowed to
touch a bag until the leader has clipped it from the string. Only one
bag can be given out and opened at a time, in order that all may see and
enjoy the contents of each separate fortune. All young people enjoy the
fun of trying their fortunes. Even when convalescent and not yet quite
strong enough to join in the general frolic, they may, in a quiet way
test many old-time and some new prophecies. The three saucers is one as
in the illustration. The apple seeds charm commencing with "One I love"
is another and for new ideas there is The Feather test, Witch Writing,
etc.
[Illustration: A Convalescent Witch.]
CHAPTER XXIII
THE MAGIC CLOTH AND WHAT IT WILL DO
IN India there live wonderful men who can perform the most startling
feats, such as making small plants grow up tall and large in a few
moments, and who, by repeating certain magic words, cause water to
mysteriously spring from the dry earth and fill a hollow, producing a
tiny lake on which little boats can sail. Of course, we do not
understand how such things can be done, never having seen them; but
there are certain amazing and astonishing feats that we do comprehend
and which we can perform. Our jumping frog is so lively and funny that
even the most grave and serious person would smile to see the little
animal actually move and suddenly leap up in the air.
[Illustration: Fig. 449.--One for the money, two for the show,]
[Illustration: Fig. 450.--Three to make ready]
Make the Frog Jump
With a soft lead-pencil trace the frog (Fig. 449) on tracing-paper; then
transfer it to a very soft, pliable piece of _white cotton mull_ or any
white cloth that will stretch readily when pulled, for stretch it must,
or the frog will not jump. Turn the square of cloth so that it will
resemble the ace of diamonds in a pack of playing-cards, having one
point up, one down, one at the right and one at the left hand. Fasten
the cloth over a piece of white paper on a smooth board or table with
thumb-tacks or strong pins. Very carefully place the tracing-paper, on
which you have drawn the frog (Fig. 449), over the cloth, allowing the
head to come under the top point of the square and the feet to extend
toward the lower point. Mr. Frog may then be drawn exactly on the bias
weave of the cloth. When you have finished the tracing, go over the
lines again with a soft lead-pencil to make the markings clear and
distinct.
[Illustration: Fig. 451.--And four to go.]
Look at the frog to be sure he is correctly drawn; then remove the pins
and, allowing the cloth to remain on the table over the piece of smooth
white paper, spread both of your hands out on the cloth, one at each
side of the frog, and, keeping your eyes on the drawing, move your hands
gradually outward, at the same time moving the mull with them. The
stretching of the bias material will cause the frog to flatten out until
he crouches for a spring (Fig. 450). Cautiously raise your hands up and
off the cloth and place them down again in a different way; put one
above and the other below his Frogship, and, still keeping your eyes on
the figure, suddenly move your hands, stretching the square up and
down, when the frog will give a quick leap and spring straight upward in
the most unexpected manner (Fig. 451).
[Illustration: Fig. 452.--"We are hungry."]
Cut the squares of material large enough to be easily handled; if made
too small your hands will slip off the edges.
Feed the Birds
Have you ever seen little young birds in their nest? How they huddle
together with their large yellow mouths open wide watching for their
mother to return with their dinner! Trace the drawing (Fig. 452) on bias
cloth and you can make these little birds move and really stretch up
their heads for their dinner as you slowly pull the cloth upward and
downward (Fig. 453). Watch them. Then stretch the cloth out sidewise and
see the birdlings quietly settle down in their nests with a "Thank you"
and "Good-by." (Fig. 454).
[Illustration: Fig. 453--"Here comes our dinner."]
[Illustration: Fig. 454.--"Thank you" and "Good-by."]
See the Children Talk
Trace the girl and boy (Fig. 455) on bias cloth as you did the frog.
Fig. 455 shows how the children appear when they meet. Pull the cloth
sidewise and their faces change expression (Fig. 456); they do not seem
to enjoy their chat. Now pull the cloth in the opposite direction, and
in an instant their faces show surprise and dismay (Fig. 457).
[Illustration: Fig. 455.--"I can beat you spelling."]
[Illustration: Fig. 456.--"You can't, either." "I can, too."]
[Illustration: Fig. 457.--"Oh! Oh! We are both at the foot of the
class."]
Make the Tenor Sing
[Illustration: Fig. 458.--D O.]
I wonder if you ever attended a concert where the tenor had difficulty
in reaching his high notes, where he fairly seemed to rise up on his
toes in his efforts to attain the notes as his voice ran up the scale,
and everyone in the audience sympathized to such an extent that they,
too, felt like rising and stretching up their heads in search of the
difficult note. Such a tenor is shown at Fig. 459. Trace him on bias
cloth and pull the cloth out sidewise (Fig. 458); then, beginning with
the lower note, _do_, slowly sing the scale as you leisurely pull the
cloth upward and downward at the same time. When you come to _sol_ the
face should be like Fig. 459, and as you continue singing and
stretching the cloth, the tenor should resemble Fig. 460 when you reach
your highest _do_. Though not a very high note it is the best he can do,
and he looks very comical while his face is changing, his eyes and mouth
opening wider and wider and his hair rising up straight on the top of
his head.
[Illustration: Fig. 459.--S O L.]
The objects which are here illustrated may be replaced by others with
equally amusing results; any animals, such as goats, rabbits, camels,
hounds, may be drawn on the cloth and then manipulated so as to afford
the greatest amusement.
[Illustration: Fig. 460.--D O.]
You can have any amount of fun with the moving figures on your magic
cloth if you will remember the important points, which we will repeat to
be sure you understand. Have the squares of cloth for all the drawings
sufficiently large to be easily manipulated. Draw the design clearly and
distinctly. Draw it on the exact bias of the cloth; move the two sides
of the cloth at precisely the same time. Move the cloth always with both
hands spread out flat on top of the cloth. Place the cloth over a large
piece of white paper that the picture may be plainly seen. Care should
be taken to obtain soft cloth that will stretch readily. These
diversions will afford fine sport for a quiet evening and will be
enjoyed by the entire family. If painted the designs will be still more
comical.
CHAPTER XXIV
FINGER-PLAYS FOR LITTLE FOLKS
NOW we must play in-doors, and if you will spread out your little hands
and slide them together, back to back, with the palms outward, so that
the longest finger of the left hand rests on the back of the right hand
and the longest finger of the right hand lies on the back of the left
hand, you will have a
Queer Little Teeter-tarter
which will move when and how you wish. The two longest fingers form the
teeter-tarter; half of the teeter is on one side and half on the
opposite side of the fence. The fence is made by the other parts of the
hands, which, crossing each other, fit snugly and tightly, leaving the
teeter free to swing back and forth at will. Fig. 461 shows how your
hands should be placed together: the long finger marked A is half of the
teeter; the other half is on the opposite side. Move the long fingers
and watch the teeter go up and down, first one end then the other, just
like a real teeter made of a board across a fence. If you bend back both
of your wrists, the right wrist will drop while the left wrist will be
raised above it. This will bring one edge of the fence or hands toward
you, and looking down, you can see both ends of the little teeter.
[Illustration: Fig. 461.--The queer little teeter.]
You might cut out of writing-paper two small dolls and bend them so that
they will sit on the teeter. The least bit of paste on the ball of the
teeter finger of your left hand and some more on the nail of the teeter
finger of your right hand will fix the paper children securely on the
teeter, and you can make it go as fast as you please without danger of
the dolls' falling off. Fig. 462 gives the pattern for the dolls; Fig.
463 shows how to bend them, and Fig. 464 gives a little paper girl
seated on one end of the teeter.
[Illustration: Fig. 462.--Pattern of doll.]
[Illustration: Fig. 463.--Doll ready for teeter.]
Take the dollies off the teeter and let them rest for a while and watch
you build a church. Place your two hands back to back, with the ends of
the fingers of the right loosely crossing those of the left hand; then,
bring the palms of the hands together, fingers inside and thumbs outside
and lo!
[Illustration: Fig. 464.--Doll on teeter.]
[Illustration: Fig. 465.--"Here is the church,"]
[Illustration: Fig. 466.--"And here is the steeple,"]
Here is the Church
(Fig. 465). But it is without a steeple. Build one by raising the two
first fingers, without disturbing the remainder of the hands; bring the
raised finger-tips together and, "Here is the steeple" (Fig. 466). A
church, like any other building, to be of use, must have people in it,
and if we could only look inside this building we might find them; move
your thumbs apart, or "Open the doors and see all the people" (Fig.
467). There they are sitting in rows; don't you see them? Now let the
people go up-stairs. Cross your two smallest fingers on the inside,
which will bring the backs of the hands toward each other; keeping the
little fingers together, cross the third fingers, next the second, then
the first fingers. The fingers on the left hand form the stairs for the
people or fingers of the right hand to climb. Try it again, allowing the
people to ascend slowly one by one: "Here are the people climbing
up-stairs" (Fig. 468). Keep your hands loosely in the last position and
raise your right elbow; while holding that up, twist your left hand
around forward until the left thumb rests on the inside of the right
hand. Both hands will now be turned downward with the wrists uppermost.
[Illustration: Fig. 467.--"Open the door and see all the people."]
[Illustration: Fig. 468.--"Here are the people climbing up-stairs,"]
Leaving the hands in this position, turn your two elbows outward and
down, which will bring your hands up; slide your right thumb outside and
around your left thumb, the left thumb will then be the minister and,
though you cannot see them, the fingers clasped inside the hands are the
people, but you can see the thumb, preacher, standing up ready to talk
to the people, and you may say, "Here is the preacher who for them
cares" (Fig. 469).
If you want to form
A Bird's Head
of your hand, lift up the second finger of the left hand with your right
hand, and cross the lifted finger well over the back of the first finger
of the left hand. Again, use your right hand to lift the third finger of
the left hand and twist it over the second left-hand finger. The last
finger is the little one of the left hand; lap this over the left third
finger and you will have all the left-hand fingers crossed, one on top
of the other. Bring the top of the left thumb up to meet the tip of the
second left-hand finger, which will finish the bird's head. The head
does not greatly resemble that of a real bird, but we will pretend it
does, for the fun of seeing who can build the head first.
[Illustration: Fig. 469.--"Here is the preacher who for them cares."]
[Illustration: Fig. 470.--Preparing for man chopping wood.]
[Illustration: Fig. 471.--Man chopping wood.]
To make a
Man Chopping Wood,
place the inside of the little finger of the right hand on the inside of
the little finger of the left hand, and the inside of the third finger
of the right hand over the inside of the third finger of the left hand;
then bring the second and third fingers of the right hand up and over
the inside of the palm of the left hand, as in Fig. 470. Rest the tip of
the second finger of the right hand on the tip of the thumb of the left
hand. The second finger is the stick of wood. Strike the wood with the
first finger of the left hand (C, Fig. 471); raising that, bring down
the second finger of the left hand (B, Fig. 471). Keep them moving,
first one, then the other, and you will have "the man chopping wood"
(Fig. 471). It is a pity to waste the chips which always fall when wood
is being cut, so let two children, the thumb and first finger of the
right hand, pick them up. Do this by tapping the palm of the left hand
with the thumb and first finger of the right hand, while the man cuts
the wood.
The four fingers working at the same time make it quite lively, but you
will find that if the man chops fast, the children will pick the chips
very quickly, and if the man works slowly the children will not hurry
about gathering the chips. It will be very difficult for you to have the
man chop slowly when the children are eager and quick at their task. The
feat will be almost as hard as patting your chest with the left hand
while you rub the right hand back and forth over the top of your little
head. You will laugh to see the left hand rub, when you told it to pat;
the poor little left hand tries to mind, but just as soon as its twin
brother, the right hand, begins rubbing, the left hand has to stop
patting and rub too.
[Illustration: Fig. 472.--"Here are my mother's knives and forks,"]
Lay your two hands down showing the palms; lace the fingers together and
say,
"Here Are My Mother's Knives and Forks"
(Fig. 472). Of course, the fingers are the knives and forks. Turn your
hands over while the fingers remain in place, bring the wrists down and
say, "Here is my father's table" (Fig. 473). Raise the two first
fingers, bringing their tips together, and say, "Here is my sister's
looking-glass" (Fig. 474). Then raise your two little fingers and,
rocking the hands from side to side, say, "And here is the baby's
cradle" (Fig. 475).
[Illustration: Fig. 473.--"Here is my father's table,"]
There is another little finger game, which we will call
"The Blackbirds."
[Illustration: Fig. 474.--"Here is my sister's looking-glass,"]
[Illustration: Fig. 475.--"And here is the baby's cradle."]
Dampen two bits of paper and press one down tight on the nail of the
first finger of your right hand and the other on the nail of the first
finger of your left hand. The two pieces of paper are the two
blackbirds. Now hold your first fingers, on which the birds are resting,
out stiff and double up the remaining fingers; then let your father see
how well you have taught these little pet birds to mind, for they will
do exactly as you say, going and coming at your command. Place the tips
of your two first fingers on a chair, which you must pretend is a hill,
and raising first one finger to make the bird fly, then the other, keep
the pets flying up and down while you repeat these lines:
"Two little blackbirds sitting on a hill;
One named Jack and the other named Jill.
Fly away, Jack!--"
As you say the last line raise the right finger up and back over your
right shoulder; while there, quickly bend down the right finger with
Jack on it and stiffen out the second finger in its place. Bring your
right hand down with Jack hidden and put the empty second finger on the
chair instead of the first. The bird will be gone and lonesome little
Jill will perch on the hill with no playmate, so you must let her go
too. Repeat these words, "Fly away, Jill," and make her disappear as you
did Jack, bringing down the empty second finger of your left hand and
your father will find that both birds have gone; but you may make them
return by saying, "Come back, Jack," as you raise your right hand and
close down the second finger while you straighten out the first and
bring it again to the chair with Jack upon it. Call Jill also that Jack
may have some one to sing to, and as you say, "Come back, Jill," bend
down the second finger and straighten out the first one with Jill on it,
and let her fly down to Jack. You may repeat the lines again and again,
making the pets come and go.
You can play
"Chin Chopper Chin"
with your sister, but you must be careful and touch her face very
lightly. As you say "Knock at the door," softly tap her forehead, and at
"Peep in," gently raise the outside of her eyelid by pushing the top of
your finger upward on her temple near the eye, but not too near, as you
might accidentally strike the eye. "Lift up the latch" by slightly
raising the tip of her nose with the end of your finger. At "Walk in"
gently place your finger between her lips; end the play by saying "Chin
Chopper Chin" as you lightly tap several times under her chin.
Were I with you now we would play
"Build the Tower."
[Illustration: Fig. 476.--The famous five little pigs.]
I would place my right hand down flat on my lap with the back of the
hand uppermost, and say to you, "Lay your right hand out flat on top of
mine;" then I would place my left hand over yours, and you would cover
mine with your left hand. That would make four hands all piled up in a
tower; but the moment your left hand came down on top of mine I would
pull my right hand out from under the tower and lay it on top, covering
your left hand; then you would hurry to take your right hand from under
the pile and place it on top. So we would continue to play, always
drawing the hand out from the bottom of the pile and placing it on top
until we were able to build the tower very rapidly, and, when either of
us took too long a time to draw her hand out from under the pile, a
forfeit would have to be given to the other.
[Illustration: Fig. 477.--"This little pig went to market,"]
[Illustration: Fig. 479.--"This little pig had roast beef,"]
[Illustration: Fig. 478.--"This little pig stayed at home,"]
[Illustration: Fig. 480.--"This little pig had none,"]
[Illustration: Fig. 481.--"This little pig said wee, wee, all the way
home."]
[Illustration: Fig. 482.--Ring of paper on pig.]
Ask your older sister or brother to trace the
Famous Five Little Pigs
(Figs. 477, 478, 479, 480, 481) on unruled white writing-paper and cut
them out. The strip of paper extending from one side of each little pig
must be made into a ring (Fig. 482) to fit the end of one of the five
fingers on your right hand (Fig. 476). Begin with "This little pig went
to market" (Fig. 477) for the thumb, next, "This little pig stayed at
home" (Fig. 478) for the first finger, then "This little pig had roast
beef" (Fig. 479) for the second finger, and "This little pig had none"
(Fig. 480) for the third finger; to the little finger belongs (Fig. 481)
"This little pig said wee, wee, all the way home." Adjust the bands
until they fit perfectly, then paste the end of each band under the free
side of the attached pig. If the bands are too long they can be cut to
proper length. Fig. 482 gives the wrong side of a pig with band curled
around and pasted on back of pig, and Fig. 476 shows how the Five Little
Pigs will look when on your fingers. If you can give each little pig a
flat wash of pink water-color paint, and when dry ink the outlines, they
will appear more real. After you have played with the wee pigs, try
The Children's Heads
(Figs. 483, 484, 485, 486, 487), and ask some one to fold paper into
hats for your finger-heads, as shown in Figs. 488, 489, 490, 491, 492.
You might ask to have the various children's heads painted, giving each
girl and boy different colored hair--black, brown, red, deep yellow,
and pale yellow. If the hats are of colored tissue-paper the effect will
be fine, especially if a bit of gay cloth be wound around each finger
for clothing. Then the five alive little dolls can bow to each other and
dance.
[Illustration: Fig. 483.--"I am sleepy."]
[Illustration: Fig. 488.--Sleepy boy's hat.]
[Illustration: Fig. 484.--"Where is my hat?"]
[Illustration: Fig. 489.--Crying boy's hat.]
[Illustration: Fig. 485.--"I think you are funny."]
[Illustration: Fig. 490.--Hat for little girl who wants to play.]
[Illustration: Fig. 486.--"Will you play with me?"]
[Illustration: Fig. 491.--Laughing boy's hat.]
[Illustration: Fig. 487.--"I'll give you a good time."]
[Illustration: Fig. 492.--Little girl's hat.]
[Illustration: Arranging the flowers.]
CHAPTER XXV
HOW TO ARRANGE FRESH FLOWERS
I THINK one must really love the flowers in order to arrange them
perfectly. If you love them you will feel in sympathy with them, and
that alone will help you to understand what is needed to bring out and
emphasize their exquisite beauty. Yet some knowledge of the rules that
govern the best arrangement of flowers is necessary also, for it saves
many experiments and makes the pretty task much more enjoyable and
satisfactory.
You may crowd a room with the rarest and most expensive flowers, but so
arrange them that more than half of the effect of their beauty is lost;
and you may have only one flower, but if it be the right kind of flower
in the right kind of vase, and placed in just the right spot, your room
will appear abundantly decorated and be filled with the beauty and
sweetness of the one blossom.
In a house where good taste always prevailed there stood, one day, on
the uncovered top of a grand piano a tall, colorless, transparent vase
which held just one long-stemmed American Beauty rose. The queenly
flower with its stem showing through the glass and the few green leaves
attached were all reflected in the highly polished piano, and the effect
of the colors reproduced in deepened, darkened tones by the rich
rosewood was indescribably lovely. There were no other flowers and,
though the room was a large one, none were needed. One's eyes fell
immediately upon the rose when entering, and lingered there with no wish
to be drawn away by lesser attractions.
It was not merely a happy accident that placed the one flower in its
prominent and effective position, but the experience and unerring taste
of the daughter of the house.
Imagine a Number of Nasturtiums,
with no green leaves to relieve them, packed tightly into the neck of a
brightly colored porcelain vase, and set primly on a stiff mantel-piece
amid other prim ornaments. Then think of a clear glass rose-bowl
standing on a table, where lie the newest magazines or books, filled and
running over in riotous beauty with the same nasturtiums in their free,
untrammelled state. The viney stems with leaf, bud, and blossom drooping
to the table or hanging over its edge, and the other blossoms standing
up in sweet liberty with room to move about if they will. Can you
hesitate between the two arrangements? Yet I found the first in a
flower-lover's home.
Do Not Crowd the Flowers
Few flowers look well packed tightly together and all are better for
loosening up a trifle. Purple violets are almost the only flowers that
will bear crowding, though many think wild daisies adapted to this
arrangement, and spoil their beauty by making them into hard, tight
bunches. A good rule is to follow Nature as far as possible in this
direction. Flowers that grow singly and far apart, should not be
crowded, but those which grow thickly clustered may be more closely
massed.
It is almost always well to
Combine Green Leaves with the Flowers
although there are some that do not need this relief. Closely packed
flowers should have no foliage; chrysanthemums, one species of the
brilliant poppy and the sweet-pea need none, but there are few others
that do not show better amid green leaves.
While flowers of different varieties seldom look well together, you may
sometimes add much to its beauty by giving a flower the foliage of
another plant, and a trailing green vine will often be just the touch
needed to soften a stiff arrangement.
Asparagus fern is an airy and feathery green, but you must use it with
discretion, as it is suitable only for fragile, delicate flowers in very
loose arrangements. Other ferns, though often used, do not really
combine well with any flowers, they are too distinctly another species
of plant and hold themselves aloof in their separateness. The wild
oxalis, wood-sorrel, or, as the children call it, sour grass, has pretty
delicate leaves that look well with sweet-peas and other small flowers.
As a rule, a flower's own foliage suits it best, however, and you may be
certain not to offend good taste by keeping to it.
Do Not Combine Flowers
that are different in kind or color, it can seldom be done successfully.
To be sure, a mass of sweet-peas in all their variety of color is very
lovely, but even they are more effective when separated into bunches
each of one color. White flowers sometimes are the better for a touch
of color, and white and yellow roses make a pretty combination, or white
and delicate pink, but the strong contrast of white and dark red is not
pleasing. Lilies should always have a vase to themselves, and the
Ascension lily must under all circumstances stand alone. Neither the
quality of the flower nor the associations connected with it permit of
its being grouped with any other.
Vases
In the careful arrangement of flowers your object should always be to
bring out their whole beauty, and let all else be secondary to that. One
vase, though beautiful in itself, may not be at all suitable for holding
flowers, while another, of no value as an ornament, will display them to
their best advantage.
Colorless Transparent Vases
are always safe and in many cases absolutely necessary. Give your roses
transparent vases or bowls whenever possible. If they have long stems,
tall, slender vases, if their stems are short the clear glass rose-bowls
are more suitable. Short-stemmed flowers do not look well in tall vases,
and a flower should always stand some distance above the top of the
vase. Someone gives as a rule that the height of long-stemmed flowers
should be one and one-half times the height of the vase, but when the
vase contains several, of course the height must vary.
The Vases and Bowls
need not be expensive, for they are now in the market at extremely low
prices. Knowing what to choose you can find for a very moderate sum
tall, slender vases with almost no markings, that will show the long
stem and so display the entire loveliness of the rose. Fig. 493 is one
of the least expensive of these vases. Even the colorless glass
olive-bottle, shaped like Fig. 494, makes a pretty and suitable vase,
and an ordinary fish-globe displays the rose-stems to far greater
advantage than a cut-glass rose-bowl. A clear glass water-pitcher
without tracing of any kind is another appropriate receptacle for these
lovely blossoms. When the stems of any flowers have beauty of their own,
they should never be hidden in opaque vases. So it is not for roses
alone these transparent vases are suitable.
[Illustration: Fig. 493.--An inexpensive clear glass vase.]
[Illustration: Fig. 494.--The olive bottle.]
Colored Vases and Jars
will sometimes enhance the brilliancy of flowers of contrasting or
complementary colors. A pale-yellow jar will intensify the richness of
the purple of the violet, and a soft green will harmonize with it most
delightfully. The neutral gray often found in Japanese ware will not
clash with any color, and is especially suited to brilliant red flowers;
yellow flowers in a dark-blue jar are quite effective.
Do not use ornate or highly decorated vases. No design should conflict
with the natural flowers, and the shape of the vase should also be
simple.
Cylindrical jars, like Fig. 495, are suited to heavy clustering flowers
like the lilac and also to the large chrysanthemums. Fig. 496 is another
good shape; but avoid vases like Fig. 497 with a neck so small it will
admit only one or two stems, while the bowl is much too large for the
few flowers standing stiffly erect.
[Illustration: Fig. 495.--A cylindrical jar.]
[Illustration: Fig. 496.--Another good shape.]
[Illustration: Fig. 497.--Avoid vases like this.]
Place short-stemmed flowers, like the pansy and violet, in low jars or
bowls, and it is not necessary to have them lie flat on the water. A
friend of mine has invented for her own use this little
Flower Lifter
which holds the flowers above the water while allowing nearly the whole
of their short stems to be immersed.
With an old pair of shears, or a wire-cutter, snip off a dozen or more
pieces of copper wire of varying lengths between ten inches for the
longest and five for the shortest piece. At each end of every wire make
a loop like Fig. 498; bend the loops over (Fig. 499), then fasten all
the pieces to a brass curtain-ring by twisting each piece once around
the ring at the centre of the wire (Fig. 500). Bunch the wires together
and stand the lifter in a bowl of water; put your flower-stems through
the wire loops, as in Fig. 501, and the wires under water will look like
the flower-stems, the loops being hidden by the blossoms.
[Illustration: Fig. 498.--At each end of the wire make a loop.]
[Illustration: Fig. 499.--Bend the loops over.]
Symmetry
is pleasing and necessary in many things, but not in the grouping of
flowers. You must strive for apparent carelessness in effect while
taking the utmost care, and for irregularity and naturalness rather than
stiff, formal arrangement. A bowl of flowers need not look, as it
sometimes does, like a dish for the table, served with the
confectioner's symmetrical decorations; it should rather seem as if the
sweet blossoms were growing in a bed of their own.
If you can take
Wild Flowers
up in a clump, roots and all; they will look far better than the cut
flowers arranged in vases, and the roots may afterward be planted in
your wild-flower garden.
[Illustration: Fig. 500.--Fasten the pieces to a brass curtain-ring.]
Bloodroot will keep a long while if the roots are not disturbed, and one
of the loveliest flower-pieces we ever had in the house was a gray-green
Japanese bowl filled with the growing bloodroot. The blossoms stand
closely together and a small bowl will hold quite a number.
[Illustration: Fig. 501.--Put the flower stems through the wire loops.]
Wood anemones, hepaticas, and wild violets are all adapted to this
temporary transplanting. I have kept ferns in this way for several
weeks and the centre-piece for the table in our mountain camp was at one
time a clump of maiden-hair fern in a small china bowl, which lasted
fresh and perfect many days. As there can be comparatively little soil
with the roots of these wild flowers, they must be kept very damp all
the while, and ferns, especially, will do best when set in a pan or bowl
of water.
CHAPTER XXVI
OPEN-AIR PLAYHOUSES
IN many places in the South the children have most beautiful material
with which to build out-of-door playhouses. Large green palm-leaves grow
close to the ground and point their slender fingers out in many
directions as though holding up their outstretched hands, asking the
girls and boys to come and take them. These palms, together with small,
full-leaved live-oak twigs, Cherokee roses, trailing vines, and long
gray moss, are fashioned into bouquets and tied in great bunches to the
trees with strings made of strips of palms. Four trees growing near
together are usually selected as the boundary lines of the
Florida Playhouse,
their branches overhead serving as a roof. The walls are open, allowing
a free passage of air and plenty of light (Fig. 502).
Similar playhouses may be built by children in any spot where trees grow
within a short distance of each other. In place of tropical decorations
the young builders can use the most ornamental bouquets within reach,
selecting foliage and flowers which will keep fresh at least for a few
hours.
If trees are not available, make the open-air
[Illustration: Fig. 502.--Florida playhouse.]
[Illustration: Fig. 503.--Framework for umbrella playhouse.]
Playhouse of a Large Umbrella.
Tie a strong piece of twine securely to the end of each of the ribs and
tie the loose end of each piece of twine around the notch cut in a
pointed wooden peg a short distance from its top. This will give an
umbrella with a fringe of dangling pegs. Open the umbrella and fasten
the handle securely to a long, sharp-pointed stick, binding the two
together with strong twine. First run one end of the twine down the
length you intend binding, allowing enough to tie at the bottom; then
commence binding at the top over all three--the umbrella handle, the
twine, and the stick. Wind the string around very tight, and when you
reach the bottom, tie the twine you hold to the loose end of the length
under the wrappings. Examine carefully and be sure the handle does not
slide or twist on the stick; then push the point of the stick down into
the ground at the place decided upon for the playhouse. If you are not
strong enough to erect the house by yourself, ask some companions to
lend a hand and help sink the stick firmly in the earth. When this is
accomplished stretch out each length of twine in turn and drive the peg
in the ground (Fig. 503). You will need a wide ruffle on the edge of the
umbrella of some kind of material full enough to reach around the outer
circle of pegs on the ground beneath its lower edge. The stretched twine
will hold the ruffle out, forming an odd little playhouse with a smooth,
round roof and drapery walls. Plait the ruffle and pin it on the
umbrella with safety-pins; also fasten it at the bottom to each peg
(Fig. 504). Newspapers pasted together and made of double thickness may
be used for the ruffle, if more convenient, but be careful in handling
the paper, as it tears readily. The longer the pole the higher and
larger will be your house, for the strings also must be longer.
[Illustration: Fig. 504.--Umbrella playhouse.]
[Illustration: Fig. 505.--Frame for wigwam.]
When you want to play Indian and pretend you live in the Wild West, your
home must be
A Wigwam
Get a dozen slender poles about as large around as a broom-stick, and
twice and one-half as tall as yourself. Tie three poles securely
together near the tops and stack the others around the first three as a
foundation or framework for the house. Settle each pole firmly in the
ground, forming a circle, and bring the tops together at the centre,
where each pole should form a support for the others, and all should
lean against and across each other; then bind all the poles together at
the top of the framework (Fig. 505). Covers of real wigwams are usually
cut to fit the framework and often decorated in savage fashion.
Sometimes they are composed of skins of wild beasts. If you can make
yours in Indian style, it will be very realistic and lots of fun. Find
some inexpensive dull-brown or gray outing cloth or Canton flannel and
sew several lengths together. Fig. 506 gives the pattern of a wigwam
covering, and the dotted lines enclosing B-B-B-B show how the breadths
are sewed together. C is the chimney-opening where the poles come
through at the top. O is one of the flaps held back with an extra pole;
D, one of the lower front sides folded over for the door-way. The dotted
line A indicates the slit to be cut for the chimney-flap. The two
chimney-flaps can be brought together for protection when necessary.
Along the curved edge of the blank side of the diagram (Fig. 506) holes
are shown for the wooden stakes to be used in pinning the wigwam to the
ground. The holes must be continued along the entire edge of the
covering.
[Illustration: Fig. 506.--Cover for playhouse wigwam.]
Cut Your Wigwam
similar to diagram (Fig. 506), making an immense cape-like affair. Try
the covering over the framework of poles; if it fits fairly well, hem
the raw edges and bind the small, round holes cut at intervals in the
lower edge, to prevent them from tearing. When finished tie each of the
two top points to a separate pole. Ask someone to assist you and let the
two poles be raised at the same time to the top of the Wigwam framework;
in this way the entire upper part of the covering may be hoisted in
place; then the sides can be spread out and adjusted. Indians, having no
chimneys, always leave quite a large opening at the top of their wigwams
to serve this purpose; the space also admits light into their houses.
Commence near the top at the place where the flaps are cut, and pin the
fronts together with large thorns or sharp-pointed slender sticks.
Fasten the fronts to within a few feet of the ground. The opening left
at the bottom takes the place of a door. Sharpen as many wooden pegs as
there are holes in the bottom of the covering and push a peg through
each hole into the ground, bending the pegs outward a little in order to
keep the tent-like covering from slipping off the tops of the pegs. The
two poles attached to the chimney points must now be carried backward on
each side of the wigwam, to be brought forward again when desired (Fig.
507). When other material is lacking, shawls, bedspreads, or sheets
pinned together may be used for your wigwam-cover.
[Illustration: Fig. 507.--Your wigwam playhouse.]
[Illustration: Fig. 508.--African hut playhouse.]
[Illustration: Fig. 510.--Framework ready for floral tent.]
[Illustration: Fig. 509.--Binding branch on forked stick.]
[Illustration: Fig. 511.--Building the floral tent playhouse.]
With a large-sized Japanese umbrella, a breadth of cloth, a stick, and
some straw you can make an