PART I.
Doing up old Furniture.
I want to make these articles entirely practical and within the scope of the readers of The Girl's Own Paper, so I take a girl's room—a bed sitting-room, because I feel sure that I shall appeal to a wider circle than if I merely dealt with the decoration of a sitting-room only, and I shall hope to show her how much the girl owner may do herself in the beautifying of her "den." I want to avoid launching into expense, so I shall first of all deal with the doing up of old furniture, for in every house one finds what may be called derelicts, articles of furniture which have outwardly at least had their day, and yet like many an old weather-beaten craft there is a lot of good work still in them if one takes a little trouble and spends a little time in putting on a coat or two of paint and a little varnish.
I had myself three such derelicts, one a chiffonier which had originally been grained in imitation of mahogany, but which had got chipped and worn until it looked worth nothing more than firing. Yet as a piece of woodwork it was in good condition, for I daresay it was fifty years old, when furniture was much better made than it is now. The first thing was to clean it thoroughly, and to this end I got some soft soap and an old painter's brush (a good scrubbing brush will do), and with some boiling hot water gave it a thorough cleansing. It took some time to do this, for the dirt had collected in the corners, and the grease from two generations of dirty fingers had to be removed. It is most important where you are going to paint to have every vestige of grease removed; otherwise your paint will not dry. While you are washing it have a piece of pumice-stone (procurable at a good oil shop or decorator's colourman), and thoroughly rub down all the old paint so as to remove any roughnesses, blisters or other blemishes, and obtain a nice smooth surface. Don't hurry this part of the work, as much of the after success depends upon your preliminary efforts. Give the furniture a rinse in clean hot water and then wipe it dry with an old towel. The next day or within an hour or two it is ready for the first coat of paint.
FIG. 1.—Chiffonier painted white and decorated with stencilling.
Plain Painting.
I like white painted furniture, so I shall assume here that you will also paint your furniture white or cream, and I shall reserve my remarks on painting in darker tones of colour for another occasion. White goes with anything and is easily decorated, as I shall hope to show. For a girl's room it looks cool, clean and dainty. White paint can be bought ready mixed, either in tins or by the pound, and if you know a reliable decorator you might purchase some off him ready for use, but of course you have to pay him for his trouble, and what you buy in tins is not only much more expensive than if you mix it up yourself, but is often adulterated. It is very little trouble to mix it yourself, and about half the price, so I will tell you how to set about this. Buy at some good oil shop or decorators say a couple of pounds of white lead ground in oil, a pint of best linseed oil, a pennyworth of patent driers and a pint of turpentine. The whole lot will cost you about 1s. 1d. A patent tobacco tin with a lid is a useful thing to keep your paint in, as when not in use the lid will keep it air-tight, and your paint will keep for a long time if not exposed to the air. Cover the lead with oil and if it is in a pound tin the oil should be an inch or more above the lead. Stir up with a palette knife to allow the oil to mix with the white, and add a tablespoonful or so of turps, and in a few hours the white will become the consistency of cream. If you find it too thick add more oil and a little turps and the driers, and proceed to strain through a piece of muslin. If you have another empty tin strain your paint into it by putting the muslin loosely over the empty tin, pouring some colour into the muslin and working it through by brushing it every now and again with a hog hair brush. The paint will gradually pass through the muslin, leaving any sediment or bits behind, and you then pour out a little more colour and work through, and so on until all is strained. You can finally squeeze the muslin with your palette knife against the side of the tin, but be careful not to allow any of the bits to pass through into your strained paint. The proportion of turps to oil should be one of former to three of latter, and of driers a piece the size of a walnut to the pound, but the tradesman of whom you buy your colour will tell you this. The paint for use should be the consistency of cream (not clotted or thickened) and should be put on evenly with a good brush, so you put enough oil and turps to make it this consistency. The brush is a very important item, and this is why amateur painters so often fail; they haven't a decent brush to work with. A good house painter's brush which has been in use some time is the ideal tool, and if you can borrow or hire such a one do. A wide, flat hog, say three inches wide will do, but it will not hold the colour that a house painter's brush will, and the constant filling of it adds to the labour of painting. Your brush should carry its colour so that you only have to use force enough to work the colour out on to your surface. You don't try to load the furniture with colour, but get on so much as easily passes from the brush to the wood. In filling your brush only dip the end into the paint, and then knock it against the side of pot or tin so as to distribute it through the hair and then it will not drop about when you use it. So many amateurs try to get a lot of colour on at once, and so get it on too thickly in places. Remember that you can only get a good surface by applying some three or four coats. Your first coat, as the under colour is dark, will look very dirty and thin, but this first coat is only a grounding one. The second coat, which must be applied when the first is quite dry, say in two days, will look much better, while the fourth coat ought to look nice and white. A painter to get a good surface keeps his paint the way of the grain of the wood. Thus the panel of the door would be vertical in grain, the drawer front horizontal. Take the panel for instance. You will get your colour on using your brush up and down. When it is covered "stroke" the paint evenly from left to right, and then "stroke" it again up and down. This will distribute the colour evenly, and if you do this carefully you will obtain a good surface.
Allow plenty of time between each coat, as to paint over a surface not quite hard will cause your paint to crack. If you find after your first coat that there are any cracks or holes in the old paint take a little of the stiff white lead, and with a little driers added to it use it as putty and stop up any places, levelling it over smoothly with a knife. By the time your last coat is on such defects ought not to show. If you decide not to decorate your furniture, as I have shown in illustration, then instead of using paint for the last coat buy a tin of white, ivory or cream enamel and use to finish. The enamel is not so easy to get on as paint owing to its sticky nature. You must apply it freely, but don't load it on, for the more evenly you apply it the better will it look. One coat will suffice if you have three good coats of paint underneath. When your brushes are not in use put them into a gallipot or other vessel half filled with water.
(To be continued.)
FIG. 2.—Top of chiffonier decorated with stencilling. The two plants used are the dandelion and cyclamen.
[A NEW PRIZE COMPETITION]
A NEW PRIZE COMPETITION
THE GIRL'S OWN QUESTIONS AND ANSWERS.
BEING
Our Own School of Interesting Information.
Let every girl who wishes for the next three months to have something pleasant to think about, and something sensible with which to occupy her leisure, read the following—
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We now start a New Competition of remarkable interest, and likely, we believe, to be of great profit to all who take part in it.
The Subject of it is to be
A Series of Questions and Answers,
the questions being proposed by the Editor of The Girl's Own Paper and the answers being furnished by our Readers themselves.
The Competition will extend over three months, during which time twelve questions will appear in The Girl's Own Paper every other week. This will give one question to be answered for every working day, which should not, we think, prove much of an exertion for anybody.
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Prizes and Certificates of Merit will be awarded to successful competitors.
The Prizes will be worth struggling for. There will be fifteen of them in all. Every girl will have a fair chance, and we have tried to plan so that no one will have to compete against others who in age—and for that reason possibly in information—are greatly superior to herself.
The Value and Distribution of the Prizes are here shown—
| For Girls of the Age of | 1st Prize | 2nd Prize | 3rd Prize | ||||
| £ | s. | d. | s. | d. | s. | ||
| 13-14 | inclusive | 1 | 1 | 0 | 10 | 6 | 5 |
| 15-16 | " | 1 | 1 | 0 | 10 | 6 | 5 |
| 17-18 | " | 1 | 1 | 0 | 10 | 6 | 5 |
| 19-20 | " | 1 | 1 | 0 | 10 | 6 | 5 |
| 21-23 | " | 1 | 1 | 0 | 10 | 6 | 5 |
The Certificates of Merit will be given to girls of any age who gain the necessary number of marks. They will be first, second and third class. The total number of marks being reckoned at fifty, all who gain over forty will be first class; between thirty and forty, second class; and between twenty-five and thirty, third class.
These certificates are an important feature. A girl who gains one of them—even though she may fail to win a prize—will have many reasons for feeling pleased. It will be something she can take a pride both in showing and preserving. And when she goes out into the world, it may be useful as a proof that she is painstaking and persevering—essential qualities for all who would succeed in life.
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Aim then, girls, first at taking a prize, and, failing that, a Certificate of Merit.
But even if you obtain neither, your work will not be lost. Prizes and Certificates are of secondary importance compared with the mental benefit which will fall to the share of every competitor, no matter who she may be or what abilities she may possess.
You will in any case add to your stock of information; your life will be richer because of the something you have stored away in your "knowledge-box;" you will be brighter because your mind has been active; and you will get some laughing into the bargain, because we must go cheerfully and happily about everything.
Are not these reasons enough why girls should enter upon this competition with energy and enthusiasm?
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All our readers are cordially invited to take part. It makes no matter whether they are regular subscribers or only occasional readers—all are welcome.
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The queries will be of the most varied kind, and no one need hold aloof on the ground that the competition will contain nothing of special interest to herself. She may count on its containing something, no matter whether her tastes run on housekeeping, history, biography, literature, music, art, or anything else.
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For information on which to base their answers competitors may go to any sources they please. All we are particular about is that they put the answers in their own words and in their own way.
When it is possible competitors will, at the foot of each answer, give the source from which their information is derived.
No; girls are not forbidden to ask their friends. In fact, the Competition may supply subjects for much useful and entertaining talk, and in this way be a real boon in many a friendly circle.
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A girl may not be able satisfactorily to answer all the questions—we shall be surprised if any one is able to do that. But if a Competitor cannot answer all let her answer as many as she can, remembering that to do a little well is much better than to do a great deal in a slipshod manner.
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In judging of the Answers we shall take note, first of all, of the sense. First, then, girls, see that the sense is all right. Next, we shall observe whether the sense is well expressed. Be sure you look to that too. Lastly, the neatness with which the papers are written will count. It is a matter of some importance, so don't forget that either.
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The length of the Answers. The answers are not in length to exceed one hundred and sixty words, but, if they only observe this restriction, competitors may, in the matter of length, please themselves. We do not, however, want too brief replies, say a mere name or date, a yes or a no. Economy of speech is good sometimes, but not always.
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For Example, supposing the question to be—"Are waves ever really 'Mountains high?'" It would be truthful enough, by way of answer, to write an emphatic "No," but it would hardly be a satisfying reply or one of much value to anybody.
We should all think it much better if the answer ran, say—
"ARE WAVES EVER REALLY 'MOUNTAINS HIGH?'"
"Waves never roll 'mountains high,' except by poetic license. As a matter of fact, it is very rare for waves at sea, even in furious weather, to exceed thirty feet in height.
"At Wick, in the far north of Scotland, where the sea sometimes displays wonderful energy, waves of about forty feet in height have been seen to strike the breakwater.
"The highest waves, however, which have been accurately measured, had their dimensions taken by Dr. William Scoresby, the well known Arctic explorer and physicist, who made some valuable observations on the subject in the Atlantic. He found that they reached the height of forty-three feet above the hollow.
"A foreign writer quotes the observations of others to the effect that waves have been seen from sixty to a hundred and eight feet high, but the evidence may not be trustworthy, at any rate he does not say how the heights were ascertained."
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A number will be prefixed to each question—the numbers will run from 1 onwards—and each answer must be preceded by a corresponding number. After giving the number competitors must also quote the subject of the query.
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Every query must be answered on a separate sheet or sheets of paper—the writing being on one side of the paper only—and the sheets when sent in must be fastened together at the left hand top corner.
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About sending in the Answers. During the course of the competition answers are to be sent in three times; the first time the answers from Nos. 1 to 24; the second time those from Nos. 25 to 48; and the last time those from No. 49 to the end.
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When a Competitor sends in her second instalment of answers she will kindly place at the head of the first page—"Answers 1 to 24 sent" (giving the date), and on sending the third instalment she will write "Answers 25 to 48 sent" (giving the date).
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The Time when papers are to be sent in. Answers to queries are to be forwarded on or before the last day of each month during the currency of the competition. The date however will be found given at the foot of each set of queries so that competitors need have no uncertainty on this point.
As a general rule, subscribers to the monthly parts will find they have one clear month for answering each set of 24 queries, and those who take in our weekly numbers will find they have longer.
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The full name, age, and address of the competitor must be put on the back of the last page of each instalment. Should the competitor not wish her name, age, and address to be printed, she should add the name of her favourite flower instead, and this alone would be published in the pass lists.
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The papers must be sent by post, addressed to The Editor, The Girl's Own Paper, 56, Paternoster Row, London, E.C.
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At the left hand top corner of the envelope or wrapper must be clearly written the words "Questions Competition."
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No papers can in any case be returned.
Here are the first twelve Questions:—
The Girl's Own Questions and Answers.
Questions 1-12.
1. Did a queen ever voluntarily lay down the sceptre and retire into private life?
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2. What stone is said to endow whoever kisses it with wonderful powers of speech?
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3. How is it that, though the moon turns round on its axis, we never see its other side?
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4. Why is hard water very unsuitable for cooking and washing?
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5. What celebrated work was written in a week to defray the cost of the funeral of the author's mother?
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6. How did the thistle come to be the emblem of Scotland?
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7. What sea has water so thick that you can move in it with difficulty?
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8. What are the characteristics of the music of Chopin?
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9. Who is the greatest poetess the world has ever seen?
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10. How is a rainbow a sign of bad weather in the morning and a sign of good weather in the evening?
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11. Has a besieged town ever been saved by a pig?
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12. How fast can an expert penman write?
The Answers to these Questions, Nos. 1-12, together with the Answers to Questions, Nos. 13-24, which have yet to appear, must be sent in on or before the 30th of December.
[VARIETIES.]
A great Characteristic of the Bible.
Writing of the poetry and allusions of the Bible, Dr. Cunningham Geikie points out one of the great characteristics of the sacred volume.
"It is not," he says, "the production of cloistered ascetics, but breathes in every page a joyous or meditative intercourse with nature or mankind. The fields, the hills, the highway, the valleys, the varying details of country scenes and occupations are interspersed among pictures of life from the crowded haunts of men.
"The sower and the seed; the birds of the air; the foxes; the hen and its brood; the lilies and the roses; the voice of the turtle; the fragrance of the orchard; the blossom of the almond or the vine; the swift deer; the strong eagle ... the hiring of labourers; the toil of the fisherman; the playing of children; the sound of the mill; the lord and his servants; the courtier in silken robes, and a thousand other notices of life and nature, utilised to teach the highest lessons, give the sacred writings a perennial freshness and universal interest."
Delight in Praising.
"There is delight in singing, though none hear
Beside the singer; and there is delight
In praising, though the praiser sit alone
And see the praised far off him, far above."
Walter S. Landor.
A Greek Opinion on Women.
The Greek philosopher, Aristippus, was once asked by a friend what sort of a woman he ought to choose for a wife.
His answer was, "I cannot recommend any sort, for if she is fair she will deceive you; if plain, you will dislike her. If she is poor she will ruin you; if rich, you will be her slave. If she is clever, she will despise you; if ignorant, she will bore you; and if she is spiteful, she will torment you."
Perhaps this opinion of the Greek sage should be taken with a grain of salt, as the great thinkers of Greece entertained such perverse notions of woman's character that the question was actually raised among them whether women had souls!
Tall Men.
"Exceedingly tall men have ever very empty heads," writes Lord Bacon.
Thomas Fuller writes more warily. "Often the cockloft is empty in those whom Nature hath built many storeys high," a metaphor seemingly borrowed from Bacon's "Nature did never put her precious jewels into a garret four storeys high."
Compare Fuller's moderate "often" with Bacon's sweeping "ever" and "never" which surely smack of some personal ill-will. Can it be that the "wisest, brightest, meanest of mankind" was dealing a side-thrust at Elizabeth's tall favourite, my Lord of Leicester?
The Best Sauce
A prince, overtaken in his walk by a shower, sought refuge in a wayside cottage. The children happened to be sitting at table with a great dish full of oatmeal-porridge placed before them. They were all eating with a right good appetite, and looked, moreover, as fresh and ruddy as roses.
"How is it possible," asked the prince of the mother, "that they can eat such coarse food with such evident pleasure, and look so healthy and blooming withal?"
The mother answered, "It is on account of three kinds of sauces which I put into the food. First, I let the children earn their dinner by work; secondly, I give them nothing to eat out of meal-time that they may bring an appetite with them to table, and thirdly, I bring them up in the habit of contentment, as I keep dainties and sweetmeats out of their way. 'Seek far and wide, no better sauce you'll find than hunger, work and a contented mind.'"
A Plain-looking Poetess.—"Mrs. Browning," says a friend who knew her in Florence, "was the tiniest of women. There was something elfish in her bird-like face and masses of black hair. But she had probably in her childhood bidden good-bye to the hope of beauty and had forgotten all about it. Hence, when her soul looked directly through the pinched features into yours, what did you care how plain they were?"
[ANSWERS TO CORRESPONDENTS.]
