Winter
CHAPTER XXIX.
CHRISTMAS FESTIVITIES AND HOME-MADE CHRISTMAS GIFTS.
AMONG all the days we celebrate Christmas stands first and foremost in our thoughts, the holiday of holidays. Coming in the season of frost and snow it brings a cheering warmth to our hearts that defies the icy atmosphere, and the feeling of kindliness and good will toward everyone, which it awakens, seems in response to the words the angels sang on our first Christmas, “On earth peace, good will toward men.”
Christmas is not merely a day set apart for feasting, giving and receiving presents, and for merrymaking. The day on which we celebrate the birth of our Lord is a time of rejoicing for rich and poor alike, and Christmas is Christmas still, although we may receive and can offer no presents and our feast is humble indeed.
Feeling this, let us keep the Christmas festival as it should be kept, right happily and merrily. Let us decorate our homes to the best of our ability in honor of the day, and supply all deficiencies with happy hearts and smiling faces.
A friend of the writer’s once remarked, as she busied herself with some Christmas-cards she was preparing to send to the hospitals, “I always like to tie a sprig of evergreen on each card; it looks and smells so Christmasy.” And so it does. Even a few pieces of evergreen, tacked over doorways or branching out from behind picture-frames, give a room a festive, Christmas-like appearance that nothing else can, and as evergreens are so plentiful here in America there are few houses that need be without their Christmas decorations. Holly, too, with its brilliant red berries peeping cheerily forth from their shelter of prickly leaves, adds brightness to the other adornments, and when the white-berried mistletoe can also be obtained all the time-honored materials for the Christmas decorations are supplied.
Though we are Americans, our ancestors came from many nations, and we have therefore a right and claim to any custom we may admire in other countries. We may take our Christmas celebrations from any people who observe the day and combining many, evolve a celebration which in its variety will be truly American.
From Germany we have already taken our Christmas-tree; from Belgium our Christmas-stocking; Santa Claus hails from Holland, and old England sends us the cheery greeting, Merry Christmas!
The custom the French children have of ranging their shoes on the hearth-stone on Christmas-Eve for the Christ-child to fill with toys or sweetmeats, is too much like our own Christmas stocking to offer any novelty. The Presepio, or Holy Manger, of the Roman Catholic countries, which represents the Holy Family at Bethlehem, with small wooden or wax figures for the characters, is more suitable for the church celebration, but in Sweden and Denmark they have a peculiar method of delivering their Christmas-presents which we might adopt to our advantage, for it would be great fun to present some of our gifts in their novel manner.
Instead of describing this custom we will tell you just how to carry it out and will call it the
Julklapp,
which in Denmark and Sweden means Christmas-box or gift.
Before Christmas-Day arrives all the presents intended for the Julklapp delivery must be prepared by enclosing them in a great many wrappings of various kinds, none of which should in any way suggest their contents.
If one of the presents is a pretty trinket, wrap it up in a fringed tissue paper, such as is used for motto candy or sugar-kisses; place it in a small box, and tie the box with narrow ribbon; then do it up in common, rough brown paper, and wrap the package with strips of cloth until it is round like a ball; cover the ball with a thin layer of dough, and brown in the oven. Pin it up in a napkin, wrap in white wrapping paper and tie with a pink string.
The more incongruous the coverings, the more suitable they are for the Julklapp. You may enclose others gifts in bundles of hay, rolls of cotton or wool, and use your own pleasure in choosing the inner wrappings. It will be the wisest plan to always use something soft for the outside covering, the reason of which you will understand when the manner of delivery is explained. Each package must be labelled with the name of the person for whom it is intended, and if an appropriate verse, epigram, or proverb be added it will be the cause of fresh mirth and laughter.
The Julklapp delivery may, and probably will commence very early Christmas morning, for the little folks, always early risers on this day, will no doubt be up betimes, and ready for the business of the day. The first intimation the less enterprising members of the family will have that Christmas has dawned, will be a loud bang at the chamber door, followed by a thump of something falling on the bed or the sleeper’s chest. Then springing up and opening startled eyes, from which all sleep has been thus rudely banished, one will probably discover a large bundle of something on the bed or lying on the floor close beside it. It will be useless to rush to the door to find from whom or where this thing has come, for although a suppressed giggle may be heard outside the door just after feeling the thump, nothing will be met upon opening it, but dead silence, and nothing seen but the empty hall.
At any time during the day or evening the Julklapps may arrive and when all look toward the door, as a loud rap is heard, whizz! something comes through the window and lands in the middle of the room. A sharp tap at the window is followed by the opening and closing of a door, and a bundle of straw, wool, paper, or cloth, as the case may be, lands in someone’s lap. In short the Julklapps may come from any and every direction, and when one is least expecting them, and so the surprises and excitement are made to last until, weary with the fun and gayety of the day, the tired merrymakers seek their beds on Christmas-night.
If it has not been made plain enough who, or what causes the mysterious arrivals of the Julklapps we will say that the whole household join in the conspiracy, and the packages come from the hands of each of its members. The
Polish Custom
of searching for Christmas gifts, which have previously been hidden in all manner of places in the house, is one the children will delight in, and one that, introduced at a Christmas party, will provoke no end of merriment and fun.
The Bran Pie
is an English dish, but is quite as well suited to the American taste. It is an excellent means of distributing trifling gifts and may be new to some of you.
Use a large, deep brown dish for the pie. Put in it a gift for everyone who will be at the Christmas dinner, and cover them over thickly with bran, ornament the top by sticking a sprig of holly in the centre. After dinner have the bran pie put on the table with a spoon and plates beside it, and invite everyone to help her or himself, each spoonful bringing out whatever it touches. Comical little articles may be put in the pie, and the frequent inappropriateness of the gift to the receiver of it, helps to create laughter.
The Bran Pie should be the secret of not more than two persons, for, like all things pertaining to Christmas gifts, the greater the surprise, the more pleasure there will be in it.
The Blind Man’s Stocking
may also be used for small gifts, or it may hold only candy and bonbons. Make the stocking of white or colored tissue-paper like the pattern given in Fig. 214.
Fig. 214.—Paper Stocking.
First cut out one piece like the pattern, making the foot thirteen inches long and six inches from the sole to the top of the instep, and the leg of the stocking sixteen inches from the heel to the top; then cut another, one inch larger all around than the first. Place the two together fold the edge of the larger over the smaller piece and paste it down all around except at the top (Fig. 214). Fill the stocking with small gifts or sweetmeats, tie a string around the top to keep it fast, and suspend it from the centre of a doorway. Blindfold each player in turn, put a long, light stick in her hand, a bamboo cane will do, and lead her up within reach of the stocking and tell her to strike it. When anyone succeeds in striking the stocking and a hole is torn in it, the gifts or candy will scatter all over the floor to be scrambled for by all the players. Each player should be allowed three trials at striking the stocking.
Young children are always delighted with this Christmas custom, and the older ones by no means refuse to join in the sport.
Home-made Christmas Gifts.
Fig. 215.—Chamois for Eye-glasses.
That the children may do their share toward filling the Christmas stockings, adding to the fruit of the Christmas tree, helping with the Julklapps, contributing to the Bran Pie or Blind Man’s Stocking, we give these hints on home-made Christmas gifts, all of which are inexpensive and easily constructed.
Chamois for Eye-glasses.
Cut out two circular pieces of chamois-skin about the size of a silver half-dollar, bind the edges with narrow ribbon, and fasten the two pieces together with a bow of the same. Print with a lead pencil on one piece of the chamois-skin, “I Make all Things Clear,” and go over the lettering with a pen and India ink, or you may paint the letters in colors to match the ribbon. Fig. 215 shows how it should look when finished.
Glove Pen-wiper.
Cut four pieces from thin, soft chamois-skin, like the outline of Fig. 216. Stitch one with silk on the sewing-machine, according to the dotted lines. Cut two slits at the wrist through all the pieces as shown in Fig. 216, and join them together by a narrow ribbon passed through the openings, and tied in a pretty bow, Fig. 217.
| Fig. 216.—Pattern of Pen-wiper. | Fig. 217.—Pen-wiper. |
Sachet.
Fig. 218—Sachet.
Open out an envelope, and cover it with white or cream-colored silk, refold carefully, joining the edges with stiff mucilage, using as little as possible. In place of a letter enclose a layer of cotton sprinkled with sachet-powder, fasten the envelope with sealing-wax as in an ordinary letter. Address it with pen and ink, to the one for whom it is intended. Print on it, like a stamp, “Christmas, December 25,” and fasten a cancelled stamp, taken from an old letter, on one corner. The finished sachet is shown in Fig. 218.
A Book-mark.
Fig. 219—Book-mark.
Cut out the corner of a full-sized, linen-lined envelope, making the piece four inches long, and one and a half inches wide. Write on one side with pen and ink, or paint the lettering in color, “A Fresh Mind Keeps the Body Fresh.” The book-mark will fit over the book-leaf like a cap, and is excellent for keeping the place. Fig. 219.
A Scrap-bag.
Scrap-bags have been fashioned in many shapes and sizes, and of all sorts of material, still it remains to be shown in what manner Christmas cards may add in decoration and beauty to these useful articles. From your collection choose four cards of the same size, then on a piece of bright silk or cloth sew the cards at equal distances apart, as in Fig. 220, stitching them around the edges on the sewing-machine. At the dotted line fold over the top of the bag as if for a hem, making the narrow fold lap just cover the upper edge of the card; stitch this down to form a binding.
Fig. 220.—Pattern of Scrap-bag.
Fig. 221.—Scrap-bag.
After joining the bag at the dotted lines on the sides, gather the bottom up tight and fasten to it a good-sized tassel; then sew on each side a heavy cord with tassels placed where the cord joins the bag, as seen in Fig. 221. The cord and tassels of the example were made of scarlet worsted.
Fig. 222.—Pattern of Turtle.
Fig. 223.—Walnut-shell Turtle.
A Walnut-shell Turtle.
For an ornament to be used on a pen-wiper, or simply as a pretty toy, the little turtle is appropriate. It is made of half an English walnut, which forms the turtle’s back or shell, glued on a piece of card-board cut after the diagram given in Fig. 222. Paint the card-board as nearly as possible the color of the shell, and the eyes black. When perfectly dry glue the shell securely to the card-board, bend down and out the feet a little, in order to make the turtle stand; bend the head up, and the tail down, as in Fig. 223.
Here are some home-made toys which the children can make to give to one another.
Miss Nancy.
Miss Nancy (Fig. 226) is fashioned from a piece of pith taken out of a dried cornstalk. Cut away the stalk until the pith is reached; then take a piece of the pith, about six inches long and whittle out one end to resemble a head as in Fig. 224, draw a face on the head with pen and ink, and glue half of a lead bullet on the lower end of the pith (Fig. 225). Make Miss Nancy’s costume of a skirt, composed of some bright-colored Japanese paper, a shawl made of a piece of soft ribbon or silk, and a cap of white swiss. The peculiarity of the little lady is that she insists upon always standing upright, no matter in what position she is placed.
| Manner of Making Miss Nancy. | Fig. 226.—Miss Nancy. |
Fig. 227.—Paper Ball.
A Soft Ball.
A very pretty and safe return ball for the little ones to play with may be made of paper (Fig. 227), which, being soft, precludes all danger of “thumps and bumps.”
Take a piece of newspaper, and, using both hands, roll it and fold it into something of the required shape. Then place it in the centre of a square piece of bright-colored tissue paper; take the four corners of the tissue-paper up to the centre of the top of the ball, fold them over, also fold and smooth down what fulness there may be; next place a small round piece of gold, silver, or some contrasting colored paper on the top of the ball. Secure all by winding a string around the ball, making six or eight divisions; tie a piece of elastic to the string where it crosses on the top of the ball, then paste over this a small artificial flower. In the other end of the elastic, make a loop to fit over the finger, or tie on it a small brass ring.
If a tiny sleigh-bell be placed in the centre when the ball is being made, it will give a cheerful little tinkling noise whenever the ball is thrown.
A Lively Rooster.
To make the rooster (Fig. 228), cut out of stiff cardboard Figs. 229, 230, 231, and 232. Tie on Figs. 229 and 230 each a piece of string seven and one-half inches long. Then attach the head and tail to the body by running a string through holes at A in Fig. 230 and A in Fig. 231, and another through B in Fig. 229 and B in Fig. 231. Bring the head and tail up close to the body and fasten the ends of the strings down securely with court-plaster or pieces of paper pasted over them. Bend Fig. 231 at dotted line C; then on the space marked E, paste the portion of Fig. 232 marked E after bending it at dotted line O. Again bend Fig. 232 in the same direction at dotted line P, and paste it across the space marked P, on Fig. 231. When all is fastened together, and the paste perfectly dry, paint the rooster to look as life-like as possible. Tie the strings of Figs. 229 and 230 together four inches from where they are fastened on, then again about three inches lower down, and attach a weight to the ends. A common wooden top, with a tack in the head (Fig. 233), will answer the purpose nicely. To bring the rooster to life, place him on the mantel-piece, with a book serving as a weight on the projection of Fig. 232, swing the top and he will move his head and tail in the most amusing manner.
| Fig. 228.—The Rooster. | Pattern of Rooster. |
Fairy Dancers.
Fairy Dancers.
Fig. 234.—A Fairy Dancer.
Fig. 235.—Pattern of Fairy Dancer.
Among the gifts made by little hands, a box, containing a set of fairy dancers, will be a most novel and welcome addition. These little figures, when placed on the piano, will move as soon as the keys are touched, dancing fast or slow in perfect time to the music. They may all be made to resemble fairies as in Fig. 234, or a famous collection of figures in the costumes of different periods in history will be equally pretty and perhaps more interesting. Ladies in kirtles and tunics, gentlemen in slashed doublet and hose of the Tudor times, Queen Elizabeth’s starched ruffs and farthingales, etc. All these dresses can be more easily copied from pictures of the period than from any written description of them. The materials used for the costume must be of the lightest kind, for a heavy dress will weigh down the dancer and hamper its movements. To make the fairy (Fig. 234) trace Fig. 235 on cardboard and cut it out, sew a piece of bonnet-wire down the back, as shown in diagram. Mark the slippers on the feet with ink or black paint, select a Christmas or advertising card representing a child, with a head of a suitable size, cut the head out and paste it on the fairy.
| Fig. 236.—Pattern of Chinaman |
Fig. 237. Fig. 238. Chinaman’sQueue. | Fig. 239.—The Chinaman. |
Fig. 240.—Chinaman’s Sacque.
Fig. 241.—Pattern of Chinaman’s Hat.
Fig. 242.—Chinaman’s Hat.
Gather two short skirts of tarlatan, make a waist of the same, sew with a few stitches to the doll, and cover the stitches with a sash of bright colored tissue paper; add a strip of tarlatan for a floating scarf, gluing it to the uplifted hands. Bend back the piece of cardboard projecting from the foot, and glue to it a small piece of bristle brush. The wire on the doll should be long enough to pass tightly around the brush, thus making it more secure.
If you would like to have the Chinaman (Fig. 239) in your troupe of dancers, trace on cardboard Fig. 236, draw a face with slanting eyes, or paint it; then take several strands of black thread and tie them together in the centre with another piece of thread (Fig. 237), bring the ends down together (Fig. 238), braid them and sew the braid to the back of the Chinaman’s head (239). Cut a loose sacque from pattern Fig. 240, fold at the waved lines and sew together at the dotted lines; cut an opening for the head as seen in pattern. Make the hat of dark green paper cut in the form of Fig. 241, and crimp it from the centre (Fig. 242). Sew the hat to the back of the Chinaman’s head, bend the cardboard projection at the feet and glue it to a piece of brush.
| Butterfly Pattern. | Butterfly. |
Butterflies of brilliant hues, all hovering and circling, may take the place of the fairies, or they may mingle with them in the dance, presenting a scene indeed fairy-like. To make a butterfly, trace the pattern given in Fig. 243, on brilliantly colored paper. Form a body by rolling a small piece of beeswax between the fingers until it assumes the desired shape (Fig. 244); then attach the wings to the body by softening the wax and sticking them to it. Wax a piece of black thread to stiffen it, and make a knot in each end (Fig. 245), bend this in the middle and stick it on to the head to form the antennæ (Fig. 246). Fasten one end of a very fine wire securely in the middle of the wax body, and wrap the other end around a small piece of brush as seen in Fig. 247. A number of these butterflies placed on the pianoforte will move, bend and sway with the music as if endowed with life.
Toys, also, which are small and light enough, can be made to “trip the light fantastic” in time to the music.
Select those most suitable and glue them to pieces of brush in the way described for the other dancers.
The children, generous little souls, always long to do their part towards making Christmas presents, and we hope that the suggestion we have offered will help them to manufacture, without other aid, many little gifts which their friends will prize the more highly for having been made by the loving little hands.
CHAPTER XXX.
AMUSEMENTS AND GAMES FOR THE CHRISTMAS HOLIDAYS.
A WINTER passed in-doors would be irksome indeed for a healthy, hearty girl, and even the most delicate are the better for an outing now and then. The keen northwest wind, the biting frosts, the crisp atmosphere and the glistening ice and snow are not without their attractions, and we hope that no American girl will neglect the opportunities this time of the year affords for healthy, enjoyable out-door pastime. It is well to follow the example of our Canadian sisters, and, clad in garments warm and appropriate, indulge in coasting, tobogganing, skating, sleighing, and walking.
The country, wrapped in its winter mantle, is very attractive. Many of our small animals and birds that city people are apt to associate only with a summer landscape, are to be found abroad in mid-winter, and upon a bright sunny day the birds are not only to be seen, but heard twittering and even singing in the hedges; they do not feel the cold and are enjoying themselves heartily. The reason the birds and wild creatures are so comfortably content, is because they are prepared for the weather, their clothing is not only soft and warm, but fits them perfectly, without interfering with their movements. Take a lesson from them, girls, dress as becomingly as you choose, the birds always do that, but do not wear thin-soled shoes or anything that is uncomfortable; wrap up warm and you can enjoy yourself out of doors in the coldest weather just as well as the birds. The cold winds will only bring the roses to your cheeks, and the keen, invigorating air, health and suppleness to your body.
We do not think any person ever learned to skate, coast, or walk on snow-shoes from reading the directions that can be given in a book. It is for that reason we have no chapter devoted to these sports and not because we do not believe in, and enjoy them, too. Therefore we will direct our attention to indoor sports, for they can be learned in this way and are quite as important as the others in filling out the list of winter amusements.
There are a great many days in winter when it is so stormy and disagreeable out-doors, one is glad enough to have the shelter of a roof and the warmth of a fire; these are the days and evenings when in-doors games are in demand, and during the holiday season, when work has been put aside, and you have nothing to do but enjoy yourself, any new diversion is always welcome. It is here then that we will insert the
New Game of Bubble Bowling.
When the game of Bubble Bowling was played for the first time, it furnished an evening’s entertainment, not only for the children, but for grown people also; even a well known general and his staff, who graced the occasion with their presence, joined in the sport, and seemed to enjoy it equally with their youthful competitors. Loud was the chorus of “Bravo!” and merry the laugh of exultation when the pretty crystal ball passed safely through its goal; and sympathy was freely expressed in many an “Oh!” and “Too bad!” as the wayward bubble rolled gayly off toward the floor, or, reaching the goal, dashed itself against one of the stakes and instantly vanished into thin air.
Bubble Bowling.
The game should be played upon a long, narrow table, made simply of a board about five feet long and eighteen inches wide, resting upon high wooden “horses.” On top of the table, and at a distance of twelve inches from one end, should be fastened in an upright position, two stakes, twelve inches high; the space between the stakes should be eight inches, which will make each stand four inches from the nearest edge of the table. When finished, the table must be covered with some sort of woollen cloth; an old shawl or a breadth of colored flannel will answer the purpose excellently. Small holes must be cut at the right distance for the stakes to pass through. The cloth should be allowed to fall over the edge of the table, and must not be fastened down, as it will sometimes be necessary to remove it in order to let it dry. It will be found more convenient, therefore, to use two covers, if they can be provided, as then there can always be a dry cloth ready to replace the one that has become too damp. The bubbles are apt to stick when they come upon wet spots, and the bowling can be carried on in a much more lively manner if the course is kept dry. Each of the stakes forming the goal should be wound with bright ribbons of contrasting colors, entwined from the bottom up, and ending in a bow at the top. This bow can be secured in place by driving a small brass-headed tack through the ribbon into the top of the stake. If the rough pine legs of the table seem too unsightly, they can easily be painted, or a curtain may be made of bright-colored cretonne—any other material will do as well, provided the colors are pleasing—and tacked around the edge of the table, so as to fall in folds to the floor. The illustration shows the top of the table, when ready for the game.
For an impromptu affair, a table can be made by placing a leaf of a dining-table across the backs of two chairs, and covering it with a shawl; lead pencils may be used for the stakes, and they can be held in an upright position by sticking them in the tubes of large spools. This sort of table the children can arrange themselves, and it answers the purpose very nicely. The other things to be provided for the game are a large bowl of strong soapsuds, made with hot water and common brown soap, and as many pipes as there are players.
The prizes for the winners of the game may consist of any trinkets or small articles that fancy or taste may suggest.
Bubble Bowling can be played in two ways. The first method requires an even number of players, and these must be divided into two equal parties. This is easily accomplished by selecting two children for captains, and allowing each captain to choose, alternately, a recruit for her party until the ranks are filled, or, in other words, until all the children have been chosen; then, ranked by age, or in any other manner preferred, they form in line on either side of the table. A pipe is given to each child, and they stand prepared for the contest. One of the captains first takes her place at the foot of the table, where she must remain while she is bowling, as a bubble passing between the stakes is not counted unless blown through the goal from the end of the table.
The bowl of soapsuds is placed upon a small stand by the side of the bowling-table, and the next in rank to the captain, belonging to the same party, dips her pipe into the suds and blows a bubble, not too large, which she then tosses upon the table in front of the captain, who, as first bowler, stands ready to blow the bubble on its course down through the goal. Three successive trials are allowed each player; the bubbles which break before the bowler has started them, are not counted.
The names of all the players, divided as they are into two parties, are written down on a slate or paper, and whenever a bubble is sent through the goal, a mark is set down opposite the name of the successful bowler.
When the captain has had her three trials, the captain on the other side becomes bowler, and the next in rank of her own party blows the bubbles for her. When this captain retires, the member of the opposite party, ranking next to the captain, takes the bowler’s place and is assisted by the one whose name is next on the list of her own side; after her the player next to the captain on the other side; and so on until the last on the list has her turn, when the captain then becomes assistant and blows the bubbles.
The number of marks required for either side to win the game, must be decided by the number of players; if there are twenty—ten players on each side—thirty marks would be a good limit for the winning score.
When the game has been decided, a prize is given to that member of the winning party who has the greatest number of marks attached to her name showing that she has sent the bubble through the goal a greater number of times than any player on the same side. Or, if preferred, prizes may be given to every child belonging to the winning party. The other way in which Bubble Bowling may be played is simpler, and does not require an even number of players as no sides are formed.
Each bowler plays for herself, and is allowed five successive trials; if three bubbles out of the five be blown through the goal the player is entitled to a prize. The child acting as assistant becomes the next bowler, and so on until the last in turn becomes bowler, when the one who began the game takes the place of assistant.
When the evening lamps are lighted and the young folks, gathered cosily around the cheerful fire, begin to be at a loss how to amuse themselves, let them try the game of
Biographical Nonsense.
A paper must be written by one of the players which will read like the following:
- The name of a noted man.
- A date between the flood and the present year.
- The name of a noted man.
- A country.
- The name of some body of water or river.
- Some kind of a vessel.
- A country.
- A country.
- The name of a school.
- A city.
- A city, town, or country.
- A city, town, or country.
- A number.
- The names of two books.
- The name of one book.
- A wonderful performance.
- The name of a well-known person.
- A profession or trade.
- A term expressing the feeling entertained for another person.
- A term descriptive of someone’s appearance.
- A word denoting size.
- A term describing form.
- A color.
- A word denoting size.
- The name of an article of some decided color.
- The name of any article.
- The name of any article.
- A number of years.
This paper is to be passed to each member of the party who in turn will fill up the blanks left, with the words, terms, and names indicated.
When the blanks have been filled, one player must read the following, and another supply the words, when she pauses, from the paper just prepared, being sure to read them in their true order.
A BIOGRAPHY.
—— was born in —— the same year when —— discovered ——, by sailing through the —— in a ——. His father was a native of ——; his mother of ——. He was educated at ——, in the city of ——. His first voyage, which was a long one, was from —— to ——. He wrote three books before he was —— years of age. They are ——, and ——. He performed the miraculous feat of —— with ——. He was a great ——, and one we shall ever ——. In appearance he was —— being rather —— of stature. His nose was ——, his eyes ——, his mouth ——, and hair the color of —— adorned his head. He invariably carried in his hand a —— and a ——, by which he was always known, and with which he is represented to this day. He died at the advanced age of ——-.
The ridiculous combinations found in this game make it very funny.
Comic Historical Tableaux
are very amusing, and being impromptu require no preparation beforehand.
As in charades, the company must divide into two parties. But instead of acting as in charades, one party decides what event in history they will represent, and then they form a tableau to illustrate the event, making it as ridiculous as possible. The other party must try and guess what the tableau is; if they are successful, it is their turn to produce a tableau, if not, the first party must try another subject, and continue to do so until the subject of their tableau is correctly guessed.
We will give a few suggestions for the tableaux.
BALBOA DISCOVERING THE PACIFIC OCEAN.
Place a pan of water on the floor in plain sight of the audience; then let someone dress up in a long cloak and high-crowned hat to personate Balboa, and stand on a table in the middle of the floor, while the rest of the performers, enveloped in shawls, crouch around. When the curtain is drawn aside, Balboa must be seen looking intently through one end of a tin horn, or one made of paper, at the pan of water.
NERO AT THE BURNING OF ROME.
Nero, in brilliant robes made of shawls, sits on a table, surrounded by his courtiers, who are also in fantastic costumes. Nero is in the act of fiddling, his fiddle being a small fire shovel, and the bow a poker. On the floor in front of the group is placed a large shallow pan or tray, in which is set a small house, which has been hastily cut from paper. A lighted match is put to the paper house just as the curtains are parted.
These two suggestions will no doubt be sufficient to show what the tableaux should be like and we need give no further illustrations.
Living Christmas Cards.
Fig. 248.—Manner of Holding Card.
To impart seeming life to the little figures painted on the Christmas cards, is a performance intensely amusing to the little ones. A moving toy whose actions are life-like is always of great interest; but when a little flesh-and-blood head is seen nodding and twisting upon the shoulders of a figure painted on a card, the children fairly shout with delight.
Here is the method of bringing life into the bits of pasteboard.
Select cards with pretty or comical figures, whose faces are the size of the ends of your first or second finger. Carefully cut the face out of a card; then with ink mark the features on your finger, and put it through the opening, as in Fig. 248. Place on this little live head a high peaked tissue-paper cap, and the effect will be exceedingly ludicrous (Fig. 249). A little Santa Claus who can really nod and bow to the children will be very amusing, and there are quite a number of Christmas cards which portray the funny, jolly little fellow.
Fig. 249.—Live Head with Peaked Cap.
Floral cards may have nodding fairies peeping out from among the petals of the flowers, whose heads are crowned with queer little fairy caps, as in Fig. 250. If among your collection you have a card with a picture of a house on it, it will be amusing to thrust a little head wearing a night-cap, out of one of the windows. Round holes will, of course, have to be cut in the cards wherever the heads are to appear.
Still another way of managing these living puppets is to cut in a piece of cardboard, five inches long and two inches wide, three round holes a little more than half an inch apart. Sew around the edge of the cardboard a gathered curtain of any soft material six inches deep. Sketch faces on three of your fingers, pass them under the curtain and through the holes in the cardboard. The curtain will fall around and conceal your hand, leaving the three heads appearing above (Fig. 251). On these heads place any kind of head-dress you choose, making them of paper; or caps of white swiss look quaint, and wee doll hats may be worn.
Fig. 250—Nodding Fairies.
It is best to use a little mucilage or paste in fastening the hats on, that there may be no danger of their falling off with the movement of the fingers.
The hair may be inked, or little wigs made of cotton can be used.
Fig. 251.—Living Puppets.
If the little faces are painted with water colors, giving color to the cheeks and lips, the life-like appearance will be enhanced.
These little personages can be made to carry on absurd conversations, and a great deal of expression be given to the bobbing and turning of their heads. One person can easily manage the whole thing, and entertain a roomful with the performance of the living puppets.
Happy New Year
CHAPTER XXXI.
NEW YEAR’S AND A LEAP YEAR PARTY.
MY earliest recollection of New Year’s day is of being awakened at midnight by the clangor of the fire bells, and the ringing of the church bells, as they swung and rocked in their high steeples and cupolas, shouting, Happy New Year! from their brazen throats to all the sleeping town. Not being thoroughly conversant with bell language, I was very much alarmed because they seemed to say “Come, get up—Come, get up—House on fire—House on fire!” but, upon opening my eyes, I was assured that they were ringing in the New Year, and, as I again fell asleep, the bells were saying distinctly, “Wish you Happy New Year—Wish you Happy New Year.”
Next day the table was decked with flowers, and was laden with roast turkey, fruits, salads, and mince-pies. Oh, my! what delicious mince-pies they were! None since have ever tasted as good as those made and baked by my grandmother.
I often wonder if the next generation of grandmammas will make such cookies, mince pies, and doughnuts as ours did; but this was in Kentucky, and you know that we still observed the old-fashioned customs, and all day long the gentlemen came dropping in by twos and fours, and such handshaking and laughing, and such courtly compliments, and such a bowing and a wishing of Many Happy New Years, it does me good to think of. Who knows but that so many kind wishes of a long and happy life, sincerely given, may really help to bring it to pass.
Small as I was at the time, and little as I understood the customs or conversation, the spirit of the whole day was intelligible and appealed to the little child, perhaps more forcibly than to the grown-up people.
It is really too bad that the crowded states of our large cities tend to lead to the gradual decline of the custom of New Year’s calls, so that now many people confine themselves to sending and receiving cards, making the always stiff and formal bits of engraved pasteboard, do all the calling and receiving; but
New Year’s Parties
are not out of date, so we will have one on New Year’s Eve, because then young and old are privileged to sit up all night, that is, until after twelve o’clock midnight, and have all the fun possible. Let us begin our frolic with a
Pantomime of an Enchanted Girl.
For this a damp sheet must be fastened up across the room or between the folding doors of the parlor. First, fasten the corners of the sheet, next, the centre of each of the four sides, in order that the cloth may be perfectly smooth; then place a lighted candle on the floor, about four or five feet from the centre of the curtain. When the lights in the room occupied by the audience are turned out, leaving it in total darkness, so the shadows of the actors behind the curtain may be seen on the screen, someone, standing outside of the curtain and facing the audience, should explain or relate the story of the play: of how a young girl, while walking out on the last day in November, meets Halloween, who presents her with three gifts to try her fortune, and how, when she is about to do so, a witch enchants her, etc. After the story is finished, and a lively overture has been performed on some musical instrument, the pantomime is played as follows:
The young girl personating the enchanted one, comes gayly forward from the side, when almost across the curtain she meets Halloween, who approaches from the opposite side, arrayed in short dress, with wings made of newspaper folded fan fashion, and fastened on the shoulders; in her hand she carries a cane with a silhouette of a cat, or two or three stars and a crescent cut of stiff, brown paper and pasted on the end; the cane is so held that the profiles of the figures are kept toward the curtain. Seeing this queer being the young girl clearly demonstrates, by her actions, that she is alarmed. When Halloween quiets her fears, by surely and plainly indicating with slow movements of the head, and downward motions of the arms that no harm is intended, they shake hands; then Halloween shows the maiden three gifts, an apple, a hand-mirror, and an unlighted candle. Before presenting them she illustrates by gestures, the use to be made of each. Holding the mirror in front of her face, she bites the apple, then looks quickly around, as if expecting to see someone, and, again holding up the mirror in one hand and the candle in the other, she takes a few steps backward, when a boy enters by jumping over the light, which gives the appearance of his having fallen down from the sky, Halloween looks around, and the boy quickly disappears in the same manner as he came.
All this time the girl stands transfixed, with her hands raised and all the fingers spread out in astonishment; she receives the presents which are given with many nods and gestures. As Halloween walks away the fortune-seeker turns and watches her with a telescope made of a roll of paper she finds at her feet on the floor. The maiden then proceeds to examine the gifts; as she takes up the apple and mirror, her hand is stayed by a witch with flowing hair, who has approached unperceived, carrying under one arm a broom, and wearing on her head an ordinary hat with a piece of newspaper rolled up and pinned on to form a peaked crown. She motions to the girl to be seated; then stands over her and makes passes in the air, and taking up her broom from the floor makes grand flourishes and departs walking back towards the candle, which causes her shadow to grow larger and larger. The poor girl looks anxiously around and discovers she has been enchanted, for there are three girls instead of one; this effect is produced by two more lighted candles being placed on the floor on either side of the first candle, and every movement the girl makes is mimicked by her other selves. The candles are removed and the Old Year instantly appears, his figure bent, a piece of fringed paper pasted on his chin for a flowing beard, and carrying in his hand a cane with a piece of stiff paper fastened on to represent a scythe. Discovering him the girl runs forward to tell her sorrows, and finds that it is only when alone that she is enchanted, for when she attempts to point out her other selves they have disappeared; making many gestures she looks here and there for them, but in vain, then as the Old Year leaves she bids him a sorrowful adieu. Again alone, the facsimiles reappear and she grows desperate, so do the other two selves, she throws her arms about, skips, jumps, and dances wildly around, the other selves do likewise, and at the same time they are made to pass and repass her, by two persons taking up the two extra lights, and, keeping the lights facing the curtain, walking back and forth, passing, and repassing each other but never stepping in front of the candle on the floor. In the midst of the dancing the two extra candles are taken away and immediately the little New Year enters, crowned with a paper star and wearing wings of paper. The young girl rushes to meet the New Year with a hearty greeting, she then tells him of her enchantment, counting the three selves by holding up the first finger of the right hand three times in succession, and while the New Year makes gestures that indicate advice the maiden listens with her hand to her ear, and, promising by signs to be a good girl, she kneels down, and the little New Year raises both hands above her head, then, kissing her hand to the maiden, departs.
The glad New Year has disenchanted her, she carefully looks this way and that, but seeing all is well she tosses her head, dances around, makes a courtesy, kisses both hands to the audience and disappears.
When the play is over, and just as the clock strikes twelve, the party can instantly change its character if it is leap-year and become a
Leap-Year Party
for the remaining hour or so, thereby creating a great deal more merriment and sport; the novelty of the fact that the girls exchange places with the boys makes everything appear strange. And when the music commences for dancing the girls look from one to another, no one at first having the courage to invite a partner to dance, so unaccustomed are they to even the thought of such a thing. The boys of course laugh, and make no move to assist their timid, would-be partners in the part they must play, but quietly await the expected invitation. When, however, someone takes the initiative step, the others follow, and all goes merrily.
The supper presents a new phase, but here the girls do their part perfectly, providing all the boys with a plentiful repast, and each one is made to feel that his presence is necessary to the success of the party, thereby insuring a happy, pleasant time for all.
In giving a leap-year party it is very essential that all the guests understand perfectly that the idea of the entertainment is to have the girls take upon themselves all the duties and courtesies properly belonging to the boys, and that the boys shall wait for an invitation before dancing, promenading, or partaking of refreshments, and that a boy should not cross the floor unattended, but wait for some fair friend to escort him. The girls are at liberty to go and come as they like, though they must remember not to leave a partner standing after the dance is over, but politely conduct him to a seat, and the girls must also endeavor to make the party pleasant and agreeable to all. The chaperons, of course, should have charge of the boys during the entertainment.
The leap-year party need not necessarily be a dancing party, as any social gathering can take the form of a leap-year party.
When an entertainment is given on the eve of a new leap-year, with a view to dancing the old year out and the new year in, just as the clock strikes twelve the party can immediately change into a leap-year party as described, or should the New Year be a common year, then as the time flies and the hands of the clock approach the hour of twelve all are on the qui vive to be the first to have the pleasure of greeting their friends with a Happy New Year.
CHAPTER XXXII.
HOME GYMNASIUM.
EVERYONE must exercise to keep healthy and strong, for life is motion and activity. It is natural to be well and happy, and to keep so we must exercise all our muscles, as well as our moral and intellectual faculties, or they will dwindle and wither. The arm of the Hindoo devotee, not being used, at length becomes completely paralyzed, and fish in the Mammoth Cave having no use for eyes pass their life without them; so we find that use is the foundation of all things, otherwise they would cease to exist; then, girls, it lies within your power to become stronger and more graceful each day by regular and graduated bodily exercise, which will bring life and energy to every part of your system by causing the blood to circulate freely through all the body.
There are some simple methods of carrying this into effect in the most agreeable and salutary manner, but the exercises must be very light at first, and as you advance they may be increased a little each time, but always stop before you feel fatigued, for when the calisthenics cease to give pleasure it is doubtful if they are beneficial.
The best time for exercising is in the morning after having partaken of some light refreshments, though any time will do except directly after hearty meals. Try and have a regular time set apart each day for your physical culture. Commence by exercising five or ten minutes, then for a little longer period next time, and so on until you can exercise with ease for half an hour or longer. You will feel refreshed, invigorated, and better prepared for the duties and pleasures which await you. Your clothing must not incommode the free action of the body, and it is essential that it be comfortable. What is suitable for lawn tennis is also well adapted for the gymnasium. An ordinary bathing-dress answers the purpose very well, as it is made for exercise.
The Egyptian water-carrier, with the jug of water poised so prettily on her head, and her figure so straight and beautiful, has always challenged admiration; her carriage is dignified, erect, and graceful, something worth striving for, especially when we have the certainty of success if we will only be faithful and persevering. The peasantry of foreign countries who carry all their burdens balanced on their heads have their reward in healthy, strong, straight figures, even in old age they do not stoop. Witness the emigrants landing at Castle Garden who carry their possessions done up in huge bundles on their heads with the utmost ease; of this class, three generations—a grandmother, mother, and grown daughter—with baggage of the same weight on their heads, were lately seen at a New York ferry, each equally upright, strong, and vigorous.
A good straight back is an excellent thing; and when the head is properly carried and all the movements are buoyant and elastic, then we may walk as it was intended we should, every step bringing a glow to the cheek and a sparkle to the eye. It requires only a few minutes’ regular daily exercise for any girl to attain a carriage equal to that of the Egyptian water-carrier, and the only apparatus needed for
Fig. 252.—Balancing a Roll of Paper.
Exercise First
is a roll of paper. Now stand with your heels together, toes out, and shoulders well back; then place on your head the roll of paper; if your position is not perfectly erect the roll will fall off; keep your chin straight and back against your neck, for it is the chin which determines the poise of the body. You cannot stand straight unless the chin is straight; throw out your chin and your shoulders will stoop forward, have your chin straight and your back will be straight; bear this in mind in all your exercises. Now walk, keeping the roll balanced on your head (Fig. 252). Practice this walking back and forth until you can do so without the paper rolling off; then try a tin cup full to the brim with water. Walk erect or the water will wash over, down on your head, and it will feel cold as it trickles through your hair; soon, however, you will be able to carry the cup of water with ease and no danger of its spilling. But do not discontinue the practice on that account; try something else in its place, until you are able to carry anything you wish on your head with no fear of it falling. The exercise affords amusement, and at the same time you will be acquiring a beautiful, dignified, and graceful carriage.
Exercise Second
is for gaining agility, suppleness, quickness of eye, hand, and foot. Standing as far from the wall as possible, take a common rubber hand-ball and toss it against the wall, catching it as it rebounds (see illustration), and again toss it against the wall. Vary this by allowing the ball to strike the floor, catching it on the rebound; then try keeping the ball in constant motion by using first one hand and then the other as a bat for returning the ball to the wall. The exercise can also be changed by striking the ball against the floor, and on its return bound again striking it, thus keeping it in motion. You will find that activity is necessary, and the work so quick that it will keep you on the jump all through the exercise.
Exercise Third
is with a broom-handle. Saw or cut off the broom and smooth down the sharp ends of the handle, and it will be ready for use. Stand erect, heels together, toes out, chin well back and straight, so as to throw out and expand the chest. Now grasp firmly each end of the broomstick and bring it up over the head (Fig. 253); repeat this motion six or seven times; then change by carrying the broomstick over back of the head down across and back of the shoulders; then up above the head again, repeating this, and all other motions in your calisthenics, half a dozen times. Another exercise is holding the stick down in front of you with both hands and bringing it up over the head and down back of the shoulders without stopping.
Fig. 253.—Broom-handle Exercise.
The side motion is made by grasping the broomstick at each end, holding it down in front of you, and swinging it sideways, thus bringing the right hand up when the left is down, and vice versa. Another way is to hold the stick by both ends above your head and swing it from one side to the other, which will cause the right arm to come in contact with the right side of the head, while the left arm is extended out horizontally to the left. Next carry the stick back of and against the shoulders; then swing it from right to left, which gives another side movement. Vary all the movements in as many different ways as you can think of.
Exercise Fourth.
Stand erect always when in position for exercising, according to the directions given—heels together, toes out, etc. Now allow your arms to hang naturally down at your sides, raise your heels, and stand on your toes; now lower the heels and repeat the motion; then close your hands tightly and raise your arms out sideways at right angles with your body, next up straight above your head, and down again to the level of the shoulders, then back down to your sides as at first.
Again take position, close your hands tightly, and raise them up under the arms, bringing the elbows out to a level with the shoulders; then bring your hands down at your sides again and repeat the movement vigorously; resume position, firmly close your hands and carry them up to the shoulders, next extend them up straight above your head, down again to your shoulders, and back to the first position. A very good exercise is to extend both arms straight out in front of you, close your hands and bring them back to your chest, which will cause the bent elbows to project beyond your back.
Exercise Fifth.
Assume position, close your hands, and take one long step forward with your right foot, bend the right knee and stand with your weight resting on the right foot; then extend your arms out sideways straight from the shoulders, now bring your hands together in front of you, still keeping the arms on a level with the shoulders, and while doing so throw the body back, straightening the right knee and bending the left so the weight of the body will rest on the left foot; repeat this and vary it by taking one step forward with the left foot and going through with the same motions.
Resume position, and place your hands on your hips, with your thumbs turned forward and fingers backward. Now take a long step forward with your right foot, throwing the weight on that foot, then back again in position, and in the same manner step forward with your left foot and back again; next take a step backward with your right foot, resume position, and then with your left.
Again stand with your hands on your hips, thumbs turned forward, and without bending your knees move the body, first bending it forward, then backward, and resuming an upright position, bend over to the right and to the left.
Fig. 254.—Balancing Broom-handle.
Exercise Sixth.
In this the broomstick is used for balancing; hold it in an upright position, and first try balancing it on the palm of your hand; then on the back of your hand, next on each of the fingers in succession, commencing with the first finger (Fig. 254); be cautious, and when the stick wavers do not let it fall, but catch it with the other hand, and again balance it. This is an interesting, light, and diverting exercise, requiring all your attention, and, for the time being, your thoughts are concentrated on the effort to keep the broomstick properly balanced.
Exercise Seventh.
Pure blood means good health, and to purify the blood and keep the complexion clear it is essential that you breathe a sufficient quantity of pure air, and you cannot take in a proper amount of air unless your lungs are wholly extended. So take position with your hands correctly placed on your hips; then very slowly draw in your breath until your chest and lungs are fully expanded; next slowly exhale your breath, and repeat the exercise.
Exercise Eighth.
Screw in two large, strong hooks in the woodwork on each side of the doorway; place the hooks as far above your head as you can conveniently reach; slide the broomstick in so that it will extend across the doorway and be supported by the hooks; have the apparatus on that side of the doorway where it will not interfere with the opening and closing of the door, and be sure that it is perfectly secure before attempting to exercise; each time before commencing a new movement examine the stick, and be certain that it is not in any danger of slipping from the hooks. Unless you can be perfectly safe from liability to hurts or falls, do not include this in your list of exercises.
For the first movement grasp the bar firmly with both hands and swing the body forward and backward, standing first on the toes, then on the heels; next, still grasping the bar, raise up on your toes, then back again. Change the movements in as many ways as you like, but do not try anything that may strain or hurt you. Now screw in two more hooks, on either side of the woodwork, below the first ones, placing them about two feet and eight inches from the floor; take the stick from its elevated position and slide it across the doorway so it will rest securely on the two lower hooks. Standing in front of it, grasp the bar firmly with both hands and try to raise yourself up, feet and all, from the floor by bearing your weight down on the bar; then let yourself gently back again. When you have finished exercising, remove the stick and put it away.
Fig. 255.—The Swing.
Exercise Ninth.
In the top part of the framework of the doorway fasten a very strong hook by screwing it into the wood; then take a broomstick and, after shortening it so that when held in a horizontal position it will readily pass through the doorway, cut notches in each end and securely tie the two ends of a rope across the notches; suspend this swing by slipping the centre of the rope over the hook in the doorway (Fig. 255); have the apparatus strong and firm, capable of any amount of wear and tear. Stand facing the stick, which should be at the height of the chest, and take hold of it with both hands; now bend the knees until they are within a short distance of the floor, then rise and repeat the exercise. Next, with both hands on the stick, take a long step forward with the right foot, throwing the weight on that foot; return to your position and go through the same exercise with your left foot. Try different movements which suggest themselves, and select those you like best. When not in use the swing can be slipped off the hook and put out of the way.
Exercise Tenth.
To develop a weak voice and make it clear and sweet, and to strengthen the lungs, reading aloud is an excellent exercise; as it requires both mental and muscular exertion and performs a double duty, it should receive a full share of time and attention. Begin with something you are interested in, then you will find it much easier to read aloud than if you undertook a book or an article which might be full of merit, but lack interest for you. When commencing this exercise read only ten minutes or less at a sitting, increasing the time as you practise and the reading grows less difficult. Do not be discouraged if your voice sounds a little husky while reading; stop a moment, and then go on again. After a few trials you will have no more trouble in that way, for your voice will grow clear and distinct, and the exercise will become a great pleasure as well as an attractive, useful accomplishment.
Let your reading matter be very choice and of the best; do not condescend to waste your time on other writings.
From the ten different exercises given, select those best adapted to your size, age, and liking, and practise them for a short time daily; you can hardly realize the great advantage they will prove to be. In this way all parts of the system may be strengthened and harmoniously developed. But the constitution cannot be hurried: all must be accomplished little by little. Allow yourselves to be happy and merry; be ready to enjoy the little pleasures of life, and this, with kind and generous feelings for others, will do a great deal toward keeping you well and strong.
Out-of-door exercise is always to be preferred to in-door when one has a choice. Walking, tennis, archery, horseback, and swimming are some of the athletic sports for girls, and they all have their attractions. But there are times when we are denied the pleasure of these pastimes, and then we are glad of a little exercise in-doors, which also affords enjoyment and recreation.
CHAPTER XXXIII.
A DECORATIVE LANGUAGE.
WHEN in olden times the warriors went around the country dressed in suits of clothes made by a blacksmith instead of a tailor, their hats were manufactured at the forge also, and had iron front doors that moved upon hinges. When danger was nigh these doors were closed, locked, and barred over the poor men’s heads, leaving only a loop-hole or two for them to peep through. At such times in meeting Mr. Brown it was impossible to distinguish him from Mr. Smith, who was arrayed in like manner, and it might happen that Mr. Smith was the last man in the world that one cared to meet, not being on speaking terms or some such reason. Well, as we were saying, there was no chance whatever of telling one man from another unless he wore a distinguishing mark of some kind.
So to prevent such uncomfortable mistakes and to distinguish friend from foe, every gentleman had to be marked and labelled, like an express package, so one might read as he ran, “I am Earl Jenkins, of Thunderland, who married a Rhazor, of Stropshire.” These names and addresses were not painted in words on their owners with a marking-brush, but worked and embroidered in translatable designs on cloaks, saddle-housings, and silken banners, or emblazoned on the shield they carried with which to meet the advances of their neighbors. Since that time our more recent ancestors in England have taken great pride in preserving and handing down from generation to generation these distinguishing marks, as a guarantee to their children that they came of gentle birth, which is very interesting and gratifying for European girls, but American girls need nothing of the kind; it is sufficient that we are Americans.
Of course, some of us do take pleasure in knowing that our great-great-grandparents came over in the Mayflower, or that the name of an ancestor is among the signatures upon that Declaration of Independence which made such a stir a century ago, for that proves us to be Columbia’s daughters.
When there was no other method of distinguishing a man his label became a very important item; so these family devices were reduced to a science and protected by law.
The old countries’ coats of arms may remain abroad, where they belong, but the ingenious scheme, that was gradually evolved, of picturing ideas, mottoes, and pretty sentiments we will adopt as our inheritance, with many thanks to our mediæval ancestors with the metallic clothes, who bequeathed them to us.
We propose to revive enough of this neglected knowledge of chivalry to serve our purpose in suggesting a method of designing devices which will not only be artistic decorations, but to the initiated can be made to portray almost any sentiment or set of principles the artist may choose.
The many uses to which these designs can be applied will, we hope, at once be seen by the quick-witted American girls, and we trust will interest the reader as much as they do the writer, who in this chapter can only give a few necessary, brief hints upon the subject, sufficient, however, to explain the application that can be made of this beautiful and perfect system of
Decorative Language.
In the following directions anyone can learn how to make a device which will not only be a decoration, artistic in form and color, but will at the same time express the peculiar traits, characteristics, and virtues of the friend for whom it is intended, or the precept, code, proverb, or creed of the designer. All technical terms, as far as practicable, are discarded, but the rules of heraldry strictly adhered to, with such simplifications as are necessary to render it intelligible.
Fig. 256.—The Field.
The Field.
The surface on which the design is portrayed is called the field. This may be of any shape; originally it was supposed to represent a warrior’s shield, but you may use a circle, oval, square, diamond, or any other form.
The Points
on the surface of the shield locate the exact spot where a design or object in heraldry may be placed. Refer by numbers to Fig. 257.
Fig. 257.—Points.
- 1. Fess point.
- 2. Honor point.
- 3. Nombril point.
- 4. Dexter chief point.
- 5. Middle or chief point.
- 6. Sinister chief point.
- 7. Dexter base point.
- 8. Middle base point.
- 9. Sinister base point.
If you desire to place a flower on the fess point, you find that it means the exact centre of the shield, and so on.
The devices take significance in accordance with the more or less importance of their position on the shield; the honor point holds the highest grade, next to it the middle or chief point, and the right or dexter side is of more importance than the left or sinister.
The field may be divided, if desired, in any of the following
Divisions,
each of which has a significance, suggested generally by the form:
Fig. 258, the Chief, occupying the top or head of the shield, indicates pre-eminence, main object, intelligence, first principle.
| Fig. 258.—Chief. | Fig. 259.—Fess. | Fig. 260.—Parted per Fess. |
Fig. 259, the Fess, denotes cause and effect, the central band containing the means by which the ends, in the other spaces, are accomplished.
| Fig. 261.—Pale. | Fig. 262.—Parted per Pale. | Fig. 263.—Bend. |
Fig. 260 is a partition, and partakes of the meaning of the division, it is denoted by the term, parted per fess.
Fig. 261, the Pale, represents rectitude, uprightness; also union, the object in the central division uniting whatever occupies the dexter and sinister sides.
Fig. 262 is parted per pale.
| Fig. 264.—Parted per Bend. | Fig. 265.—Chevron. | Fig. 266.—Cross. |
Fig. 263, the Bend, is auspicious, meaning prosperity, success.
Fig. 264 is parted per bend.
Fig. 265, the Chevron, is indicative of aid, assistance, support.
Fig. 266, the Cross, suggests humility, devotion, patience, perseverance.
| Fig. 267.—Saltire. | Fig. 268.—Pile. | Fig. 269.—Canton. |
Fig. 267, the Saltire, a variation of the cross, is recognized as order, discipline.
Fig. 268, the Pile, being in the form of a wedge, means penetration, incision, entering to divide or distribute.
Fig. 269, the Canton, denotes an additional, separate idea or principle; also some characteristic that is added to the original design.
Colors.
These also have symbolical meanings.
Fig. 270.—Gold or yellow is expressed in black and white by means of dots, and is used in the sense of wealth, ability, or knowledge.
| Fig. 270.—Gold. | Fig. 271.—Silver. | Fig. 272.—Red. |
Fig. 271.—Silver or white is represented by a plain white surface, and being the color of light, signifies brightness, purity, virtue, innocence.
Fig. 272.—Red, represented by perpendicular lines, means ardent affection, love.
Fig. 273.—Blue is represented by horizontal lines; like the color in the heavens, it is truth, freedom, eternity.
| Fig. 273.—Blue. | Fig. 274.—Purple. | Fig. 275.—Green. |
Fig. 274.—Purple, represented by diagonal lines from sinister chief to dexter base, being the royal color, is understood as authority, power, grandeur.
Fig. 275.—Green is represented by lines running diagonally across the shield from dexter chief to sinister base. Like spring foliage, it suggests hope, life, vitality, youth, freshness.
Fig. 276.—Orange is represented by horizontal lines crossed by diagonal lines from dexter base to sinister chief. It is the color of the king of beasts and signifies strength, honor, generosity.
| Fig. 276.—Orange. | Fig. 277.—Crimson. | Fig. 278.—Black. |
Fig. 277.—Crimson, or blood-color, is represented by diagonal lines from dexter chief and sinister chief, crossing each other. It denotes boldness, enthusiasm, impetuosity.
Fig. 278.—Black is represented by horizontal and perpendicular lines crossed. It means darkness, doubt, ignorance, uncertainty.
To the principal design portrayed on the shield can be added such appendages as are appropriate—crest over the top and a scroll with a motto beneath the shield—but they are supplementary, and not of great importance; their colors should be those of the shield.
Thus far our plans have followed the exact science of heraldry, but at this point comes a departure, for in the place of other armorial devices we shall place Dame Nature’s sweetest thoughts—flowers.
If we now add to the significance of the forms and colors already given the accepted and authentic language of flowers, we shall have a possibility of combinations practically inexhaustible, and with such a dictionary of symbols to draw upon, we can successfully translate almost any terse sentiment into a unique decorative design.
In order to give all the assistance in our power we have culled from the most generally accepted authorities and authentic sources a short floral vocabulary, and now that we have the material at hand let us test the system and learn
How to Make a Design in Decorative Language.
Suppose our Natural History Society desires an appropriate pin or badge.
First we turn to the floral vocabulary and there find that the magnolia means love of nature. The flower has a good decorative form, its sentiment is exactly appropriate, and we unhesitatingly adopt it.
Fig. 279.
After trying various forms for the shield, we select a very plain one that the effect of the decorative form of the magnolia may not be lessened by too ornate surroundings, and to show the large size of the blossom we must have it occupy the entire field without any divisions. Next, as to color; let us think. White, meaning brightness, purity, etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we have it—knowledge? Yes, that will do nicely—a love of nature on a field of knowledge; that certainly is appropriate. But the top of the shield being so square and plain gives the device an unfinished appearance. Suppose we try a bar over it, and something not a flower. As we wish this design to remain simple, a leaf of some kind would be best; so we return to the floral vocabulary, and after trying many and almost taking several, finally decide that the oak leaf is just the form needed to give a finish to the top, and its meaning, strength, will be an excellent element in the society. There, our insignia is complete, good in form, attractive in color, and appropriate in its meaning; but some of us prefer having the motto written out in plain English, so we will add a decorative scroll, with the meaning of the design inscribed “True Love of Nature.” (See Fig. 279.)
Fig. 280.
To familiarize ourselves with the working of the method let us try another experiment, and take the sentiment, “Wealth is the Reward of Industry,” to illustrate.
After deciding on the form of the shield, we turn to the divisions, and running them slowly over for something suitable, stop at Fig. 259, the Fess, meaning cause and effect. That sounds promising. Industry is the means by which the end, wealth, is accomplished. Good so far. We can now see that a floral emblem to represent industry should be placed in the central division, and whatever signifies wealth on the other two spaces. Among our legends of flowers we find industry portrayed by the bee orchid, and wealth and prosperity are symbolized by wheat. That is plain and easy. Now we have only to decide upon appropriate colors for the field to complete the design. Gold would mean wealth, but that we have in the wheat; besides the yellow of the wheat would not show well on the gold background, while on white or silver the contrast is strong and the appearance agreeable. Silver denotes innocence and virtue, which are so necessary that without them wealth would be undesirable. Therefore silver or virtue shall be the groundwork for our wealth, and for industry we will select purple as meaning power. Industry possesses the power to acquire wealth. Thus we complete the emblematical design, as seen in Fig. 280.
Fig. 281.
The following is a problem given to us for solution: On a gold chevron in a black field is a scarlet lily, to which is added as a crest a sunflower, and under all a blank scroll. On this we must write a motto that will be appropriately symbolized by the design.
It would be excellent practice for the student in this new motif in decorative art to try, by application of the foregoing instructions, to decipher the meaning of this design before reading the analysis.
Solution of Fig. 281. —We do not think this is put together as scientifically as the system would admit of, but still it can be deciphered.
The scarlet lily (high-souled aspirations) on a gold (knowledge) chevron, which is aid, assistance, in a field of black (ignorance), surmounted by the sunflower (pure and lofty thoughts), freely translated, might be read: Aspirations after knowledge help to illumine the darkness of ignorance with pure and lofty thoughts. Aspirations (lily) after knowledge (gold) help (chevron) to illumine (the gold chevron and lily brighten up the dulness of the black field) the darkness of ignorance (black) with pure and lofty thoughts (sunflower).
Fig. 282.
For younger girls the plain shield of one color with an appropriate flower had best be used, which they may vary ad infinitum. A simple yet pretty shield can be made by placing a four-leaved clover, symbolical of good-luck, on a shield of one color, silver, meaning purity, innocence, showing that innocence, combined with the language of the clover, expresses good-fortune.
We might go on forming innumerable designs, each more beautiful than the last, but enough hints have been given to enable the young people to make any style of design in this decorative language which may best suit their purpose. Young girls can decorate menu cards, having each motto exactly suited to every separate guest, the sentiment being indicative of some feeling or quality peculiar to each person. Invitations for parties, also orders of dances or games, may be designed in the same way.
| Fig. 283. | Fig. 284 |
This beautiful combination of flowers and heraldry is appropriate for ornamental needlework, to be embroidered on chairs, worked on screens, painted on velvet, wrought on scarfs, and adapted in innumerable ways to add to the refinement and attractiveness of home.
| Fig. 285. | Fig. 286. |
The idea can be utilized in stained-glass effects and in china painting.
| Fig. 287. | Fig. 288. |
The chosen motto may be a decoration in marking personal possessions, such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).
| Fig. 289. | Fig. 290. |
These are only a few examples of the many articles which can be beautified and stamped with your individual mark. Portières offer a good ground for applique or embroidery in decorative language.
Book-Plates
seem to be regaining their popularity and usefulness. These book-plates are tablets in any style, which, when gummed inside on the front covers of books, have been used for many years to designate to whom the books belong.
There is a certain book-plate more interesting to us than all others. To the design on it we are indebted for our national shield and our Stars and Stripes. It was used by the Father of our Country, and we are glad to be able to give a print of the original in Fig. 291.
Fig. 291.
In the decorative language any style of book-plate can be designed, which, when pasted in a favorite book, will add to the value of the already treasured volume.
Floral Vocabulary.
CHAPTER XXXIV.
A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, WITH SOME NEW AND ORIGINAL PATTERNS.
“COME around early this afternoon and bring your fancy-work; we will have a nice, cosey time; all the girls will be there, and we can read that last new book.” Such is the familiar and welcome invitation given and received, from time to time, by most young girls, and they find quiet but real recreation in these informal meetings, where, while listening to a friend read aloud, they believe it much easier to keep their minds on the subject if their hands are employed with dainty needle-work. Then, too, sewing is a real pleasure when one becomes interested in the work, and anyone who thoroughly understands plain sewing can with ease learn fancy stitches of all kinds, for good old-fashioned
Plain Sewing
is the foundation—the A B C—of all the more elaborate drawn work, embroideries, and some of the laces. As a rule we think
OVERHANDING
comes first on the list of plain stitches; this is exactly the same as sewing over and over. Hold the two edges of the material firmly together between the first finger and thumb of the left hand, while with the right hand you take the stitches very close together and as near the edge as possible, sewing from right to left (Fig. 292). It is well to keep the edge nearest to you a little tighter than the outer edge, to prevent its puckering. Always baste the seam before sewing, and when the seam is finished open it and flatten out the stitches (Fig. 293), so that the edges of the material will not overlap, but just meet together and lie smooth and flat.
| Fig. 292.—Overhanding; or Sewing over and over. | Fig. 293—Overhanding. The seam opened with stitches flattened out. |
OVERCASTING
is the same as overhanding, except the stitches slant, are farther apart, taken down deeper in the material, and the seam is not opened.
HEMMING.
First turn in the raw edge four or five threads, according to the kind of goods to be hemmed, then turn it down again to the desired width; this done, baste the hem down evenly and neatly—it must be of the same width throughout—hold the sewing over the first finger of your left hand, and have the stitches small, even, and very near the edge of the hem (Fig. 294).
Fig. 294.—Hemming.
RUNNING.
Pass the needle in and out of the material in a straight line (Fig. 295), making all the stitches the same size. We believe the rule is to take up two threads and leave two; but the length of the stitch should be regulated by the kind of material used.
Fig. 295.—Running.
BASTING
is to take long stitches in the same manner as running.
GATHERING
does not differ much from running; the stitches are taken on the needle in the same manner, but in this case two threads are taken up and four left; the line should be kept perfectly straight.
If you wish to gather an apron or a skirt divide it into halves, then into quarters, in order to make the fulness even on each half of the band; mark the four places and gather on the right side; when finished draw the stitches tightly together on the thread and stroke down evenly with a needle. To sew in the gathers, back-stitch each one in separately.
STITCHING.
Take two threads back of the needle and two before, having each stitch meet the last one, as in Fig. 296; keep the stitches even and in a straight line.
Fig. 296.—Stitching.
BACK-STITCHING.
Proceed as in stitching, only make the stitches longer and do not have them meet.
FELLING.
First baste up the seam, allowing the upper edge to extend five threads beyond the lower edge (Fig. 296); then back-stitch or stitch the two edges together; next turn the upper edge down over the lower one and lay open the seam so that the fell will lie down flat like a hem (Fig. 297); then hem it down neatly.
Fig. 297.—Felling.
Button-holes.
Fig. 298 shows how to take the proper stitch. Be careful in cutting button-holes to make the slit even to a thread and cut the outer corner rounded; bar the inner corner by taking two stitches across it, and overcast the button-hole around three or four threads deep from the edge, or if the material is not inclined to ravel run it with thread, either double or single, drawing it a trifle tight; then begin at the left-hand corner to work the button-hole, leaving one thread between each stitch; keep the stitches exactly the same depth and the loop or pearl of the button-hole on the upper edge.
Fig. 298.—Button-hole Stitch.
HERRING-BONE OR CAT’S-TOOTH STITCH
is used to keep the seams in flannel spread open and fastened neatly down. Fig. 299 shows how to take the stitch; make the stitches all even and of the same size.
Fig. 299.—Herring-bone Stitch.
We have now given all the stitches which properly belong to plain sewing, and our next step will be
Darning and Mending.
“A stitch in time saves nine;” this much most of us know from experience, and it is wise to devote a little time on a certain day each week to looking over the wardrobe and making any repairs that may be needed; the little care and time thus bestowed will prove a true economy, and it is a real comfort to have all one’s clothing in perfect order.
Fig. 300.—Jersey or Stocking Darn.
TO DARN A JERSEY OR A STOCKING.
With a needle and thread carefully draw out the uneven ravelled edges of the hole, in order to diminish its size as much as possible, and bring the loops and ends back in their proper places; then place under it a wooden egg or anything that will answer the purpose, and using thread of the same texture and shade of color as the garment to be mended, run back and forth across the hole as far as the material is worn thin, leaving a loop at the end of each turn. In crossing the threads, take up every other thread alternately each way (Fig. 300), and make the darn of an irregular shape, as one of an even outline does not wear well; when the weaving or darning is finished the loops can be cut off.
Fig. 301.—Tear Darn.
TO DARN A TEAR.
Carefully bring the ragged edges together and baste the tear as nearly as possible in its original position; then, if it is delicate muslin or dress material to be mended, use ravellings of the same instead of thread to darn with, and weave it in and out across the edges of the rent, as in Fig. 301; if the darn needs strengthening, baste a piece of the same material under the rent before darning, and catch down the edges of the piece on the under side of the goods. In mending broadcloth or like material, darn it on the wrong side, and when the darn is finished, ruff up the nap with the point of the needle at the edges of the tear on the right side to cover the stitches; then dampen the darn, and after laying a thin clean cloth over it, press with a moderately hot flat-iron; this should make the darn almost, if not quite, imperceptible.
How to Patch.
If possible cut the piece intended as a patch of the same goods as the garment to be mended, and if there is a pattern be careful to so cut and place the patch that it will match exactly; baste and hem down the patch on the right side of the worn part of the garment; then cut out the old material on the wrong side, leaving enough edge to form a firm hem; sew this to the patch, taking care that the stitches do not show on the right side.
How to Sew on a Button.
Should much strain come on the button, as in little children’s clothes, first hem down a small double piece of muslin, on the wrong side of the garment, at the exact spot where the button is to be placed, and with strong thread take a stitch on the right side; then sew the button through about four times, being careful not to let the stitches spread on the wrong side; wind the thread three times around the shank of the button formed by the stitches, drawing the thread a little tight, pass the needle through and fasten the thread neatly on the wrong side; the extra piece of muslin can be omitted when not needed.
To Mend a Kid Glove.
If the glove is merely ripped, and there is no strain on the portion to be mended, sew the two edges together over and over on the right side with fine thread or sewing-silk matching in color the glove to be mended; if, however, there is liability of its tearing out again, strengthen the edges by first working a button-hole stitch on each; then sew them together over and over, passing the needle in and out of the loops of the button-hole stitch, so forming a narrow net-work of thread between the two pieces of kid. Should the glove need a patch, carefully cut a piece of kid out of the best part of an old kid glove corresponding in color to the one needing repairs; make the patch exactly the shape and size of the hole, and button-hole stitch all around the edge of the hole and the edge of the patch; then sew in the patch over and over, catching together the loops of the button-hole stitches; this makes the mending firm, neat, and strong.
Fancy Stitches.
These are in many varieties of style; one of the most useful is known as the
FEATHER STITCH.
Fig. 302 gives the position of the needle and the manner of taking the stitch. Remember to make all the stitches of an exact length and the same distance apart, first one on this side and then one on that, keeping them in a straight, even line.
Fig 302.—Feather Stitch.
CHAIN STITCH
sometimes takes the place of braiding; it is the same stitch as that used in the old-fashioned tambouring (Fig. 303); many Persian embroideries are made in silk with the chain-stitch.
Fig. 303.—Chain Stitch.
A NEW IDEA IN OUTLINE STITCH.
The stitch (Fig. 304) is used for outline embroidery, and when made with fine black sewing-silk resembles pen-and-ink work. We have seen figures outlined on linen with the drapery worked in colors, while the face, hands, and feet were simply in black and white; being finely outlined, the effect was novel and artistic, for in this way the features were made as true as if drawn on paper with a pencil.
For filling in the solid colors take the common running stitch, but make the stitches long on the right side of the embroidery and very short on the wrong side, so as to give the appearance of the colored fabric copied.
Fig. 304.—Outline Stitch.
Use filo-silk; and English or French embroidery cottons, when colors are needed in the work. Always soak the silks and cottons in strong salt and water before using; this sets the color and keeps it from running when washed.
HEM-STITCHING.
Decide upon the width of the hem and the width of the space for drawn threads; carefully draw out the thread at one edge of the space, then the thread at the other edge; next all the intervening threads; this finished, fold and baste down the hem, allowing it to meet the edge of the drawn work, and taking five threads running lengthwise in the space, bind them together at the edge of the hem; at the same time stitch them to the hem, as in Fig. 305.
Fig. 305.—Hem-stitching.
Drawn Work
always looks well and is very serviceable when made of linen. Scarfs for buffets, bureaus, or tables, and tea-cloths, tidies, or chair-backs, can be made of crash, butchers’ linen, and linen sheeting; it is better to have doylies of very fine linen.
Fig. 306.—Fagotting Stitch.
In making drawn work, if the article is to be fringed, first draw out a few threads to measure the depth of the fringe, and at the opening thus made hem-stitch all around the edge of the material, leaving the ravelling out of the fringe until the drawn work is finished; proceed to draw the threads wherever spaces are desired, and before working the pattern always hem-stitch both edges of the spaces. In Fig. 306 the pattern marked B shows the stitch called fagotting, made by crossing every other group of threads back over the one preceding and drawing the linen thread through in such a way as to keep the groups twisted; the two lines marked A, in the Fig. 306, are intended more as a finish to some elaborate design than as a pattern in themselves; these are made by hem-stitching down a number of threads to each group. Fig. 307 gives a favorite pattern; for this count the threads, so that the spaces may be equal and regular; draw the threads in all the spaces running one way first; then draw the threads in the spaces crossing the first one and run linen threads diagonally across from the top of the right-hand corner to the bottom of the left, dividing each linen square into two equal parts; cross these by threads also running diagonally across from the top of the left-hand corner to the bottom of the right, again dividing the linen squares, making four equal parts; then weave threads through all the spaces running both horizontally and perpendicularly, using the fagotting stitch (Fig. 306), and when crossing the threads in the open spaces tie the centres of each in turn, as in Figs. 308, 309; finish the pattern by running a thread in and out several times around the knots in the centres of the wheels and fasten the ends by tying neatly. Another pattern is given in Fig. 310.
Fig. 307.—Drawn Work.
| Fig. 308.—First Knot. | Fig. 309.—Second Knot. |
Fig. 310.—Border in Drawn Work.
Outline work is often combined with drawn work; fast colors, in either cotton, linen or silk, are used for the outline design. When the article worked is intended for daily use and must frequently be laundried, it is better to substitute in place of the fringe a wide hem-stitched hem edged with firm linen lace.
Very dainty fancy aprons are made of common scrim with spaces drawn and narrow ribbons of different colors simply woven in and out of the threads, running crosswise through the spaces.
Applique and Original Designs for Portières.
The pattern in this work is cut from one material and sewed on another.
Almost any kind of fabric can be used as either applique or foundation; velvet and plush are suitable for applique, but make poor groundwork, owing to the long nap; both materials in dark rich colors are handsome when used as a border on portières or table-covers. To applique a pattern of velvet or plush cut the design very exact and cover the wrong side with a slight coating of gum, being careful to have the gum thin on the edges so that it will not spread on the groundwork; then lay the velvet on the place it is to occupy, and after pressing it down very gently and lightly with your hand, allow it to dry; this accomplished, the edges of the pattern may be hemmed down neatly on the foundation. If a further finish is desired, outline the design by sewing all around the edge a small gold or silken cord.
Portières.
We give an original applique design for a portière in Fig. 311, representing Day. The foundation is of soft dark-blue momie-cloth, the sun a round piece of bright yellow or orange satin, and the rays are of gold or heavy yellow silk thread merely run in stitches of various lengths; the cloud is of light blue crape or crazy cloth, and the bird is one of those which come prepared expressly for applique by the Japanese, and can be purchased at almost any Japanese or fancy store; if possible a lark should be selected in preference to other birds. The border is a band of old gold velvet. Our other design (Fig. 312) represents Night; the foundation and band are the same as those for the “Day” portière; the star is of white silk, the moon of very pale Nile green silk, and the cloud of dark pearl gray crape or crazy cloth, much darker than the blue momie-cloth.
| Fig. 311.—Portière. Day. | Fig. 312.—Portière. Night. |
The applique work must be done very carefully. First cut out the designs, next turn in the raw edges evenly and smoothly, and with a very fine thread and needle baste the edges down; then baste the designs carefully on the foundations, and, with a fine needle and sewing-silk matching in color the piece to be appliqued, hem each one down neatly, making the stitches almost invisible. The band of velvet can be sewed on the bottom edge of the momie-cloth, then turned up like a hem and hemmed down.
Lace.
Very beautiful lace is made by cutting out the heavy patterns which are still perfect, from old and worn laces and embroideries, and transferring the designs to new fine wash-net. After first basting them on, hem them down to the netting with a fine needle and thread; in this way the embroideries last as long again and look as well as when new.
Ribbon Embroideries.
We can give a clearer idea of this work by means of an example, and we will take the common white daisy as an illustration.
Thread a long-eyed coarse needle with very narrow white ribbon, and beginning at the centre of the flower, pass the needle from the wrong side up through your material, drawing the ribbon out nearly its full length and leaving only a short piece on the wrong side to be fastened down; now take a stitch straight out the length of a daisy petal and pass the needle through to the wrong side; then, taking a very short stitch, draw the needle out through on the right side; next take another long stitch back to the centre of the daisy, thus forming the second petal; continue in the same manner, making the petals radiate out in a circle from the centre of the flower. Work the centres of the daisies with yellow silk and the stems in dark-green silk; the leaves can be either worked or appliqued. For half-blown daisies make only about a quarter of a circle of petals, and in place of the yellow centre, work a green calyx. Ox-eyed daisies can be made in the same way with soft, thin yellow ribbon, a little broader than the ribbon used for white daisies. The work is rapid and pleasing, and almost any flower can be imitated very perfectly with ribbon embroidery.
CHAPTER XXXV.
SCRAP-BOOK AND HOME-MADE BOOK-COVERS.
THE fashion of collecting pictured advertising cards, so much in vogue among the children a few years ago, seems to have run its course, and dying out, it has left on the young collectors’ hands more cards than they know well what to do with. Many of the collections have been pasted in scrap-books, of which the children have long since tired. While examining one of these volumes with its row after row of cards, it occurred to me that these advertisements might be utilized in a new way by dividing and combining them. The experiment proved a success, and I will now try to show you how, with the aid of scissors and mucilage, the pictures which have become so familiar may be made to undergo changes that are indeed wonderful, and how from them may be formed a
Mother Goose Scrap-book.
The nursery scrap-books made of linen or paper cambric are, perhaps, familiar to most of our readers; but for the benefit of those who may not yet have seen these durable little books, we will give the following directions for making one: Cut from a piece of strong linen, colored paper cambric, or white muslin, four squares twenty-four inches long by twelve inches wide. Button-hole stitch the edges all around with some bright-colored worsted, then place the squares neatly together and stitch them directly through the centre with strong thread (Fig. 313). Fold them over, stitch again, as in Fig. 314, and your book is finished and ready for the pictures.
It is in the preparation of these pictures that you will find the novelty of the plan we propose. Instead of pasting in those cards which have become too familiar to awaken much interest, let the young book-makers design and form their own pictures by cutting special figures, or parts of figures, from different cards, and then pasting them together so as to form new combinations.
| Fig. 313.—Scrap-book Opened and Stitched through the Centre. | Fig. 314.—Scrap-book Folded and again Stitched |
Any subject which pleases the fancy can be illustrated in this way, and you will soon be deeply interested in the work and delighted at the strange and striking pictorial characters that can be produced by ingenious combinations.
Stories and little poems may be very nicely and aptly illustrated; but the “Mother Goose Melodies” are, perhaps, the most suitable subjects with which to interest younger children, as they will be easily recognized by the little folk. Take, for instance, the “Three Wise Men of Gotham,” who went to sea in a bowl. Will not Fig. 315 serve very well as an illustration of the subject? Yet these figures are cut from advertising cards, and no two from the same card. Fig. 316 shows the materials, Fig. 315 the result of combining them.
| |
Fig. 315.—“Three Wise Men | Fig. 318.—“Little Jack Horner.” |
Fig. 316.—Figures cut from Advertising Cards.
Fig. 317.—Figures cut from Christmas Cards
Again, the little man dancing so gayly (Fig. 317) is turned into “Little Jack Horner” eating his Christmas pie (Fig. 318), by merely cutting off his legs and substituting a dress-skirt and pair of feet clipped from another card. The Christmas pie in his lap is from still another card.
In making pictures of this kind, figures that were originally standing may be forced to sit; babies may be placed in arms which, on the cards they were stolen from, held only cakes of soap, perhaps, or boxes of blacking; heads may be ruthlessly torn from bodies to which they belong, and as ruthlessly clapped upon strange shoulders; and you will be surprised to see what amusing, and often excellent, illustrations present themselves as the result of a little ingenuity in clipping and pasting. Another kind, which we shall call the
Transformation Scrap-Book,
will be found exceedingly amusing on account of the various and ever-changing pictures it presents.
Unlike any other, where the picture once pasted in must remain ever the same, the transformation scrap-book alters one picture many times. To work these transformations a blank book is the first article required; one eight inches long by six and a half or seven wide is a good size.
Fig. 319.—Transformation Scrap-book with Pages cut.
Cut the pages of this book across, one-third of the way down. Fig. 319 shows how this should be done. The three-cornered piece cut out near the binding allows the pages to be turned without catching or tearing. Leave the first page uncut; also the one in the middle of the book.
Cut from picture-cards, or old toy-books which have colored illustrations, the odd and funny figures of men and women, boys and girls, selecting those which will give a variety of costumes and attitudes.
Paste a figure of a woman or girl on the first page, placing it so that when the lower part of the next page is turned, the upper edge of it will come across the neck of the figure where it is joined on to the shoulders.
Leaves from a Transformation Scrap-book.
Cut the heads from the rest of the pictured women, and choosing a body as different as possible from the one just used, paste it upon the lower part of the next page, directly under the head belonging to the first body. Upon the upper part of the same page paste any one of the other heads, being careful to place it so that it will fit the body. Continue in this way, pasting the heads upon the upper, and the bodies on the lower, part of the page, until the space allowed for the women is filled up; then, commencing at the page left in the middle of the book, paste upon it the figure of a man, and continue in the same manner as with the woman, until the spaces are all used and the book is complete.
The combinations formed in this way are very funny. Old heads with young bodies; young heads with old bodies; then one head with a great variety of bodies, and so on.
The first picture may represent a man, tall and thin, dressed in a rowing costume, as shown in the illustration. Turn the lower part of the next page, and no longer is he thin and tall, but short and stout, the position of this body giving the expression of amazement, even to the face. The next page turned shows him to be neither tall nor short, thick nor thin, but a soldier, well-proportioned, who is looking over his shoulder in the most natural manner possible.
The figures in the illustration were cut from advertising cards, and the head belongs to none of the bodies.
A curious fact in arranging the pictures in this way is that the heads all look as though they might really belong to any of the various bodies given them.
Instead of having but one figure on a page, groups may be formed of both men and women, and in the different arrangement of the figures they can be made very ludicrous indeed.
A scrap-book for older girls, which might be termed more fitly
An Album,
can be made by mounting engravings, wood-cuts, photographs, and water-colors on pieces of thin card-board all of the same size. If any one subject be chosen, and such pictures selected as tend in some way to illustrate that subject, the book will prove more interesting in the making, and will be quite valuable when finished.
There will be no difficulty in mounting the pictures; simply paste them on the card-board with good flour-paste, and press under a heavy weight, keeping them perfectly neat and free from smears of paste on the edges. When two or more are mounted at the same time, place clean pieces of blotting-paper between, pile one upon another, and put the heavy weight on top.
Such a scrap-book should be bound in a
Home-made Book-cover,
which is made in this way:
| Fig. 320.—One Side of Book-cover with Holes cut near the Edge. | Fig. 321.—Book-cover Tied with Ribbons. | Fig 322.—Book-cover Laced together with Silk Cord. |
Take two pieces of heavy card-board a trifle larger than the book you wish to cover, make three holes near the edge of each (Fig. 320) and corresponding holes in the edges of the book, which must not be too thick—that is, contain too many leaves; pass narrow ribbons through these holes and tie in bow-knots, as in Fig. 321. If the leaves of the book are thin, more holes can be made in the back and the covers laced together with silk cord (Fig. 322).
These book-covers may be beautifully decorated by anyone who can paint in water-colors, and tinted card-board can also be used for them. They are pretty, and suitable as covers for manuscript poems or stories, or for a collection of autographs.
In making any kind of scrap-book it is very necessary that the paste used should be good. If the paste is poor, the pictures will peel off or the paste turn sour. The recipe given below we can recommend as an excellent one for
Flour-paste.
Mix one-half cup of flour with enough cold water to make a very thin batter, which must be smooth and free from lumps; put the batter on top of the stove—not next to the fire—in a tin sauce-pan, and stir continually until it boils; then remove from the stove, add three drops of oil of cloves, and pour the paste into a cup or tumbler. This will keep for a long time and will not become sour.
CHAPTER XXXVI.
A HEAP OF RUBBISH, AND WHAT TO DO WITH IT.
IN almost every house there is an attic, and in almost every attic may be found a room where trunks are stored, where broken toys and disabled furniture are put out of sight, and where all articles not worth selling or giving away gradually accumulate until this attic room contains, literally, a heap of rubbish. Entering one of these lumber-rooms not long ago, and glancing over the medley which comprised so much, from a tin can to a piece of broken bric-à-brac, the thought occurred to me that something might be done with it, some use be made of at least a few of the articles consigned to the place as utterly useless.
That was rather a thrifty thought. Do you not think so, girls? Then let us make the most of it and together venture back into that mysterious and somewhat dusty chamber, and see if there really is anything there worth the making over.
In imagination we will stand in our attic lumber-room and begin to look about us with eyes and mind open to perceive possibilities.
On one side of the room, leaning against the wall, we see what was once a handsome old-fashioned mirror, quite large and of heavy plate-glass. It’s poor dusty face, reflecting dimly its barren surroundings, is shattered in many pieces, and at first sight it seems hopeless to attempt to restore it to the plane of beauty or usefulness; but do not let us be hasty; we will examine it more closely. Yes, here is a piece of glass large enough to frame. Never mind its uneven shape and rough edges; we will work out that problem later. Now we must put it carefully aside and continue our investigations.
Here is a large tin can, which can be made into a lantern to hang in the hall, and this baking-powder can may be of some use, so we will take it also.
The tops of three cheese-boxes; something should be done with them. Perhaps they can be used for a table; put them with the other chosen things.
A croquet-ball! That will make a fine key-rack. This box of silks and ribbons we may need, and the large pasteboard-box will do for the foundation of our mirror frame.
We must have this piece of old brass chain, this handful of large nails, the pasteboard roll which has been used for sending engravings through the mail, and that old broad-brimmed straw hat; also these three broomsticks and the piece of nice dark-gray hardware paper.
Now, seated in our own room, let us see what we can do with this rather unpromising array of objects spread around us. First we will try
The Mirror,
and must cast about us for the ways and means of framing it. The large pasteboard-box we have already decided will make a good foundation. After tearing off the sides, we will cut an even square from the bottom, which is smooth and unwarped.
Fig. 323.—Brown Paper Pasted on Mirror and Pasteboard for Home-made Mirror-frame.
Fig. 324.—Bevel of Hardware Paper on Frame.
Fig. 325.—The Outside Covering for Mirror-frame.
Fig. 326.—Back of Frame with Tape Attached.
Next laying the piece of mirror on the square of pasteboard we must cut, out of ordinary brown wrapping-paper, a square two inches larger all around than the pasteboard, make a hole in the centre as large as the shape of the mirror will allow, and paste it down on the mirror and pasteboard (Fig. 323). Then, after clipping out the corners, we will turn the edges over on to the back of the pasteboard foundation and paste them down. Cutting four strips of the hardware paper, about two inches wide, we will fold them through the centre lengthwise and paste them around the glass, lapping them just a little over the edge of the other paper, the folded side being next to the glass (Fig. 324). This will form a bevel for our frame. From the same paper we will now cut a square, three inches larger on all sides than the foundation; then, exactly in the centre, mark a square half an inch larger all around than the square of mirror showing. In the centre of the square marked out we must insert our scissors, cut it like Fig. 325, and after clipping off the points, as indicated by the dotted lines L, M, O, N, turn back the four pieces at the dotted lines, P, Q, R, S, leaving an open square. Then placing it over the mirror so that the same width of bevelled edge shows on all sides of the mirror, we must paste it down. Clipping out the corners, as shown in diagram, we will bring the edges over and paste them down securely to the back of the frame. A piece of hardware paper, cut in a square one inch smaller than the frame, we will paste on the back to finish it off and hide the edges of the paper where they have been turned over (Fig. 326).
We must fasten on a piece of tape by which to hang the mirror, by pasting down the ends of the tape on the frame (letter T, Fig. 326), and pasting over each a strip of the hardware paper (letter U, Fig. 326). When the frame is quite dry we will paint a branch of dog-wood or some light-colored flower across it, and have as pretty a little mirror as anyone could wish for.
Home-made Mirror-frame.
Bric-à-brac Table.
Fig. 327.—Narrow Grooves Cut around Broomstick for Table-leg.
Fig. 328.—Holes Bored in a Box-lid Used as a Table-shelf.
Fig. 329.—Manner of Fastening a Shelf to Table-leg.
Fig. 330.—Table-shelf and Leg Fastened securely together by Wire.
The next thing to commence will be
The Table,
which you can make yourselves by following these directions:
The three cheese-box lids will answer nicely as shelves for a work- or bric-à-brac table, and the broomsticks, which are all the same length, will do for the legs.
Upon each broomstick mark the distances for placing the shelves, allowing six inches from each end of the stick for the top and bottom, and the exact centre between these points for the middle shelf. With a pocket-knife cut narrow grooves around each stick, one-half inch on either side of the points marked on them (Fig. 327). This will make six grooves on each stick. Now measure the box-lids to find their circumferences, and divide them into thirds, marking the distances on the rim to obtain the true position for the legs. At these points bore four holes with a gimlet, one inch apart, two above and two below (Fig. 328). Through one of the top holes pass a piece of pliable wire, place one of the broomsticks against the rim of the lid, pass the wire back through the other upper hole (Fig. 329), fit it into the upper groove of the stick, and draw it tight. Twice the wire must be put through the upper holes and around the stick in the top groove; then, bringing it down on the inside of the lid, you must put it twice through the lower holes and around the stick in the lower groove; then twist the ends and tuck them under the wire on the inside of the lid (Fig. 330). In this way each leg will have to be fastened to each shelf. When the table is all put together paint it black, and, as soon as it is dry, tie a bright ribbon on one of the sticks at the top, and a charming little bric-à-brac table will be the result of your labor.
You can make a very pretty
Lantern
of the old tin can; but first you must have some tools to work with; not many, only a piece of wood, rounded on one side to fit into the can, a hatchet or heavy hammer, and a few wrought iron nails. If the piece of wood is not large enough to fit the can, another stick can be put in to hold the first one firmly against the can. That being arranged, you must decide upon some kind of a pattern to be made by the holes, and indicate it on the can with a small paint-brush and paint or ink; then, laying the can on its side, the rounded piece of wood being at the top, with one of the wrought iron nails puncture the holes where you have indicated the pattern. With the hammer drive the nail through the tin into the wood; then draw it out, make another hole, and so on until all the holes you wish are driven through that part of the can held in place by the rounded piece of wood.
Lantern.
This wood, you see, keeps the can from bending when the nail is being driven through. In moving the wood as the work progresses, you must always keep it under that part of the can being punctured. To make the large hole, you will have to put a number of the small holes close together, and then drive the nail through the partitions, cutting them away. The pattern being completed, puncture three holes, close to the top of the can, at equal distances apart. These are for the chains to pass through, by which to suspend the lantern. In the cover of the baking-powder can make three holes at equal distances; then divide the chain, which is about one yard and a quarter long, into three equal lengths, separating the pieces by prying open the links. Put an end of each piece through the holes made for them at the top of the can, and fasten them by hooking the open links through the links of the chain a little farther up, and hammering them together again.
Now pass the ends of the chains through the holes made in the lid of the baking-powder can, and, bringing the ends together, fasten them by joining the links.
| |
Fig. 331. | Fig. 332. |
Standin Lantern, with | |
Paint the lantern, chain and all, black, and while it is drying make a stand for the candle which is to furnish the light. A square piece of thin board, just large enough to fit into the can without touching the sides will do for the stand. Drive four small nails in the centre to hold the candle (Fig. 331).
Make handles for lifting the stand in and out of the lantern, by bending two pieces of wire like Fig. 331, and fastening them to the board with staple tacks (Fig. 332).
When the paint on the lantern is dry, paste red tissue-paper all around the inside to give a cheerful red glow to the light, which will shine through it. If you would like it to resemble a jewelled lantern, paste different colored papers over the large holes and leave the small ones open. An S hook passed through the loop made by the three chains will serve to connect them to the chain which should suspend the lantern from the ceiling.
Fig. 333.—Paper Covering for End of Music-roll
A Music-Roll
can be made of the pasteboard roll.
Fig. 334.—Paper Pasted over End of Music-roll.
Cut a round piece of pasteboard just the size to fit into one end of the roll; then cut out another round piece, this time of paper, one inch larger than that made of pasteboard. Clip the edges (Fig. 333) and paste it over the end of the roll which is filled in with the round of pasteboard (Fig. 334).
Among the scraps of silk and ribbons you will, perhaps, find a good-sized piece of dark-green or brown silk; use this for the case, which must cover the roll neatly. To make the case fit the end of the roll you have just filled up, mark on a piece of the silk a circle the size of that end of the roll. This can be done by standing the roll on the silk, and running a pencil around the edge. When cutting out the silk leave a margin of a quarter of an inch on the outside of the pencil-mark for the seam. Cut the silk for covering the roll three inches longer than the roll, and wide enough to allow for a quarter of an inch seam. Sew up the long seam, and then sew the round of silk into the end of the case. Hem the other end of the case, and run in a narrow ribbon about an inch from the edge. This is for a draw-string.
Music-roll.
When the roll is fitted snugly in its case, tie a ribbon, matching it in color, around the roll, making a loop to form the handle. Fasten the ribbon by taking a few stitches under the bows, catching them on to the silk.
Fig. 335.—Straw Hat Tied in Shape for a Work-basket.
The old straw hat can be transformed into a dainty
Work-Basket.
Work-basket.
Key Rack.
It is stiff and harsh at present, but pour boiling water over it and the straw will become soft and pliable, and can be bent into any shape you like. When dry, it will be again stiff, and will retain the form you have given it. After scalding the hat bend the brim in toward the centre, in four different places, at equal distances apart. This will make a fluted basket. You must tie it in shape (Fig. 335) and leave until perfectly dry; then bronze the basket, line it with silesia, and sew silk or satin around the top to form a bag. Run a draw-string of narrow ribbon near the top of the bag, and the pretty little work-basket is finished.
The croquet ball you can make into a
Key and Button-Hook Rack.
First you must gild it, and then around the middle of the ball, at regular intervals, insert small brass hooks. A yellow ribbon and bow, tacked on the top with small tacks, will serve to suspend it by, and completes the rack.
With the gilt left from gilding the ball, and a piece of bright ribbon you can make a
Paper-weight.
Paper-Weight
of six of the large nails. Gild each nail separately, let them dry, and then tie them securely together with a piece of ribbon.
All the articles brought from the attic have now been turned to some use, but there are many other things to be found there which we have not space to mention, and which with little trouble can be so transformed that no one would ever suppose they were taken originally from a heap of rubbish.
CHAPTER XXXVII.
HOW TO MAKE ATTRACTIVE BOOTHS AT A FAIR—A NEW KIND OF GRAB-BAG.
DECIDING to have our fair unlike those which have preceded it, we must do away with monotony and introduce not only variety, but originality as well. New ideas, something different from that which has served us heretofore, is what we strive for. Novelties are always attractive, let them be decorative also, and help to make the room or hall as inviting as possible.
The Fair.
Fig. 336.—Framework for the Canopy of a Booth at a Fair.
Fig. 337.—Block of Wood Fastened on the side of Table.
The Tables
being the most important item, we will give them our first attention. Have each table or booth canopied in a style differing from all others, and make the canopy extend up as high as practicable, in order to avoid the flat, blank appearance so common in small fairs. If tables are arranged in this fashion, they will go far toward decorating the hall. Fig. 336 shows one style in which a framework for the roof or covering may be constructed. At the four corners of the table, where the top projects over the sides, fit in blocks of wood according to Fig. 337; the dotted lines represent the block. Nail the wood fast to the table, so that the uprights may stand perfectly straight. Use laths or similar sticks for the four uprights, and screw or nail them at the corners of the table according to Fig. 336; then with small screws fasten a stick across the top of the laths at each side, and at the top of the sticks on the front of the table tie the two ends of a barrel-hoop to form the arch; also attach another hoop at the back to the other two uprights, and connect the top centre of each by a wire running across. The hoops are fastened to the laths by binding the ends of the hoops to the ends of the laths with strong twine, or wire, wound around in notches which have previously been cut in the ends of both sticks and hoops. Should the barrel-hoops be too short for the arch, take children’s large-sized toy wooden hoops, and fasten them up in the same manner. Fig. 338 is another way to arrange the framework. The four upright sticks are attached to the table as described in Fig. 336; then in the top of each is driven a very large-sized tack, and a strong flexible wire is stretched from lath to lath and wound around each tack, thus connecting the four uprights together.[G] Flags, shawls, drapery curtains, sheets, and inexpensive cheese-cloth make good canopies; undressed cambric and canton flannel in desirable colors drape nicely, and can also be used for the purpose. Where you wish to produce light, airy effects, tarlatan, in one or more colors, will be found useful; again, let some of the tables have only a suggestion of a roof, made by ornamenting the framework with flowers, or whatever is most suitable, according to the style of table and the place it is to occupy.
Try and have a variety of shapes and sizes in the booths, and avoid sombre dulness and monotony. Let the room fairly sparkle and shine with light and color.
Fig. 338.—Construction of Framework for the Canopy of a Table at a Fair.
To make a tent-like covering, firmly bind a large-sized Japanese umbrella to a pole, and fasten the pole in the centre of the table. To hold it securely, make a bench of two pieces of board, with a hole through the centre of each, and join them together by a block of wood nailed in each end (Fig. 339). The bench can be made fast to the table by screws put through from the under side of the top of the table
Fig. 339.—Bench for Holding a Pole as a Support for a Canopy of a Booth.
In erecting the canopy place the end of the pole in the bench and it will be steady and firm. Attach pieces of string to several ribs on each side of the umbrella, stretch the strings down and fasten the ends securely to the table; paste over the strings bright-colored tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses, and when pasted on turn the fringe part uppermost, so it will look fluffy and not hang down in a tame, fringe fashion. When a red umbrella is used, and the strings are covered with fringe of the same hue, it looks very pretty. Be extremely careful that no light comes dangerously near the tissue-paper, or any other inflammable material; all the decorations must be arranged with a view to perfect safety from contact with gas, lamp, or candle.
In decorating the room remember to mass your color so the effect may be broad. If the colors are too much mingled the effect will be weakened, and in some cases lost entirely.
Fig. 340.—Tissue-paper Fringe.
Paper-flowers and plants in great abundance will be needed, and if you can persuade all your friends, as well as those actively interested in the fair, to make paper-flowers or plants, they will prove very acceptable, and after the fair is over the floral decorations can be safely stored away to do service again on like occasion. Large, showy flowers, like peonies, dog-wood, and magnolias, as well as large-leaved plants, are best to use, though the smaller ones look well in a few places.
In making
Fig. 341.—Dog-wood.
Flowers for Decorations
we aim at general effect, with less regard to detail than if the blossoms were to be used in other ways. Fig. 341 is a pattern of the dog-wood. Cut the flowers of white writing paper and make them quite large. Use wire to fasten them to a natural branch, and imitate nature as nearly as possible in the arrangement of the blossoms.
Fig. 342.—Peony Petal Gathered through the Centre.
If you fold the paper a number of times and then place your pattern over it, you can cut out six or eight flowers at once, and save both time and labor.
Fig. 343.—Peony Petal Folded over.
Peonies are made of white, pink, or red tissue-paper, cut in squares of about eight inches each and pinked on the two opposite edges. Twelve squares are needed for one flower. With your fingers gather the squares up in the centre (Fig. 342); then fold over the pieces, as in Fig. 343; when all are ready string them on a wire and shape the bunch to resemble a peony; twist the wire up tight and fasten the petals together, leaving a length of wire for a stem.
Fig. 344.—Cherry Blossom.
Fig. 345.—Green Leaf of Cherry Tree.
Make the cherry-blossoms (Fig. 344) in clusters of five or seven each, and attach green leaves (Fig. 345) cut in different sizes. Fig. 346 shows the method of giving the leaf a pretty, crimped appearance. By holding the point of the leaf firmly under the head of the pin with your left hand, and with the right hand pushing the leaf up toward the head of the pin, you can crimp the leaves very rapidly, and they look much more natural than when left plain.
All the materials necessary for the manufacture of flowers for fair decorations will be paper, wire, and paste. The buds of different flowers can be imitated by pinching together the petals of open blossoms. Figs. 347, 348, 349 are the petals of the magnolia; the inside petals are five and one-half inches long, the others in proportion. Cut three of each size. No. 347 forms the innermost petals, No. 348 the next, and No. 349 the outermost; these last should be double; make the outside of pink tissue-paper and the inside white, all the other petals are white; cut three, from Fig. 350, of green paper to form the calyx.
Fig. 346.—Method of Crimping Leaf.
Other ornamental flowers may be manufactured from these hints. Patterns can be cut from any natural flowers, and they may be made without the aid of further directions. When natural blossoms can be obtained, they are far preferable, though the paper plants make splendid substitutes and at a little distance cannot be distinguished from the natural ones.
| Fig. 347. | Fig. 348. | Fig. 349. | Fig. 350. |
If the fair comes off in the season when the trees are leafless, bare branches with green paper leaves wired on will help very much where foliage is needed.
An excellent scheme in the arrangement of a fair is to divide the tables into twelve separate booths and let each one represent one month in the year. They should contain articles appropriate only to the month represented, and when planned in this way each month should be of appropriate color. For example:
December
can be all white, with tufts of cotton scattered about for snow, and mica or isinglass sprinkled around and over places to represent frost and ice. Icicles, varying in size, depending from the arch or canopy, add to the effect. The icicles are made of strips of paper first rolled up like paper-lighters, then completely covered with tallow from the dripping of a lighted candle; the tallow being allowed to harden on in raised places makes the twisted paper resemble in form a real icicle; the tallow icicle is next covered with a wash of mucilage, and powdered mica or isinglass is sprinkled all over it, so that it sparkles and shines.
In place of the usual grab-bag at this booth, there should be a Christmas-tree without lights and burdened with little gifts tied up in colored tissue-paper. Santa Claus must have charge of the tree.
July
calls for flags and decorations of red, white, and blue, as well as flowers, fruits, and green foliage; the table should be presided over by Columbia.
May.
Deck this table in spring blossoms and make the canopy of a slender May-pole. Pass the pole through the holes in the bench (Fig. 339) and screw the bench tight on the centre of the table; fasten a wreath of flowers and the ends of a number of ribbons at the top of the pole; bring the ribbons down and tack them to the sides of the table. Give the Queen of May care of the booth.
November
may be gay with late fall leaves and berries, and a very large pumpkin, which has been previously scraped out and lined with paper, can serve as a receptacle for odds and ends. A little Puritan maid should be in charge of the booth.
June
is all rose color, with the queen of flowers, the rose, holding the post of honor. This month is very suitable for the flower-table, and Flora, the Goddess of Flowers, may preside over it.
We have chosen these few months only as suggestions of the manner in which the idea can be carried out.
Those in charge of the different booths might wear as a badge a conspicuous sign of the zodiac appropriate to the month represented.
The Five Senses
can be illustrated by five booths, each one bearing its proper symbol as a sign. To represent
HEARING,
make a large pasteboard ear-trumpet and cover it with silver paper; fasten this on the highest point of the booth and place the word Hearing in large letters under the trumpet; have these signs in plain sight, where none can fail to see and read. The articles on the table should consist of everything pertaining to the sense of hearing, such as sheet-music, musical instruments, telephones, and suitable toys.
It would be a great addition if a phonograph could be rented or borrowed for the occasion, and a certain sum charged to each one speaking in the instrument and hearing the echo of his own words and tones ground out to him again.
An oracle would be a capital thing at this table, each person consulting it paying so much a question.
SEEING
likewise must be labelled with a sign in the shape of a very large pair of spectacles cut out of stiff pasteboard and placed over the lettering.
The goods offered here for sale should pertain to the sense of sight; and could be such articles as pictures, decorated candles, kaleidoscopes, and common blue glasses. All things pleasing to look upon may find place at the Seeing Table. Any kind of a peep-show can be used, five cents being required from every curious person wishing for a peep behind the curtain.
FEELING
is more difficult to portray. Perhaps an ordinary riding-whip will answer the purpose, with the word Feeling in large type under it.
Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet articles, and almost anything adding to our personal comfort, or pleasant to handle, are suitable for the Feeling booth.
TASTING.
As an emblem for this booth make a huge cornucopia for candy, with the sign “Tasting” beneath, and the booth can be the candy-table.
SMELLING
naturally suggests perfumes and sweet-scented flowers. This sense will most fitly be represented by an immense bouquet fastened up over the table. The booth, of course, must be the flower-table.
If you have only a few tables, make four booths of them, and let each booth represent a season. They should be decorated in keeping with the time represented, and the idea fully carried out in all the details.
When the booths stand for different nations there is a great field for variety and beautiful decoration. But in this, as in all cases where an attempt is made to carry out an idea, it must be faithfully adhered to, or the effect will not be that intended.
When it is necessary to decorate the
Walls
use flags, bright, soft draping cloth, and large palm leaves; also branches of leaves, showy flowers, and anything that can be arranged to look well. As rooms differ so much in size and style, it is impossible to give any but general directions, leaving it to the taste of the decorator to carry out the details.
Fig. 351.—Grab-bag of a Sheet with Holes Cut for Face and Arms.
Fig. 352.—Apron Skirt Sewed on Sheet.
Grab-Bags.
On a narrow sheet hung up in a door-way, and fastened securely at the sides, or attached to a frame, cut a hole large enough to allow of a false face being fitted in (Fig. 351 A). The flaps of the cloth are left for pasting inside the face; now cut two more holes for the arms to pass through (Fig. 351 B). In these holes sew sleeves of the same material as the skirt, which is made of bright-colored cambric in the form of an apron, and sewed on the sheet (Fig. 352). The sides of the skirt are basted down on the sheet. When pasting in the false face, first cover the flaps, left at the opening for the face with stiff paste; then paste these flaps down into the inside of the false face, which will bring it up close against the sheet. If small openings are left, or the sheet puckers a little after the face is fastened on, never mind, as all defects can be covered by sewing on a thin white frill all around the face, to form a cap, and making a collar of the same material (Fig. 353).
Fig. 353.—Grab-bag.
Fig. 354.—Inside of Sheet for Grab-bag.
Leave an opening, or pocket-hole, through the sheet at one side of the dress, so that the hand can be slipped through to get the packages, which are placed within reach at the back of the curtain. Fig. 354 shows the inside of the sheet, and C the opening for the hand. Someone must stand or be seated behind this curtain, and slip her arms into the sleeves, then she can look out through the mask and see with whom she is talking. In one hand she may hold a package, while she receives the money with the other.
On the sheet print these words: “Five cents for what is in my pocket.”
The Lady of the Lake.
You will need a tin bath-tub for the lake, the longest one you can find, and a toy boat which will not easily tip or turn over. Place tiny flags in the bow and stern, and in one end of the boat glue a doll dressed like the “Lady of the Lake” in Scott’s poem. Attach a pulley to each end of the tub, and fasten the string to the boat, as it must be run back and forth by means of the pulleys. Fill the tub nearly full of water, then cover the edges with moss and vines. The bath-tub must be completely disguised, and surrounded by plants and foliage, with an opening left at one end for purchasers, and another small one near the other end for the boat to pass through to those stationed behind the shrubbery, who have charge of the boat, and where the parcels are kept. At the store-room end the screen of vines or leaves should be so arranged that those in charge can see all that is going on outside without being seen themselves.
The boat should be stationed at the farther end of the lake, and whoever wishes to make a purchase must give the doll five cents; then the boat may immediately leave, sail across the lake, and disappear behind the screen, only to emerge again laden with a parcel in place of the money, and lightly skimming over the water arrive at her destination, when the purchaser can relieve the “Lady of the Lake” of her package.
The Bubble Range described on [page 335] can be used in a fair with advantage. Unless the fair is very small, it is better to have two Bubble Ranges, to prevent the tiresome waiting for a turn, and give all who wish to try their skill the opportunity to enjoy the sport.
Fortune’s Wheel.
Fig. 355.—Circle for Fortune’s Wheel.
Fig. 356.—Fortune’s Wheel.
Cut of stiff pasteboard a large circle (Fig. 355) with a point on the edge at the end of one of the spokes, for the circle must be painted to resemble a wheel. With a large round nail fasten the wheel through the centre to a board, which has previously had numbers painted on in a circle somewhat larger than the circumference of the wheel (Fig. 356); the wheel should turn around easily on the nail. Hang the board up flat against the wall. The gypsy in charge of the Fortune’s Wheel should be stationed by its side, holding a basket filled with many envelopes numbered to correspond to the figures on the board, each envelope containing some appropriate fortune-telling lines; and when the people come to seek their fortunes the gypsy must allow each in turn to give the wheel a twirl, sending it around rapidly, and then hand to the fortune-seeker an envelope whose number corresponds with the figure at which the wheel pointed when it stopped turning.
Rag-Balls.
Prepare a number of carpet-rag balls with a small gift in the centre of each one. These sell rapidly, and it is very amusing to see the buyers unwinding their balls to discover the contents, which may prove to be a thimble, a bundle of jackstraws, a grotesque Japanese toy, or any little comical conceit which can be hidden in the odd receptacle.
The same idea might be applied to the always pleasing popcorn balls; then the knick-knacks must be first wrapped in soft paper to protect them from the candy used in making the balls.
Pleasant mysteries and surprises are always popular at fairs, and the more that can be invented the better.
Window Decorated with Imitation Stained Glass and Dutch Curtain.
CHAPTER XXXVIII.
WINDOW DECORATION.
NOW, girls, we must have practicable ideas in regard to our decorations; they should consist of something which we know will be easy to make and at the same time look well; the materials employed must be within possible reach of all, and nothing expensive or difficult to obtain allowed to enter into their manufacture. What are commonly called Dutch curtains are very popular; they are short curtains of some thin, transparent fabric, fastened with rings to a slender rod of bamboo, and when drawn, cover the lower part of the window without intercepting the light. The curtains are very useful, but, while they do not obstruct the light, they do obstruct the vision.
Fig. 358.—Fringe of Macaroni and Beads.
We all know that the front window is just the place to sit when sewing or doing fancy-work, and although few ladies care to be seen by every passer-by, yet they all like to see what is going on outside, and while their deft fingers ply the needle their bright eyes take in the landscape out of doors and derive amusement and entertainment from the birds and flowers, if it be in the country, or the ever-moving throng, if in the city.
An ornamental screen, therefore, that will shield one and yet not interfere with the view is desirable. What might be termed the
Oriental Window-Shade
not only comes up to the above requirements, but is inexpensive, and not difficult to construct.
Fig. 357.—Manner of Making Fringe for Oriental Window-shade.
Make a small lawn-tennis net, long enough to reach across the width of the window and about eight inches deep; make loops of the rope on the ends for hanging the screen to knobs or hooks screwed in the framework of the window; spread the net out and fasten it up on a door, between two chairs, or any convenient place; then cut a number of pieces of fine twine, about four feet long, and attach them, a quarter of an inch apart, along the bottom rope (Fig. 357); A shows a loosened loop and B the tightened ones. The ends of the twine hang free. On each double strand string glass beads and slender pieces of bamboo, reeds, painted clay pipe-stems, or macaroni broken in pieces of equal length and used in their natural color, or painted with oil-paints to any desired tint. Have the reeds four inches long, and thread them on alternately with the beads (Fig. 358); or you can form a design by cutting the reeds into different lengths; at the end of each strand fasten a large bead or glass button. A very simple
Ribbon-Curtain
Fig. 359.
Fig. 360.—Beads on the Ends of Ribbons
is of red, blue, yellow, and black ribbons all cut the same length and sewed, a quarter of an inch apart, on a narrow strip of black cloth long enough to reach across the window. The strip may be used as a band, or attached to a slender pole by means of small brass rings. The ribbons should be silk, and thin enough to admit of the light shining through; they hang down fringe-like, with three glass beads fastened on the end of each ribbon (Fig. 359 or Fig. 360). If you prefer to have the shade all one color make it yellow, which gives a pleasant, mellow light. Any pattern you choose can be made by taking short pieces of ribbon and joining them together with glass beads. In this way bits of ribbon could be utilized, but those used must be semi-transparent, showing the color when held up to the light. Even smooth pieces of silk with their edges neatly hemmed might do service, only be very careful to join either ribbon or silk with the beads in such a manner as to prevent its twisting; the beads must be heavy enough to keep the fringe straight.
Nearly all homes have their bags of silk and worsted pieces, and from these can be made a handsome
Drapery of Very Small Scraps.
Cut the pieces of silk or worsted into squares about an inch each way, using any and all colors; then take a piece of twine of the length you desire your curtain, and with a large needle string the bright bits on the twine until the whole string is completely and closely covered; next fasten the twine well to prevent its slipping, and with a large pair of scissors trim off the rough edges of the silken strand until the surface is rounded and even; on one end attach a small brass curtain-ring, and on the other a heavy bead or button; make as many strands as you will need to hang across the window and fasten them to a pole in which small hooks have been screwed.
This drapery resembles chenille; it is rich in color, will wear well, and is best adapted for full-length curtains.
As a substitute for stained glass we give directions for
Painting Window-Panes.
These are very pretty and satisfactory. If good designs are chosen the window will surpass in beauty your expectations.
The materials necessary are: some of Winsor & Newton’s transparent colors, such as rose-madder, Prussian blue, raw and burnt umber, burnt sienna, ultramarine, gamboge, ivory-black, viridian green, and orient yellow. Any transparent color can be used. For purple, mix rose-madder with Prussian blue.
Prepare the paints to be used by mixing each color separately with a little oil and siccatif Courtray. Almost any brush will do to paint with, but one of medium size made for oil-colors is the best, and another smaller one is necessary for the outlining, which takes the place of leading in stained glass. The dabber is a ball of raw cotton tied in a piece of fine cotton-cloth, and the manner of tinting or grounding is exactly the same as in china-painting; lac-varnish will be needed as a wash after the painting has dried.
When you have an opportunity, carefully examine real stained-glass windows, and you will see that each window is one complete design. The corners and borders are usually in rich, dark colors, while the central portion is of lighter tints or clear glass.
Fig. 361.—Border Pattern.
Fig. 362.—Cracked Glass.
Always make your corners and borders first, and if you desire a centre-piece, it should be placed in position next, and the space between it and the border filled in afterward. A Gothic window may be imitated by painting the corners black, thus making it arched at the top. Very often good patterns can be found in the many art and fashion papers. One copy may serve for an entire border, if it be pasted at the four corners to one pane of glass, and, when that is outlined, removed and gummed to the next, and so on until the border is finished. Fig. 361 is intended as a border. Fig. 362 is a very simple pattern of cracked glass, which you can readily make without any copy. Place a ruler across the woodwork of the window-pane, first one way, then another, and with its aid paint your straight lines, being careful not to have any two run parallel. A conventional design is always to be preferred. Should any mistakes occur during the progress of the work, remove the paint with a cloth dampened with turpentine and try again. The painting is not difficult, and the only delays are in waiting for the colors to dry.
First decide on your design, then trace it, making the outlines heavy and black; gum the pattern by the four corners to the outside of the window-pane, which it is essential to have perfectly clean and dry; close the window, and with a small brush dipped in black paint follow the outlines of your copy, keeping the lines of equal thickness throughout; when this is finished remove the pattern. In the same manner go over all the outlines you wish to make on the window, then leave the color to harden and dry, which will probably require hours. Begin again by laying on flat washes of paint to match the prevailing colors of the copy, and use the dabber in tinting each color as it is applied, so the surface may be even and uniform. While the decoration is drying it is best to protect it from dust by pinning up a newspaper or a large piece of cloth on the window-frame. When dry, the painting can be touched up if necessary.
After the last color has entirely dried apply a wash of white lac-varnish; when this is dry give the window another coat of lac-varnish and then it will be finished. Should your copies be in black and white, use your own taste in coloring the glass.
Another method of imitating stained glass is
Painting on Lawn,
batiste, or any kind of sheer white muslin. For this you will need the same paints that are used for painting on glass; these are mixed only with turpentine and the color put on as a stain.
Cut a piece of new thin white batiste large enough to cover a window-sash, with a margin left for turning in, and make an outline on it of the exact size of the sash; then select your pattern and place the lawn over it, when the outlines should show through; trace these carefully with gum-arabic dissolved, but made very stiff, and when the entire design has been traced let the gum dry; then go over it with ivory-black unmixed; this latter makes the leading; be careful to keep the lines even and of the same size. When the outlines have dried fill in the spaces with the stains made of paint and turpentine; the gum prevents the colors from spreading. When the paint has dried you may add a few touches where they are needed, and the stained-glass design will be ready to place on the window. Use stiff mucilage or tiny tacks to keep it in place, having first turned in the margin left for the purpose.
An attractive window can be made with the upper sash of imitation stained glass, while the lower one is screened by a Dutch curtain, as in the illustration.
For the benefit of those who prefer sewing to painting we now tell how to
Imitate Stained Glass
Fig. 363.—Imitation of Ground Glass.
with a piece of stiff white rice-net, such as is commonly used for bonnet-frames, and some pieces of thin batiste, or lawns, of the requisite colors. Cut the rice-net the proper size and lay it over your design; then carefully trace off the pattern; when all the outlines are finished cut the different-colored lawns of the shape and size to correspond to the different portions of the design; baste these on in the places they must occupy; then sew them on with the Automatic Sewing-machine, following with coarse black thread the outlines on the wrong side of the foundation, so that the chain-stitch will appear on the right side to form the leading; or the stitching may be made by hand, or a very narrow black braid can be used as leading. When all the batiste is sewed on, cut out the net back of the design to allow the light to shine through.
We have seen such an imitation of stained glass, and when placed up against the window it was very good; but care must be taken to have the colored lawns thin and of the right shades; if too heavy they obstruct the light and the colors do not look bright.
For full-length window-drapery of inexpensive material there may be had at any of the leading dry-goods stores beautiful soft fabrics, in yellows and different colors, the designs of which equal those of much higher-priced goods. These draperies hang in graceful folds and come as low as ten cents a yard; some of them are also well adapted for the useful Dutch curtains.
Fig. 364.—Folded Paper with Diamond Pattern for Imitation of Ground Glass.
Fig. 365.—Paper Marked with Design for Imitation of Ground Glass.
Windows of Imitation Ground Glass
can be made of white tissue-paper, cut in simple patterns and fastened on the inside of the glass with white lac-varnish. The window must be perfectly clean and dry. If possible have the pieces of tissue-paper exactly the same size as the window-panes, fold and refold the paper lengthwise until it is an inch or so in width; then cut from stiff cardboard your pattern. If it be a diamond, as in Fig. 363, have it exact, and cut it in halves; use one-half as a pattern, place this on the edge of the paper, as in Fig. 364, and with a lead pencil draw a line around it; remove the pattern and place it lower down about a quarter of an inch from the first tracing, and again mark around the edge. Continue in the same way until you have the pattern marked on the entire length of the tissue-paper. Make the same pattern on the other edge of the paper (Fig 365). Cut out the pattern, then unfold the paper and smooth it free of wrinkles; give the window-pane a thin coating of white lac-varnish, and apply the paper, being very careful to have it perfectly smooth when on the glass. Sometimes it is necessary to join two or more pieces of paper, but if you are careful to make the edges come exactly together, the joins will not be noticeable.
Lac-varnish dries very quickly, and it takes only a short time to decorate a window in this manner.
When all the panes of glass are covered with tissue-paper, finish by varnishing each one with the white lac-varnish; at a little distance it is difficult to distinguish a window so covered from one really formed of ground glass.
For bath-rooms, or where the window is rather out of the way and the outlook not agreeable, the imitation of ground glass is suitable and useful.
CHAPTER XXXIX.
FURNITURE OLD AND NEW.
ONLY the other day we were appealed to by a friend for suggestions on how to furnish a room prettily, and at the same time inexpensively, and we know that there are many girls like this friend who, loving to surround themselves with beauty and comfort, have not the means of doing so in the ordinary way; but must depend largely upon their own skill and ingenuity for the gratification of this taste. After all, there is more real pleasure in planning and contriving the furnishing of one’s room, even with only a small sum for outlays, than there is in ordering a set from the furnishers which is exactly like a hundred others. In the former case we make our room expressive of our individuality; in the latter we walk in the beaten track of those who have little or no individuality to express.
So much for the sentiment of the idea. Now let us turn to the practical side, and find the best way of carrying it out, and putting our theories into practice.
In mentioning old furniture in the heading of this chapter, we do not allude to the antiques in such high favor just now; they are unique and handsome enough in themselves, requiring no contriving to beautify them; but there are few families who do not possess furniture that is out of date, old-fashioned without being antique; furniture that time and hard usage has reduced to a state of shabbiness anything but beautiful, yet not worth sending to the cabinet-makers to be furbished up. It is the renovation of such furniture that will help much toward making a room pretty and attractive.
We need not attempt to restore the furniture to its original state, that would be impracticable. But we can work wonders in transforming it; in turning a homely article into one that will be an adornment instead of a blemish.
Bookcase.
Fig. 366.—Diagram of Book-shelves.
Take, for instance, an old bureau belonging to a cottage set. The mirror, perhaps, is broken, or if it is not it can be used to better advantage elsewhere. Removing that, there is left merely a chest of drawers, which we will proceed to convert into a bookcase by the addition of shelves placed on top. If you have a brother who is handy with his tools the matter is simple enough; without him a carpenter may have to be employed to make the shelves, or, by taking the plan and measurements to a carpenter-shop the materials can be obtained ready for use, and all you will have to do will be to put them together. Although there is a saying that “a girl can never drive a nail straight,” we have reason to believe the contrary, and feel sure that a little practice will enable most girls to do many bits of light carpentry work as well as the boys. Three feet is the height of a bureau belonging to an ordinary set of cottage furniture, so we will take that as our standard for measurement, and make our shelves according to it.
Fig. 366 is the diagram for the frame of the shelves. The side pieces are made of boards three feet four inches long and nine inches wide; the top of each of these boards is sawed into a point as shown in diagram. Four cleats made of sticks eight inches long and one inch thick are nailed to the side of each board, the distance between being nine inches.
The frame at the back is composed of two boards five and one half feet long and seven inches wide, and two, three feet three inches long (the width of the bureau) and seven inches wide. One of these short boards is nailed across the top ends of the long boards, and the other twenty-four inches below. The side pieces are nailed to the back as shown in diagram, the nails being driven through the back board into the edge of the side piece.
When the frame is made it is placed on the bureau, the sides resting on the top and the long back boards reaching down behind where they are nailed or screwed to the bureau. The shelves are thirty-seven inches long and nine inches wide. They rest on the cleats and are not nailed to the frame.
Screws may in some places, answer better than nails.
When the shelves have been adjusted, the whole is painted a dark olive green.
If the knobs are removed from the drawers before the bureau is painted, and brass handles substituted afterward, it will add materially to its appearance.
The bookcase shown in our illustration is finished off with curtains, which hang by brass rings from a slender bamboo pole. The pole is slipped through brass hooks screwed into the side pieces near the top.
Curtains of canton-flannel, or any soft material, are suitable for this bookcase. The colors may be a combination of olive green with old blue, yellow, cherry, copper color, dark red, or light brown.
The Chair
in the same illustration is an ordinary rocking-chair painted olive green, with cushions at the back and in the seat stuffed with excelsior, covered with bright cretonne, and tied to the chair with ribbons.
Bureau Transformed into a Bookcase.
Fig. 367.
Chairs of this kind look well painted almost any color; one of yellow, with yellow cushions and ribbons, is exceedingly pretty.
If the chair to be remodelled is bottomless, reseat it in this way: Cut some strips of strong cotton cloth about one inch wide and sew them together, lapping one piece over another, as in Fig. 367; fasten an end on to the edge of the chair with a tack, and then pass the cloth back and forth across, each time putting it under and bringing it over the edge of the chair.
Fig. 368.—How to Reseat a Chair.
When the seat is filled up with the strips going one way, cut the cloth and tack the end to the chair; then, commencing at the side, cross these strips, passing the cloth in and out as if darning. Fig. 368 shows just how it is done. Be sure to draw the strip as tightly as you can every time it crosses the chair, for if too loose it will sag as soon as the chair is used. The edge of the chair may be covered with the cretonne, or a ruffle which is sewed around the cushion.
Fig. 369 is an old settee fitted up with cushions, and a sociable, comfortable seat it is. It offers plenty of room for two, and ensconced thereon the girls may rock and talk to their hearts’ content.
These settees are not often seen in the city, but are to be found in many a farm-house and country town. The one from which our sketch is taken is painted black, but, like the chair, it would look well any color.
Fresh, dainty prettiness should be the principal feature of a young girl’s room, and this can be obtained at very little expense, much less than most persons suppose.
Fig. 369.—Come and Sit Here.
Fig. 370 shows what can be done with the commonest kind of furniture. This can be bought at the manufacturer’s unpainted, and may be left its natural color and simply varnished, or, following the present fashion, it can be painted white, and decorated with slender bands or circles of gold.
As in the illustration,
The Bedstead
should have drapery suspended over it. This gives a soft, pretty effect, and takes away its stiffness. Dotted swiss or thin cottage drapery answers the purpose nicely.
Ten yards of material cut in two breadths of five yards each are required for these curtains. The breadths must be sewed together lengthwise and then passed through a small wooden hoop which has been gilded or painted white.
When the hoop is directly in the middle of the breadths, the material must be brought together close to the hoop and two of the edges sewed or basted together. This seam is to go at the back and keep the curtain from parting and hanging in two strips.
A ruffle of the same material, or lace, sewed on the edge and across the ends of the drapery gives it a soft, lacy effect. The ribbons which loop the curtains at either side should be of the prevailing colors of the room. If the furniture is white and gold, they should be yellow.
The hoop can hang from a brass chain fastened to a hook in the ceiling.
The bureau belonging to this style of furniture is too clumsy for our use, although without the mirror it will be convenient as a chest of drawers. Brass handles in place of knobs will improve it.
Fig. 370.—What can be done with Common Unpainted Furniture.
A Dressing-table
to take its place, like the one shown in Fig. 370, can be made of a small kitchen-table. The mirror suspended over it should have a broad flat frame of white pine, varnished or painted to match the furniture. Almost any cabinet-maker can frame a mirror in this way. Bracket candlesticks made of brass, which are very inexpensive, should be fastened to the frame on either side of the glass with brass nails or brass-headed tacks.
Fig. 371.—The Ordinary Unpainted Washstand in a New Light.
With a brass handle on the drawer, a pretty scarf of linen crash, ornamented with drawn work or outline, thrown over the table and hanging down at each end, and the addition of pin-cushion and toilet articles, this toilet-table looks very attractive and readily challenges admiration.
Washstand.
A piece of white matting bound at top and bottom, with yellow cotton cloth for a splasher, as in Fig. 371, and a pretty scarf and toilet-set, presents this most ordinary washstand in a new light.
Three common kitchen-chairs and one rocker, when painted white or varnished, as the case may be, and cushioned in pretty light-colored cretonne, completes this novel, pretty, and remarkably inexpensive set of furniture.
The curtains next to the windows should be of the same material as that used for the bed-drapery, with the inner one of cretonne like the chair-cushions.
White matting is suitable for the floor in summer, and during the cold weather it can be mostly covered with a pretty ingrain rug or art square, as it is called.
Instead of using gilt, the rings and bands on the furniture may be blue or red, in which case the trimmings of the room should correspond.
Fig. 372.—Hall Seat Made of a Common Wooden Bench.
A Hall Seat.
As another illustration of what can be done with the most ordinary piece of furniture, we have chosen a common wooden bench, and by painting it black and giving it a dark-red cushion with tassels at each corner, have transformed it into quite an elegant hall-seat. Fig. 372 gives the effect.
Fig. 373.—Window Seat and Book-shelves Combined, Made of Boxes.
Fig. 373 shows a
Window Seat and Book-shelves Combined,
made of boxes. Eight soap-boxes of the same size are required for the shelves, and a packing-box about two feet high, two feet in width, and as long as the window is wide, for the seat.
Remove the tops and two sides of the soap-boxes, and bore holes with a red-hot poker in one corner of the bottoms of six of the boxes, and in two of the tops which have been removed, making the holes one inch from either edge (Fig. 374). In the other two boxes bore in the same place, but not entirely through, making the holes about half an inch deep.
Place these last two on the floor and pile the others on top of them, three on each, nailing the bottom of each box to the top edge of the one beneath it. On the two upper boxes nail the tops in which the holes have been made.
Have ready two slender bamboo rods about four feet long. Insert a rod in the hole in the top of an upper box and let it pass down, slipping it through the holes in the bottoms of the other boxes and fitting it in the cavity in the lower box.
Fig. 374.—Hole in Corner of Box for Book-shelves.
In like manner put the other rod in place through the other pile of boxes.
If the packing-box has a cover, it should be fastened on with hinges, so that it may be used for a shoe-box as well as a seat; if it has not, turn it upside down, place the soap-boxes at each end and nail them to it.
Paint the shelves black or the color of the wood-work in the room, and upholster the seat and the boxes on either side of it with cushions made of strong muslin stuffed with excelsior and covered with cretonne.
Fasten the edges of the side cushions to the boxes with gimp braid and tacks. Make a deep plaiting of the cretonne and tack it across the front of the large box. When there is a lid a narrow plaiting must be tacked across its front edge, which will, when the box is closed, lap over the top of the deeper plaiting.
That this combination of window-seat and shelves is both comfortable and convenient, one may easily imagine, and that it adds not a little to the furnishing of a room, we leave to our illustration to show.
CHAPTER XL.
SOMETHING ABOUT MANTEL-PIECES AND FIRE-PLACES.
THE spirit of hospitality and comfort presides over the ruddy blaze of an open fire; yet, as we gather cosily around and bask in the delightful warmth and radiance, its cheerful influence is too often retarded by its very unattractive surroundings. This lovely household spirit should have a more fitting habitation than the one frequently accorded it. The fire-place should at least be pleasant to look upon, and not depend wholly upon the bright fire to make it inviting.
The ordinary marble and marbleized slate or iron mantel-pieces are the reverse of beautiful, but they may be very much improved at the expense of a small outlay of money, time, and trouble.
The examples we give here of the treatment of commonplace mantel-pieces are simple, and can easily be managed by the girls themselves, with but trifling aid from a carpenter.
In a room occupied at one time by a young friend of the writer, there was an old-fashioned white-pine mantel-piece. It was stiff and plain, with no attempt at ornamentation, and the border of white marble, about five inches wide around the fire-place, was apparently inserted to protect the wood from the heat of the fire, and not for beauty. A hint from the writer was sufficient to set this girl’s brain and fingers to work. Soon the white-marble border was transformed into a row of blue and white tiles, which were not only pretty and appropriate, but were also the means of dispelling the impressions of coldness and hardness the marble gave.
Fig. 375.—Shelves over Mantel-Piece.
The manner of effecting this transformation was simple enough. First the marble was divided into squares, the lines being painted black; then conventional patterns were sketched with a pencil on the squares and painted in blue, oil-paints being used for the purpose.
How the mantel-piece was otherwise reformed, the writer never saw, but it might have been greatly improved and altered by the addition of shelves above, or a suitable lambrequin upon the mantel-shelf. However that may or might have been, the tiles were a successful bit of work, and the painting of them within the capabilities of almost anyone. Then why should we long in vain for a tiled mantel-piece, when we have it in our power to gratify the wish?
On a plain white-marble mantel a border around the fire-place may be marked out, and a set of tiles painted, which will look just as pretty as any that can be bought.
If the rest of the marble is painted black or brown, the tiles will look as though they were set in, and the contrast will make them more effective.
Fig. 375 illustrates our suggestion of putting shelves over the mantel-piece. The braces can be bought at any hardware-store, and the shelves may be of black-walnut or pine boards, stained or painted to match the mantel-piece.
Fig. 376 shows the effect of a mantel-shelf covered with enamel-cloth made in imitation of leather. The color of the material used for the one from which our sketch is taken is dark red, and has a dull, soft finish like Russian leather. It is ornamented with small brass curtain-rings sewed on in points or pyramids; a strip of enamel-cloth is also put behind the shelf, and at the top edge a piece of narrow gilt moulding is tacked.
Fig. 376.—Mantel-Shelf covered with Enamel-Cloth ornamented with Brass Curtain-Rings.
A mantel-board of pine, two inches longer and two inches wider than the shelf, is always necessary when there is to be a lambrequin, for upon this the lambrequin is tacked.
First, the board must be neatly covered with the material, enamel-cloth or whatever is used, the edges of the cloth being brought over and tacked under the edge of the shelf; then the strip composing the lambrequin must be turned in at the top edge and tacked across the front and two ends of the board with brass-headed tacks. It looks better if the corners of the board are rounded as shown in illustration.
Fig. 377.—Enamel-Cloth ornamented with Brass Rings.
The piece at the back of the shelf should be about eighteen inches deep and must be tacked at top and bottom with small tacks, the edge at each end being turned in and tacked to the wall with brass-headed tacks.
Fig. 377 is the diagram of enamel-cloth ornamented with brass rings, and shows a section of the pattern. The bottom row of rings should be sewed on first, and the edge of the cloth turned up as the rings are fastened on. The stitches which hold the rings catch the hem also. This first row of rings should extend half way below the edge of the cloth, as shown in Fig. 377. Strong yellow embroidery-silk or saddlers’ silk is the best to sew them on with.
The gilt moulding can be bought by the foot and small headless nails are furnished to tack it with.
Another mantel is treated in very much the same manner as Fig. 376, the difference being that, instead of enamel-cloth, the covering for the shelf and the piece at the back are dark-red canton-flannel, and around the edge of the shelf is tacked a worsted fringe, about six inches deep, matching the canton-flannel in color. This has a warm, comfortable look and is quite appropriate for a bedroom, while the other should be used only in a library or dining-room.
Fig. 378.—Shelves around Projecting Chimney.
The writer was once invited into a young girl’s room which was very attractive in its daintiness. It was not pretty in shape, and an uncompromising chimney, in which there was no fire-place, projected into the room; but taste had overcome these difficulties, and the effect produced was decidedly pleasing.
Pretty wall-paper and the arrangement of the furniture helped very much, but the greatest triumph was in subduing the awkwardness of that chimney by surrounding it with a set of shelves for holding pretty bits of bric-à-brac.
In case another girl may have the same difficulty to surmount in decorating her room, we give an outline drawing of the shelves (Fig. 378) that she may see and profit thereby.
CHAPTER XLI.
HOME-MADE CANDY.
WE have noticed that in none of the books we have seen, which were written especially for the amusement and entertainment of girls, has there been any directions or recipes for making candy. Knowing by experience that most girls consider candy-making one of their prime winter enjoyments, we consider the omission to be quite an important one, and we will in this chapter endeavor to supply the much-wished-for information.
Though cooking in general may not be regarded with much favor by the average school-girl, she is always anxious to learn how to make candy, and hails a new recipe as a boon.
The following recipes for peanut-candy, butter-scotch, and molasses-candy were obtained from a friend who makes the best home-made candy it has ever been our good-fortune to taste, and as she recommends them, we may rely upon their being excellent. We give them, with her comments, just as she wrote them.
Delicious Peanut-Candy.
Shell your peanuts and chop them fine; measure them in a cup, and take just the same quantity of granulated sugar as you have peanuts. Put the sugar in a skillet, or spider, on the fire, and keep moving the skillet around until the sugar is dissolved; then put in the peanuts and pour into buttered tins.
This is delicious, and so quickly made.
Butter-Scotch.
- 2 cups of brown sugar.
- ½ cup of butter.
- 4 tablespoonfuls of molasses.
- 2 tablespoonfuls of water.
- 2 tablespoonfuls of vinegar.
Boil until it hardens when dropped into cold water, then pour into buttered tins.
Molasses-Candy.
- 2 cups of brown sugar.
- ½ cup of New Orleans molasses.
- ⅔ cup of vinegar and water mixed.
- A piece of butter half the size of an egg.
When the candy hardens in cold water, pour into shallow buttered tins, and as soon as it is cool enough to handle, pull it until it is of a straw-color. Splendid!
Here are two recipes which another friend has kindly sent us:
Chocolate-Creams.
To the white of 1 egg add an equal quantity of cold water. Stir in 1 pound of confectioner’s sugar. Flavor with vanilla. Stir until fine and smooth; then mould into balls and drop into melted chocolate.
To melt the chocolate, scrape and put it in a tin-cup or small sauce-pan over a kettle where it will steam. Let the chocolate be melting while the cream is being prepared.
Walnut-Creams.
Make the cream as for chocolate-drops and mould into larger balls. Place the half of an English walnut on either side and press them into the cream.
The cream prepared in this way, we have found, can be used for various kinds of candy.
Small pieces of fruit of any kind and nuts can be enclosed in the cream, making a great variety. Chocolate may be mixed with it; and if strong, clear coffee is used in place of the water, the candy will have the coffee flavor and color which some people like.
Walnut and Fruit Glacé.
Put 1 cup of sugar and ½ cup of water in a sauce-pan and stir until the sugar is all dissolved; then place it over the fire and let it boil until it hardens and is quite crisp when dropped in cold water. Do not stir it after it is put on the fire.
When cooked sufficiently, dip out a spoonful at a time and drop in buttered tins, leaving a space of an inch or so between each spoonful. Place on each piece of candy the half of a walnut, or the fruit which has previously been prepared, and pour over them enough candy to cover them, always keeping each piece separate.
Any kind of fruit can be made into glacé. When using oranges, quarter them and remove the seeds. Strawberries, in their season, and peaches also make delicious glacé.
The remainder of our recipes have been taken from family recipe-books, and although we have not tested them ourselves, we think it may be safely said that they are good ones.
Marsh-mallow Paste.
Dissolve 1 pound of clean white gum-arabic in one quart of water; strain, add 1 pound of refined sugar, and place over the fire. Stir continually until the syrup is dissolved and the mixture has become of the consistency of honey. Next add gradually the beaten whites of 8 eggs; stir the mixture all the time until it loses its thickness and does not adhere to the finger. Flavor with vanilla or rose. Pour into a tin slightly dusted with powdered starch, and when cool divide into squares with a sharp knife.
Toasted Marsh-mallows.
Tie a string on the end of a cane or stick, fasten a bent pin on the end of the string, and stick the pin into a marsh-mallow-drop. Hold the marsh-mallow suspended over an open fire and let it gradually toast. When it begins to melt and run down it is done.
For a small party toasting marsh-mallows will be found quite a merry pastime, and a great many persons consider the candy much better for being thus cooked the second time.
Molasses Peanut-Candy.
- 2 cups of molasses.
- 1 cup of brown sugar.
- 1 tablespoonful of butter.
- 1 tablespoonful of vinegar.
While the candy is boiling remove the shells and brown skins from the peanuts, lay the nuts in buttered pans, and when the candy is done pour it over them. While it is still warm cut in blocks.
Chocolate-Caramels.
- 2 cups of sugar.
- 1 cup of molasses.
- 1 cup of milk.
- 1 tablespoonful of butter.
- 1 tablespoonful of flour.
- ½ pound of Baker’s chocolate.
Grease your pot, put in sugar, molasses, and milk; boil fifteen minutes, and add butter and flour stirred to a cream. Let it boil five minutes, then add the chocolate, grated, and boil until quite thick. Grease shallow pans and pour in the candy half an inch thick, marking it in squares before it becomes hard.
Pop-Corn Balls.
- 6 quarts of popped corn.
- 1 pint of molasses.
Boil the molasses about fifteen minutes; then put the corn into a large pan, pour the molasses over it, and stir briskly until thoroughly mixed. Then, with clean hands, make into balls of the desired size.
Saint Valentine.
CHAPTER XLII.
Saint Valentine’s Day.
DID it never occur to any of you to wonder who Saint Valentine was, and why we should commemorate his day by sending cards or letters containing all sorts of nonsense, like true-lovers’ knots, hearts pierced with arrows, etc.?
It is easy enough to tell you about the saint, but what he had to do with the popular observances of the day dedicated to him is a matter for conjecture.
Saint Valentine, they say, was a grave and earnest bishop, who was put to death in Rome on the fourteenth day of February, about the year 270 A.D., for his too zealous efforts in converting the heathen. When he was canonized, the day of the month on which he died was dedicated to him.
The customs of Saint Valentine’s Day are, no doubt, derived from those practised at some of the Pagan festivals, for they are of very ancient origin. In olden times, in England, it was kept as a great gala day, and all the houses were decked with evergreen in honor of it. Ben Jonson says:
“Get some fresh hay, then, to lay under foot,
Some holly and ivy to make fine the posts;
Is’t not Saint Valentine’s Day?”
The principal feature of the ceremonies was always the choice of a valentine for the ensuing year. The cavalier was expected to wait upon his lady, execute all of her commands, and act as her escort at all social gatherings.
The choice of a valentine was generally left to chance, one of the methods being that the first unmarried member of the opposite sex a person saw on Saint Valentine’s morning should be his or her valentine.
Of course you have all had some experience in sending and receiving valentines, and perhaps consider that the only way of celebrating the day; but don’t you think it would be a good idea to invite some friends to your house and have a
Valentine-Party?
We will give several suggestions upon what to do at a valentine-party, that you may have some idea how the affair should be conducted.
In the first place, let each guest, upon his or her arrival, deposit a valentine in a large bag placed in the hall for that purpose. The valentines must be addressed to no particular person, but the girls should write on theirs, “To my cavalier,” and the boys address the ones they send, “To my lady.” On one corner of each valentine (not the envelope) the sender’s name must be written.
When all the guests have assembled, someone disguised as Saint Valentine, in a skull-cap, long white beard, made of cotton or wool, and long cloak, should enter the parlor, carrying on his back the sack of valentines. He must stand in the centre of the room and auction off each valentine as he takes it from his pack.
All sorts of bids can be made, such as the promise of a dance, a necktie, her share of ice-cream at supper, by a girl. A compliment, the first favor asked of him, a paper of bonbons, by a boy. To make fun the bids should be as ridiculous as possible. Saint Valentine is to be at liberty to accept whatever bid he chooses. The payment of the debt must be rigidly exacted by the sender of a valentine, whose identity is revealed when the valentine is opened.
Fig. 379.—Cupid’s Bow and Arrow.
If unable to comply immediately with the demand, the debtor must give the creditor a card or slip of paper on which is written “I O U a favor,” or whatever it may be that is owed. This I O U entitles the creditor to claim payment of the debt at any time during the year.
Another feature of the party should be Cupid’s bow and arrow, which must be suspended from the chandelier or placed in some prominent position. The device is to be used for delivering such valentines as may be addressed to particular persons. The valentine must be stuck onto the point of the arrow, and no one may remove it save the person to whom it is addressed. At any time during the evening the arrow may be found to bear a missive, and we would advise the hostess to provide a valentine, to be delivered in this way, for each of her guests, that none may feel neglected. The rest of the party can, to be sure, send as many valentines as they like.
Fig. 380.—Notch in End of Feather.
Make Cupid’s bow and arrow of heavy pasteboard, like Fig. 379. Let the bow measure about sixteen inches from tip to tip. Make the arrow twelve inches long, with a point or head three inches, and the feathers two inches, in length on the outside edge. Cut a notch in the feathered end, as shown in Fig. 380. Strengthen the arrow by gluing a thin stick of wood along it to within one inch of the point. Gild both the bow and arrow, tie a silk cord to the tips of the bow, leaving it slack, and force the head of a worsted-needle into the point of the arrow (Fig. 381). Adjust the arrow by fitting the cord in the notch and pulling it back until the cord is taut; then fasten it to the bow by taking a few stitches with yellow silk through the bow and over the arrow. Fig. 382 shows how it should appear when in place.
Fig. 381.—Manner of fastening Needle in Arrow-head.
To determine how the guests shall be paired off for supper, place the names of all the girls, written on slips of paper, in a bag; then let each boy in turn take out a slip, and the girl whose name it bears he shall escort to the supper-room and serve like a true cavalier.
Fig. 382.—Cupid’s Bow with Arrow in Position.
At a valentine-party the valentines should, if possible, all be original, or at least contain appropriate quotations. The more absurd the rhyme, the more fun it will create, and when one is unable to make a rhyme a bit of prose can be made to serve. As funny as you please let the valentines be, but remember to omit anything that is in the least rude, or calculated to hurt another’s feelings.
With Saint Valentine’s Day ends our vacation-calendar and with it we also bring this book to a close, for a whole year of holidays, sports, and entertainments are now contained within its covers. If we may hope that our work has not been without profit, as well as entertainment, if we have been successful in opening any new avenues of enterprise and enjoyment for you, we are satisfied. If we have done more, and with any of our suggestions have prompted the thought of adding to the comfort and happiness of others, we have achieved a success, and the mission of the American Girl’s Handy Book is accomplished.
