Home Arts
FOR
OLD AND YOUNG.

BY
MRS. CAROLINE L. SMITH.
(AUNT CARRIE.)

ILLUSTRATED.

BOSTON:
LEE AND SHEPARD, PUBLISHERS.
NEW YORK:
LEE, SHEPARD AND DILLINGHAM.
1873.

Entered, according to Act of Congress, in the year 1873,
By LEE AND SHEPARD,
In the Office of the Librarian of Congress, at Washington.

CONTENTS.

HOME ARTS
FOR OLD AND YOUNG.

HOME ARTS.

Christmas.

We beseech all our youthful readers not to pass by our Christmas chapter.

We wish we possessed an abler pen, that would induce every family in the land, rich or poor, to celebrate the birth of our Saviour Jesus Christ, who gave his life for us. Even if some learned men think the twenty-fifth of December is not the day Christ was born, what does it concern us? We know Christ brought love and charity into the world, therefore in gratitude we should celebrate his birth; the exact period is of but little consequence.

Seldon informs us that the Christian church, desirous of abolishing the Saturnalia of the Romans, a festival instituted in honor of Saturn, appointed a festival in honor of her Divine Master, Jesus Christ, to supersede it. But the observance of the day did not become general until about the year 500. The reason why the evening before Christmas day is celebrated, is, that in the primitive church the day was always observed as the Sabbath, and like it, preceded by an eve, or vigil. It was once believed that if we were to go into a cow-house at twelve o’clock, on the night before Christmas, all the cattle would be found kneeling. Many firmly believe the bees sing in their hives Christmas Eve, to welcome the approaching day.

We deck our houses and churches with evergreen, because at this sacred time the earth, then wrapped in darkness, was, as it were, clothed in living green by the birth of Jesus Christ, our Saviour; fit emblems are they, of the never-dying spirit of our Lord and Master.

The laurel is used with other evergreens at Christmas, because of its use among the ancient Romans, as the emblem of peace, joy, and victory. In the Christian sense it may be applied to the victory gained over the powers of evil by the coming of Christ. The mistletoe is used in all Christmas decorations by the English. Its berries and its green are very beautiful. It is a parasitic plant, and grows on the oak tree. A branch of mistletoe is often hung over a door-way on Christmas Eve, and if a gentleman can kiss a lady as she passes under the mistletoe, he has on that evening a right to the privilege.

The evergreens mostly used in America are hemlock, spruce, laurel, and the varieties of ground pine. The bright red bitter sweet berries gathered in the fall add to the beauty of the wreaths.

Many have asked the meaning of initials affixed to crosses on that day, such as I. H. C., and I. H. S. The former stands for three Latin words: “Jesus Humanitatis Consolator”—Jesus the Consoler of mankind; the latter, “Jesus Hominum Salvator”—Jesus the Saviour of Men. On some very ancient crosses are found I. N. R. I., “Jesus Nazarenus, Rex Judæorum”—Jesus of Nazareth, King of the Jews.

“Yule” was a name anciently given to Christmas, and it was the custom to select a large log to burn on Christmas Eve, for in those days the old-fashioned fireplaces would hold very large logs of wood. The festivities of that night lasted until the log burned out. This log was called the “Yule log.”

The Scandinavians watched the declining rays of the sun from early spring even to December, with great anxiety, and erected slanting dolmens to detect the first certainty of its approaching return; and when informed that its face was once more turned towards their habitations, over which their enemy, the snow, had already usurped his authority, they brought the “Yule log” to the fire, and danced, and sung, and shouted, and drank, the grand carouse of all the year, making the frozen air jubilant with their Christmas carols under the mistletoe.

Our Pilgrim Fathers had suffered so much persecution from the Church of England, that they abolished all church festivities. Their persecutions made them austere in all things. They looked upon church festivals as devices of the evil spirits, forgetting that He who gave us the bright sun, lovely flowers, and sparkling streams, rejoices to see man cheerful as well as good.

Our Pilgrim Fathers suffered much for our good, and now our noble free country can afford to have many festivals.

The celebration of Christmas is fast winning its way, even in New England. The beautiful custom of decorating our homes and our churches yearly increases throughout the land. What can be more appropriate than to celebrate the birthday of our Saviour with garlands and songs, and the affectionate interchange of gifts.

God gave us his only begotten Son; we in humble imitation give gifts to our loved ones. God’s deeds seem consistent with this day. He, whose birth we celebrate, gave his life for us. Can we restrain our hands from relieving, our hearts from sympathizing with the poor, the bereaved, and the distressed?

The custom of giving presents at Christmas originated in Germany. It was derived from the ancient feast of Sol. The children of many Americans, who remember Christmas, hang up their stockings Christmas Eve, thinking “Santa Claus” will come in the night and fill them with gifts. Some, to avoid being roused at too early an hour, have taken a large bag, as a receptacle for presents, and the father or mother of the family in due time distribute the presents. Others have had a table spread with their gifts of love, or place their gifts carefully under the breakfast plates, or on the chairs at the table. But the German custom of Christmas trees is by far the most desirable. We wish it was universal here. The writer of this assisted in preparing almost the first tree in our portion of New England, but since then the Christmas tree has spread far and wide; a tree more productive of pleasure and fun was never before planted.

We will give some simple directions for the arrangement of the Christmas tree, hoping to induce some families, who have felt a Christmas tree was too expensive, to plant it this year. This tree is within the means of the poor as well as the rich, by the exercise of the united skill of any family.

We think all such festivals and family meetings assist in making “the home” the dearest spot on earth.

1.—HOW TO MAKE A CHRISTMAS TREE.

The first thing to be considered is how to obtain a suitable tree.

If you are not near any woods, and intend to purchase an evergreen from a nursery of trees, the “silver fir” is decidedly the best adapted for that purpose. In the large cities, trees of all kinds can be easily bought; they are carried through the streets for sale. If you go to the woods, the common spruce is the most suitable. The hemlock is the prettiest green, but its boughs are not sufficiently firm to bear any considerable weight. If a spruce cannot be found, hemlock can be used by nailing narrow slats of wood across the tree and under the branches, as a support. Paint the slats green, and they do not show; in that way candles and presents can be firmly fastened to its branches.

If the tree is not perfect in shape, nail on here and there an extra branch, until it becomes symmetrical.

Take a small round tub, or half of a small cask. Place your tree in the centre and brace it firmly, and fill the cask with sand. Cover the cask with green moss; it is the prettiest green for the purpose. It can be covered with little branches of hemlock if moss cannot be procured, or even a green floor mat can be placed around it. Another simple way to fasten a tree firmly, is to take a suitable block of wood, and have a hole made in the centre just to fit the stem of the tree, and cover the block with moss, or paint it. Then place your tree either in the centre or corner of your room where it is to be, first spreading a white cloth over the floor, which will not only protect your carpet, but add to the brilliancy of your tree when it is lighted. Some use a small tree, and place it in the centre of a table; the presents too large and heavy for the tree, are placed upon the table. When your tree is firmly placed in the right position, fasten on your candles with little tins, cut in the form of a diamond, with two very acute angles, and bent in the centre to form a right angle; push one point into your tree, and on the other fasten your candle or taper. The latter is the prettiest, and neatest to use. Buy the colored wax tapers. If you prefer you can cut up candles. Tapers or candles can be fastened also to your trees by wires, or by melting one end of the candle, and while hot, fasten it by the melted wax to the branch of the tree. Also you can purchase tins prepared to hold the tapers, made with a sharp point to fasten to the tree, and one to put in the taper; that point must be heated before fastening it to the candle. This tin has a hollow rim around it to catch the melted wax.

Trees can be lighted with gas, by unscrewing the centre gas chandelier, and fastening on a gas pipe reaching to the floor, with branches or arms of different lengths, according to the size of the tree, longer at the bottom, shorter at the top. Fasten your tree firmly close to the centre pipe; the branches of the tree should hide it. The branches of the gas-pipe should be wound with gold or green paper, and the branches of the tree placed, if possible, over them. This makes a brilliant tree, and is much easier to light, and does not require to be constantly watched. But wax tapers are more appropriate.

When your tree is firmly fastened and the lights all arranged, hang on your ornaments with wires and ribbons, commencing with the top of the tree first.

We will give a few simple directions for making ornaments, which may be useful to those who cannot afford to purchase.

To form gilded balls, take nuts, such as walnuts, filberts, and English walnuts (the latter nut can be opened and filled with anything you please, and then glued together again). Fasten a long tack or nail into the end of the walnut to hold it by, and afterwards to suspend to the tree. Wash the nut all over with the white of an egg, laid on with a feather. Then roll it in leaf gold till it is well covered. Be careful you do not breathe over the leaf gold, or it will fly away from you. A cheaper way is to take a sheet of gold paper, and cut a piece sufficiently large to cover the nut. Brush it with paste, then fasten it round the nut, rolling it over and over in your hand, to fill in every crevice. Apples covered with gold paper look very tempting; a smooth-skinned apple, of medium size, can be used, and the gold paper should be cut in sections, so that it will fit the apple smoothly.

Pretty little ornamental bags can be made of English walnuts. After the shells are well cleaned, varnish and paint or gild them in stripes, then bore holes in each half shell at the top and bottom, and fasten them together with narrow ribbon. Another prettier way is to take pieces of colored silk or ribbon, and fasten together at the side, then take half of one side of a nut, and glue the silk firmly all around the inside edge; hem the top of the silk and run in a string, or simply take strong saddlers’ silk and run all around, to draw it up. Thus is formed a pretty bag, which can be filled with candy; lace bags, filled with candy and parched corn, are ornamental. Take oblong pieces of coarse lace, run into the meshes bright colored worsted, then fasten them into a bag firm with the same worsted, and draw them up at the top with worsted. Birds’ nests add to the attraction of the tree. Take some halves of unboiled egg-shells; dip them in white of egg (but first you must have some moss ready), make a hollow of moss in your hand, and put the half shell in it. The moss will adhere to the outside. Take care that your moss be thick enough to hide the white of the shell. Line the inside with down or cotton wool, and put sugar-plum eggs in it. These nests look charming in the dark foliage of a tree. Small flags are a great addition; we would suggest that flags made to represent the national banner of other nations would be pleasant work for both boys and girls, illustrations of all of which can be found in any large atlas.

For horns of candy, get some white cartridge paper, cut squares, ornament them with pictures, mottoes, gold, silver, and fancy paper; shape them into a horn, and paste them firmly; cut off the top point and bind the rim with paper or ribbon, also paste on a loop of ribbon to fasten to the tree, and fill them with candy.

Glittering crystals, made of alum, are very pretty. To make them, dissolve alum in hot water until it will hold no more, then strain it off. Then take bonnet wire and form little baskets, sprays of leaves, little wreaths, or make the wreaths of tiny sprigs of spruce, fir, or take raisin stems (a slightly rough surface is necessary), suspend these by a network of string tied across the top of a deep basket; the dissolved alum must cover each article entirely; let them remain undisturbed over night. Remove them carefully the next morning, and you will find them glittering with minute crystals, resembling diamonds. If powdered turmeric is added to the hot alum solution, the crystals will be bright yellow. Litmus will cause them to be of a bright red. Logwood will turn them purple. The more muddy the solution the finer will be the crystals.

Sprays of mock coral, also tiny baskets of the same material, add to the tree’s beauty. To make them, take bright red sealing-wax, powder it, and dissolve it in alcohol. Then take your twigs, sprays, or anything you wish to imitate coral, and dip them in the above mixture until they are well dyed.

Baskets made of moss and filled with natural flowers, add a fresh beauty to the tree. Balls made of cake, and frosted all over, look like snow balls. Pop corn balls make quite a show. Bits of cotton wool, covered with diamond powder, and scattered over the tree, imitate snow.

Take gold paper, cut it in strips a quarter of an inch wide, and an inch and a half long. Take one of the strips and fasten together with paste, forming a ring; then take another strip and pass it through the ring just formed, and fasten it together with paste; continue this process until you have made a long chain. A number of these chains, festooned from branch to branch, resemble chains of gold.

Fairies always please children, and are easily made. Purchase some small, jointed wooden or china dolls, and different colored tarlatans for dresses, and form the wings of white tarlatan, or of white linen banking paper. Take butterfly wings for a pattern; sew on gold and silver spangles on dress and wings, or paste on tiny stars of gold and silver paper. Cut little strips of gold paper, and roll them up, as you do paper lamp-lighters, for the wands. Fasten them with thread or wire to the hand of the fairy. The crown of the queen can be made of gold paper, cut in strips long enough to go round the head, and cut it in points in front, and paste it round the head. Fasten wire round the waists of the fairies, leaving one long end to wind around the branches of the trees. Thus they look as if they were flying.

Many pretty things can be made from egg-shells, such as pitchers, bowls, goblets, and tiny cradles; ornament them with gold paper and little colored pictures.

There are hundreds of little glittering toys, which can be purchased for a few pennies, such as brass beads, little looking-glasses, glass balls, gilded toys, &c., too numerous to mention; odd bits of tin hung among the branches glitter very prettily.

Every member of a family preparing a Christmas tree, should use his or her wits to contrive little inexpensive ornaments; even the little ones, with some instruction, can make many pretty things, and it will add tenfold to their pleasure to feel they have assisted in ornamenting their precious tree; only let them think they can do it, and most assuredly it will be done.

In making presents, every member of the family should strive to find out the wants and tastes of those to whom they intend to give presents, thinking only of giving pleasure, and not of personal gratification of their pride or love of show. The golden rule our blessed Saviour gave us should be ever uppermost in our minds. Love should be the presiding genius of every home festival.

God works upon our hearts in many and various ways. Often the simplest thing in life may awaken us to a right sense of his goodness and mercy. So in home influences, if a Christmas tree every year can add one link to the chain which binds us in love to one another, should we not be paid for weeks of labor? Every child thus early taught thoughtfulness for others, must feel the good effects through life.

2.—THE CHRISTMAS BRAN PIE.

The bran pie is often used in England, in place of the Christmas tree, or as an addition to the “Twelfth Night” party.

It is within the means of every family, as its contents can be inexpensive or expensive, according to the taste and means of the maker.

First, a large wooden bowl should be obtained, or any large tin pan or dish. This can be covered with white cloth or not, as the maker pleases; a wreath of evergreens around the edge is an improvement.

The contents of the pie may be sugar hearts, rings, kisses, or any bonbons, mock rings, or gold rings, indeed, any article which can be easily tied up in a small bundle. It is desirable that there should be many articles in this pie that will cause fun and laughter. Blanks, such as an empty box, or some trifle rolled up in many papers. A bright piece of silver, called a lucky piece, or a half-sixpence, enclosed in a nut-shell, and like all the rest of the articles, tied up in paper, adds to the sport. All these bundles should be placed in the large bowl or dish and covered with bran. A large spoon can be laid on the top of the pie.

This pie should be placed on the table, after a Christmas dinner or supper, the guests or family all remaining in their seats around the table. If there are many little ones, it can be arranged beforehand, and have a servant, or some member of the family, place the pie at the front door, and ring the bell furiously and blow a trumpet; also place a paper on the top of the pie, on which is written, “A present from Santa Claus.” As soon as the bell is rung, the ringer must disappear at once, as children are wide awake at Christmas. We had a bran pie brought in that way; the children rushed to the door, and in their eagerness to see Santa Claus, ran past the pie some distance, looking eagerly on all sides; when they returned, one little boy declared he saw him whisking round the corner of the street. When the pie is on the table, everybody is invited to partake. Each in turn takes a spoonful; whatever bundle the spoon touches is theirs; the bundle must be opened at once and exhibited before the next person dips. The very inappropriateness of some of the gifts helps to create laughter, and there is a good deal of amusement in the after exchanging, or refusing to exchange, when the pie is all distributed.

3.—TWELFTH NIGHT.

In England their festivities continue twelve days. Twelfth Night is sometimes called “Old Christmas,” as it was the day celebrated as Christmas before the almanac was changed. The change was made by Pope Gregory XIII., during the year 1752. Therefore Twelfth Night has its own peculiar festivities. In some portions of England they have a large gathering of friends. During the evening two dishes of little frosted cakes are passed round, one for the gentlemen and one for the ladies. In each there is one cake with a ring, and one with a broken sixpence. The two who get the ring will be married before the year is out. The broken sixpence indicates an old bachelor or an old maid; but if the two agree to join their broken sixpence, there is a chance for them. So says the old tradition.

A lady, whose early youth was spent in England, says where she lived Twelfth Night was celebrated especially by the children. At their social parties they selected a king and queen, who regulated the festivities of the evening. Sometimes the lady of the house prepared cards, with various figures written or drawn upon them, among them a king and queen. Each child drew a card on entering, which designated the character he or she was to represent. Of course the lady managed to slip the cards of king and queen into the hands of those best able to preside.

In one of our small cities, where there are several families who unite in keeping Twelfth Night every year, they have but one ring, and whoever gets it must give the party the next year.

4.—THE CHRISTMAS BAG.

Make a large bag of thin white paper or silver paper, fill it with sugar plums, and tie a string around the top, to keep it fast. Then suspend it from the ceiling, or from a large door frame, and provide a long, light stick. Each little child is blindfolded in turn, and the stick put into his or her hand. She is then led within reach of the bag, and told to strike it. If she succeeds in her aim and tears a hole in it, the sugar plums are scattered on the floor, and the little ones scramble for them; but it is by no means easy to strike a suspended object blindfolded; generally many attempts are made unsuccessfully. Each child is allowed three trials. The maker of the bag can put in it tiny books, pincushions, or any little toy, with the sugar plums. This bag would add to a child’s party; it is often used at birthday parties. An older person should always superintend, for some children would be greedy or rude.

Amusements for Christmas Holidays.
ADAPTED TO ALL AGES.

Shakespeare reading clubs, private theatricals, charades, and tableaux are deservedly the popular home amusements of the present day. They certainly strengthen the lungs and memory, and improve the intellectual tastes. These amusements are peculiarly adapted to enliven long winter evenings. As some of our young friends may not understand the modus operandi of these amusements, we will try and enlighten them.

1.—SHAKESPEARE READING CLUBS.

Some clubs read Shakespeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakespeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays, such as Sheridan Knowles’ plays. Also, it is an admirable way of learning to converse easily in German and French to read plays in the different languages. In reading these plays, the parts, in the beginning, should be given to different members.

The librettos of many excellent plays can be bought for a very small sum, such as “Ion,” “Hunchback,” “William Tell,” “Love’s Sacrifice,” and many other excellent old plays. These small books are less cumbersome to carry around. It is well before the club meets to read any play, to have each person read over his or her part, so as to be able to comprehend the character. Therefore the play to be read at each reading should be given out at the close of every meeting, and the parts selected, each member having an equal share. Such clubs are far more agreeable to its members, and less likely to cause unpleasant rivalries, than clubs for private theatricals, as private actors are often jealous, for human nature, alas! is weak.

We have known of some very successful clubs, where discord and jealousy never appeared, and where harmony reigned. We will give the manner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies, with a view of making home and winter evenings agreeable to their brothers. A committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the librettos of their plays. The following rules were signed by all the members:—

1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.

2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.

3. The one who selects the play has a right to the best character.

4. The club shall meet once a week at the houses of members, in alphabetical rotation.

5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.

6. No new member can be admitted without the vote of the majority.

7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.

At first they merely read the plays; but soon they partially acted them, and found them increased in enterest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them, or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.

There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they became familiar with the best plays, without wearying of them, and each member had an opportunity of consulting his own taste.

Before the winter closed the members of this club found they could so easily learn their parts, that they rarely were obliged to refer to their librettos. Constant practice improved their memories. Often those whose parts were associated together, would meet for private practice.

2.—PRIVATE THEATRICALS.

Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserve the thanks of their audience.

Even a simple farce requires much labor and frequent rehearsals to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the footlights, stage, &c., must be prepared. A few directions, with a list of easy farces, may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of towns and villages, we will give a short account of how such things can be managed.

Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor, a gas pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye), are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvas, by being strained when wet, over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.

Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, and under the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side marks age or emaciation.

A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, ravelled yarn, or gray-colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel, with tags of lion-skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.

Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the armholes in the sack must be fastened up on the inside) by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and, lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan; thunder, by rattling sheet iron; lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.

Dissolve crystals of nitrate of copper in spirits of wine, light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.

The publishers of this book have printed a large number of small plays, adapted for private theatricals, called “The Amateur Drama.” We will mention a few of them that are good; the old comedies and farces are well known to all.

3.—CHARADES.

There is no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.

A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action, and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teach them ease of manner; but let them only act before a home circle.

A talented friend of ours has a very pleasant way of acting charades in her own family circle, which is well adapted for large family circles, such as assemble together on Thanksgiving, and during Christmas holidays. This lady unites her family with a few other pleasant friends.

For a good charade party, twelve or more persons are desirable, and two rooms, connecting by sliding or folding doors, are the most convenient, though two connecting by only a single door will do, if the party is not a large one.

First, two persons should be chosen managers; then the managers must choose sides, so that the company will be about equally divided. The sides then take separate rooms, to become, alternately, actors and audience; the managers draw lots to see which side shall act first. Those that are to begin, first choose a word, then proceed to represent it. A common way is to divide the word into syllables, and present one at each scene, then, after having gone through the word, if the other side cannot guess it, a scene is given to represent the whole word. When all is ready for a scene, the door is thrown open for the others to look in and guess it. Frequently a whole word is given at once in one scene. The manager must always announce whether one syllable or more is given. After giving the audience time to guess it or give it up, the parties change rooms, and the other side must act; they will, of course, have their word selected and all arrangements made, as they had sufficient time while waiting for the others.

In acting the word, each party must try to mystify the other, yet the syllable must be well represented; but there can be by-play to divert the audience from the real word. The party that guesses the whole word the soonest, are considered the conquering party. Care must be taken not to let the actors know if the audience guess the word before it is fully acted.

Sometimes in the place of words, proverbs are acted. Each word is acted in turn, or two words are acted in one scene; if the latter, before the scene is acted, some one of the actors can inform the audience that they will act two words of the proverb.

A few directions for acting certain words and proverbs, and a short list of words and proverbs easy to be acted, may be an assistance to our youthful readers.

If a word or syllable can be represented by action, it should be seldom spoken; but in some cases syllables must be spoken to give an idea of the word. Some prefer acting charades entirely in pantomime.

4.—CON-JU-GATE.

Con. Arrange a school, one of the actors dressing as a country schoolmaster; let the scholars all have books in their hands, conning their lessons in loud whispers.

Ju. The same school can be retained. One of the actors, dressed as a German Jew pedler, can come to the school to sell pens, pencils, paper, chalk, &c. He can talk in a broken Jewish manner. The Jew should be prominent in this scene.

Gate. This syllable, instead of the common representation of a gate, made with a small clothes-frame, &c., can be represented by having the whole company of actors dress in odd garments, and walk about the room in couples, each with a different gait, hobbling, striding, pompous, &c.

Conjugate. Let the same schoolmaster assemble his unruly school, and give out verbs to be conjugated; the scholars, to make the scene ridiculous, should mix up languages and conjugations in a medley.

5.—DUMB-FOUND.

Dumb. Let a certain number of the actors be seated in a row, when the door opens, or the curtain is drawn aside; let them remain perfectly silent for two moments, then let them silently rise and walk out of the room. Or as they sit silent, some actor can come in and ask questions to each, receiving only a vacant stare in answer; he then can rush out of the room, calling them a stupid set; it would be too plain to call them dumb.

Found. This can be made very amusing by arranging a court scene, judge, jury, and lawyers, and a prisoner’s box, in which an actor, dressed as a servant-girl, can be seated as the criminal accused of stealing a pocket-book. Witnesses can be examined. After the court has gone over the case, and the lawyers make as much sport as possible in their examination, a boy, dressed as a ragged Irish boy, should rush in, pocket-book in hand, calling on the judge to hear him. After ordering him to be turned out, and much talk being made about turning him out, at last, in a broken Irish voice, he must scream out, “Plaase yer honor, it’s me that found it,” holding aloft the pocket-book. The judge must request to see the pocket-book. (A young boy once acting this part, caused much laughter, by exclaiming, “Och, and indade is the court honest?”) The judge having examined the pocket-book, declares the girl innocent, and dismisses the court.

Dumbfound. The room should be partially darkened, and some of the actors seated around the room talking as they please. One of the actors can be dressed as a ghost. A giant ghost acted by dressing up an umbrella, or a broom, arranging it with long white drapery of sheets, and the person carrying it can raise the dressed-up umbrella or broom as they enter the room. The ghost can glide slowly around the room; its occupants should exhibit silent horror, either by crouching down, contortions of the face, or in any way possible, but not a sound should be uttered.

6.—SO-RO-SIS.

So. One of the actors should be dressed as a schoolmistress; some children can be seated by her with patchwork in their hands. The mistress can teach them sewing, while in another part of the room an actor must hold some papers of seeds, and pretend to be sewing the seeds in a box or pot of earth.

Ro. Place the actors all in a row; let them stand gazing at the audience a moment, then all at the same time make a low bow to the audience, and that scene is over.

Sis. Have a school, and the master should call “sis” to come and recite; any little girl can take the part of “sis,” or some boy can complain of his “sis” to the teacher.

Sorosis. Can be made very amusing by representing an assembly of strong-minded women. The gentlemen actors can dress in outlandish dresses, and act the part of women. They can choose a president, and other officers, &c.

7.—LAMENTABLE.

FRENCH CHARADE.

“L’amont” can be acted well in pantomime by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slyly and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows, and retires. Soon a loud knock is heard; she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat, and motions him to go. He leaves at one door, while L’Aman enters at another. Then they act a lover-like scene, and the curtain drops.

Table. She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes, the young lover standing by, and now and then eating one of the cakes. They hear a heavy step, and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene.

Lamentable. The same actors appear, but the table is turned over, and, behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.

The following words are easy to be acted:—

• Back-bite.
• Com-fort.
• In-fan-tile.
• Pa-pa-cy.
• Fare-well.
• Car-pet.
• Bond-age.
• Ann-ounce.
• Sin-cere.
• No-bil-i-ty.
• Pen-i-tent.
• Bride-well.
• Brace-let.
• In-firm.
• Spec-ta-cles.
• Per-mu-ta-tion.
• Rail-way.
• Trans-mute.

8.—PROVERBS.

SAFE BIND, SAFE FIND.

Safe. An actor takes the part of a distracted mother, rushes around the room exclaiming, “My child is lost!” “He must be drowned!” &c. Soon one of the actors can rush in with a child, exclaiming, “Madam, your child is safe, but I found him in a little boat, floating out to sea;” other actors can rush in, all talking at once, some scolding the child, others rejoicing he is safe.

Bind. The one acting the part of mother can be seated with her work in her hands, and in her basket some rolls of old cotton. Three children can come in crying, one with a cut head (take some red paint, and make a splash on the forehead to represent blood), exclaiming, “O, dear, I’m killed, I know.” The other, limping and crying, “O, my foot is broken! O, dear! O, dear!” The other complaining of her hand, all talking at once. The mother must order them to talk one at a time, and she will bind up their wounds. Then she can take her rolls of cotton and bind up the injured parts.

Safe. The mother and children can be seated talking, when a knock comes at the door. One child opens the door and admits a pedler; after showing some trifles, he declares he has some wonderful money safes, and exhibits some boxes, and expatiates on the virtues of his safes. The mother can purchase one for each child.

Find. The same mother can be seated as usual, when the children must come running in, telling that one of their number has lost his safe. They all hunt for it, and look everywhere to find it, to no purpose.

Safe bind, safe find. The scene opens with a little girl tied into a chair, reading a book. The mother must come in arrayed for the street. On entering, she must exclaim, “I am thankful I have at last found a way to keep my child from being lost.” Then she must turn to the audience, and ask them if they can tell her the proverb. If they cannot guess, she must ask if she shall tell them. Sometimes the audience require time to talk it over before they are willing to own they cannot guess it.

One example will sufficiently illustrate the manner proverbs are acted. We will now give a list of some proverbs adapted for action.

• Ill weeds grow apace.
• Little pitchers have large ears.
• Fine feathers make fine birds.
• Union is strength.
• Time unveils truth.
• Black cats have black kittens.
• Necessity is the mother of invention.
• All is not gold that glitters.
• Slow and sure.

9.—TABLEAUX VIVANTS.

Tableaux vivants, as commonly represented, are so well understood that no directions are necessary; but some of our readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another way is to represent the different verses and scenes in a song in pantomime, while at the same time some one who is a good musician sings the verses of the song, as they are represented. For instance, “The Mistletoe Bough;” first represent a room decorated with green, a company assembled, gayly dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene, representing children in a lumber-room opening an old chest, and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” “The Three Fishers,” “O, they marched through the Town,” “She wore a wreath of Roses,” “The Minstrel’s Return from the War,” are all excellent ballads to represent.

10.—TABLEAUX OF STATUARY.

This is a new form of tableaux, and if well done, exceedingly beautiful.

To prepare and arrange groups of statuary requires artistic skill, patience, and steady nerves; the two last qualities are necessary for those acting as statues.

A lady who excels in preparing groups of statues, as we can testify, has kindly permitted us to give to the public her manner of preparing them.

First, some effective groups of statuary must be selected, and carefully examined. Then those persons who are willing to gratify their friends by acting as statues, can be arranged in the different groups according to their fitness; those acting as statues, require marked features, and in most groups fine figures to build upon, as drapery conceals minor faults. All that can be prepared before the evening, are the head gear and the articles for drapery. A cap must be made of white linen or cotton, closely fitting the head. Take candle-wicking, and knit it on common sized ivory needles, wet it in hot water, and iron it dry. Then ravel it out, and cut it into the desirable lengths, and fasten it to the cap like a wig. When placed on the head, this candle-wicking can be arranged according to the statue to be represented, and it will resemble the hair carved in marble. If expense is not to be considered, the drapery should be made of cotton flannel, as it hangs heavier, and is more easily arranged than sheets, which are generally used to save expense. From three to four sheets are often required for the drapery of one person, as it is necessary to hang in such heavy folds to look like marble. One is usually doubled up and tied around the waist, the others folded, tied, and pinned, to resemble the drapery of the statue represented; rules are impossible to give, as the arrangement can only be made by an ingenious as well as an artistic person. Now comes the most disagreeable part, that of painting all exposed parts, such as neck, face, hands or feet, to resemble marble. First, common whiting must be mixed smoothly in water, the consistency of milk. This is put on with a shaving brush, and every part wholly covered with this preparation; let that nearly dry, then rub it in with the hand, then rub in lily white, to give the flesh, besides the whiteness of marble, the soft look of polished marble. The lips are finished at the last moment. Old white stocking legs drawn over the arms will save the trouble of painting them. Then the statues are ready to be grouped for exhibition. Any person who is nervous, restless, and easily inclined to laugh, cannot act as a statue. It is not possible to realize the beauty of such a group of living statuary, when well done, unless it has been once seen. We advise those attempting to get up exhibitions for the benefit of some charitable object, to try a few groups of living statuary; it is very effective to an audience.

11.—LIGHTS AND SHADES.

If you wish to throw the background of a tableau into shadow, place screens between the lights at the sides of the stage and that part of the picture you wish to have dark; vice versa with the foreground. Particular points or characters may be more brilliantly lighted than others, by placing at the side of the stage a strong light within a large box, open at one side, and lined with bright tin reflectors.

Lights of different colors can be thrown successively on a picture, and made to blend one with another, by placing the various colored fires in boxes three feet square, one at one side, and lined with reflectors. Those arranged at the sides of the stage on pivots, can be turned on, one after another, so as to throw their light on the stage. Before one light has entirely vanished from the scene, a different color should gradually take its place.

Ventriloquism Made Easy.

Ventriloquism we always supposed, like many other arts, depended to a certain extent on natural talent, or was a peculiar gift.

Professional ventriloquists favor the idea that it is a natural gift, in order to enhance their profits. But boys of the present age are not so ready to believe in marvellous gifts, and may have persevered in trying to imitate famous ventriloquists, and to try was to succeed.

A friend of ours once met a boy only ten or eleven years old, who was an excellent ventriloquist, so far as the power of throwing the voice into a closet or adjoining room goes. On being questioned if he could explain the power he had, the boy said he had heard Harrington the ventriloquist some time previous, and having a desire to possess the same acquirement, he passed in practice in a garret all the spare time he could get for many days, and at the end of that time was fairly startled himself at hearing a voice come distinctly from an old chest of drawers.

The persevering little fellow had found out for himself the true theory.

We will give our young friends some plain and simple rules and directions how to acquire the power of ventriloquism, which we have obtained from a reliable English work; many persons following these rules have obtained proficiency in this art, according as they devoted time and attention to the subject. The word ventriloquism is derived from venter, the belly, and loquor, I speak; literally signifying, belly-speaking.

1.—WHAT IS VENTRILOQUISM.

Ventriloquism may be divided into two sections, or general heads, the first of which may be appropriately designated as Polyphonism, consists of the simple imitation of the voices of human creatures, of animals, of musical instruments, and sounds and noises of every description, in which no illusion is intended, but where, on the contrary, the imitation is avowedly executed by the mimic, among which we may classify sawing, planing, door-creaking, sounds of musical instruments, and other similar imitations.

Secondly, we have ventriloquism proper, which consists in the imitation of such voices, sounds, and noises, not as originally in him, but in some other appropriate source, at a given or varying distance, in any, or even in several directions, either singly or together, a process exciting both wonder and amusement, and which may be accomplished by thousands who have hitherto viewed the ventriloquist as invested with a power wholly denied by nature to themselves.

Polyphony is very common, for there is scarcely a public school which does not possess at least one boy capable of imitating the mewing of a cat, the barking of a dog, or the squeaking voice of an old woman. It is very seldom that even a blundering attempt at ventriloquism is heard, except from a public platform, simply from the want of knowledge of how to proceed. The art does not depend on a particular structure or organization of these parts, but may be acquired by almost any one ardently desirous of attaining it, and determined to persevere in repeated trials.

If a man, though in the same room with another, can, by any peculiar modifications of the organs of speech, produce a sound, which, in faintness, tone, body, and every other sensible quality, perfectly resembles a sound delivered from the roof of an opposite house, the ear will naturally, without examination, refer it to that situation and distance; the sound which he hears being only a sign, which from infancy he has been accustomed by experience to associate with the idea of a person speaking from the house-top. A deception of this kind is practised with success on the organ and other musical instruments.

The English Cyclopædia says “the essence of ventriloquy consists in creating illusions as to the distance and direction whence a sound has travelled.” How these sounds are produced, we will now show.

2.—THE THEORY OF VENTRILOQUISM.

Many physiologists aver that ventriloquism is produced by speaking during the inspiration of air. It is quite possible to articulate under these circumstances, and the plan may be occasionally adopted; but the practical experience of many performers prove that the general current of utterance is, as in ordinary speech, during expiration of the breath.

Some think ventriloquism comprises a management of the echoes; but echo only repeats what has been already spoken. Baron Mingon, a famous ventriloquist, had an automaton doll with which he could apparently converse. He thus describes his modus operandi: “I press my tongue against the teeth, and thus circumscribe a cavity between my left cheek and teeth, in which the voice is produced by the air held in reserve in the pharynx. The sounds thus receive a hollow and muffled tone, which causes them to appear to come from a distance.” The Baron says, “It is essential to have the breath well under control, and not to respire more than can be avoided.” Ventriloquists often experience fatigue in the chest, and have attributed it to the slow expiration of the breath. Some are often compelled to cough during the progress of exercitation.

To attain an exact and positive knowledge of the modifications of voice specified as ventriloquism, it is important to be familiar with the distinctions of the sounds uttered by the mouth; and to ascertain how the organs act in producing those vocal modifications, it is necessary to know how the breath is vocalized in all its distinctions of pitch, loudness, and quality, by the ordinary actions of the vocal organs. In ordinary language we speak of noise, of common sound, and of musical sounds. A quill striking a piece of wood causes a noise, but striking successively against the teeth of a wheel, or of a comb, a continued sound, and if the teeth of the wheel are at equal distances, and the velocity of the rotation is constant, a musical sound.

Phonation, or the production of voice, is a result of actions taking place under two distinct classes of laws, namely: the ordinary mechanical laws of acoustics, and the physiological laws of muscular movement. The adjustment of the vocal mechanism to be brought into operation by the current of air, is made by actions, under the latter laws; and phonation is the result of the reaction of the mechanism on the current of air by mechanical movements under the former laws. Now the pitch of the voice essentially depends on the tension of the vocal ligaments; the loudness on the extent of the excursion of these ligaments in their vibrations; the duration on the continuance of the vocalizing causes; the equality on the organization of the larynx, and also on the form and size of the vocal tube. The form and size of this tube can be altered in various ways. For instance, by dilating or contracting the mouth; by contracting the communication between the pharynx and mouth, so as to constitute them distinct chambers, or by dilating the opening so as to throw them into one, which is chiefly attained by movements of the soft palate, and by altering the form of the mouth’s cavity, which is effected by varying the position of the tongue. Each of these modifications of the vocal tube conveys a peculiarity of quality to the voice, all, however, being local or laryngeal sounds. Moreover, sounds can be produced in the vocal tube, apart from the larynx. These, strictly speaking, are not vocal sounds, though some of them may be of a definite and uniform pitch, while others are mere noises, as rattling, whispering, gurgling, whistling, snoring, and the like. Now, as everything audible comes under the classes of noise, sound, or musical sound, and as each variety originates in the vocal apparatus of man, it is obvious that an ordinary vocal apparatus is all that is required for the achievement of the feats of ventriloquy.

A person in a house cannot judge by the noise of an approaching carriage, with any certainty, whether it is coming from the right or left. Thus it is in many other sounds. But we judge the direction sound has travelled from its source on reaching the ear. The ventriloquist indicates, either directly or indirectly, the direction from which he wishes his audience to believe the sound is coming. Thus he directly indicates it by words, such as, “Are you up there?” “He is up the chimney,” “He is in the cellar,” “Are you down there?” &c. He indirectly indicates it by some suggestive circumstance, as an action or gesture, which is so skilfully unobtrusive and natural as to effect its object without being discovered. Thus, when the ventriloquist looks or listens in any direction, or even simply turns towards any point, as if he expected sound to come thence, the attention of an audience is by that means instantly directed to the same place. Thus, before a sound is produced, the audience expect it to come in the suggested direction, and the ventriloquist has merely by his adjustment of vocal loudness, to indicate the necessary distance, when a misjudgment of the audience will complete the illusion which he has begun.

The effect which is produced on sound by its travelling from a distance, is observed to be,—

1. That its loudness is reduced in proportion to its distance.

2. That its pitch remains unaltered.

3. That its quality or tone is somewhat altered.

4. That its duration remains unaltered.

5. That the human speech is somewhat obscured, chiefly in the consonant sounds.

It must be remembered that the ventriloquist makes the sound, not as it is heard at its source, but as it is heard after travelling from a distance.

Too much attention cannot be bestowed on the study of sound as it falls on the ear, and an endeavor to imitate it as it is heard, for the secret of the art is, that as perspective is to the eye, so is ventriloquism to the ear. When we look at a painting of a landscape, some of the objects appear at a distance, but we know that it is only the skill of the artist which has made it appear as the eye has seen it in reality. In exactly the same manner a ventriloquist acts upon and deceives the ear, by producing sounds as they are heard from any known distances.

We have given the acoustical theory of the effect on the auric nerve, and the means are the organs of respiration and sound with the adjoining muscles. The organs and muscles used are the diaphragm, the lungs, the trachea, the larynx, the pharynx, and the mouth.

3.—PRACTICAL RULES AND ILLUSTRATIONS.

The first voice a student of ventriloquism will strive to acquire is what is called “The voice in the closet.” To acquire this voice, which we so name for distinction’s sake, speak any word or sentence in your own natural tones; then open the mouth, and fix the jaws fast, as though you were trying to hinder any one from opening them farther, or shutting them; draw the tongue back in a ball; speak the same words, and the sound, instead of being formed in the mouth, will be formed in the pharynx. Great attention must be paid to holding the jaws rigid. The sound will then be found to imitate a voice heard from the other side of a door when it is closed, or under a floor, or through a wall. To ventriloquize with this voice, let the operator stand with his back to the audience, against a door. Give a gentle tap at the door, and call aloud in the natural voice, inquiring, “Who is there?” This will have the effect of drawing the attention of the audience to a person supposed to be outside. Then fix the jaw as described, and utter in the “closet voice” any words you please, such as, “I want to come in.” Ask questions in the natural voice, and answer in the other. When you have done this, open the door a little, and hold a conversation with the imaginary person. As the door is now open, it is obvious that the voice must be altered, for a voice will not sound to the ear when a door is open the same as when closed. Therefore the voice must be made to appear face to face, or close to the ventriloquist. To do this, the voice must not be altered from the original note or pitch, but be made in another part of the mouth. This is done by closing the lips tight and drawing one corner of the mouth downwards, or towards the ear. Then let the lips open at that corner only, the other part to remain closed. Next, breathe, as it were, the words out of the orifice formed.

Do not speak distinctly, but expel the breath in short puffs at each word, and as loud as possible. By so doing you will cause the illusion in the mind of the listeners that they hear the same voice which they heard when the door was closed, but which is now heard more distinctly and nearer on account of the door being open. This voice must always be used when the ventriloquist wishes it to appear that the sound comes through an obstacle, but from some one close at hand.

The description of voice and dialogue may be varied, as in the following example:—

“The Suffocated Victim.” This was a favorite illustration of Mr. Love, the Polyphonist.

A large box or closed cupboard is used indiscriminately, as it may be handy. The student will rap or kick the box, apparently by accident.

The voice will then utter a hoarse and subdued groan, apparently from the box or closet.

Student. (Pointing to the box with an air of astonishment.) What was that?

Voice. O, let me out!

Student. Why! there is some one in here, I declare (to box). Who is it?

Voice. I won’t do so any more. I am nearly dead.

Student. Who are you? How came you there?

Voice. You know very well who I am. Let me out! Let me out!

Student. I tell you I don’t know you.

Voice. O, yes, you do.

Student. Tell me quick. Who are you?

Voice. Your old school-fellow, Tom ——; you know me.

Student. Why, he’s in Canada.

Voice. (Sharply.) You know better; he’s here; but be quick.

Student. (Opening the lid.) Perhaps he’s come by the underground railroad. Hallo!

Voice. (Not so muffled as described in direction.) Now, then, give us a hand.

Student. (Closing the lid or door sharply.) No, I won’t.

Voice. (As before.) Have pity (Dick, or Mr. ——, as the case may be), or I shall be choked.

Student. I believe you are a humbug.

Voice. Why don’t you let me out and see, before I am dead?

Student. (Opening and shutting the lid or door, and saying, the voice accordingly.) Dead! not you. When did you leave Canada?

Voice. Last week. O, I am choking!

Student. Shall I let him out? (Opening the door.) There is no one here.

Conversations can be held with pedlers at the door, or with some one in the cellar or basement; and as a rule the lower notes of the voice will be best for voices in the basement, and formed as low in the chest as possible.

The second kind of voice, or voice No. 2, we will call it, is more easy to be acquired. It is the voice by which all ventriloquists make a supposed person speak from a long distance, or from or through the ceiling. In the first place, with your back to the audience, direct their attention to the ceiling, by pointing to it, or by looking intently at it. Call loudly, and ask some questions, as though believed a person to be concealed there. Make your own voice very distinct, and as near the lips as possible, as that will help the illusion. Then, in exactly the same tone and pitch, answer; but, in order that the voice may seem to proceed from the point indicated, the words must be formed at the back part of the roof of the mouth. To do this, the lower jaw must be drawn back and held there, the mouth open, which will cause the palate to be elevated and drawn nearer to the pharynx, and the sound will be reflected in that cavity, and appear to come from the roof. Too much attention cannot be paid to the manner in which the breath is used in this voice. When speaking to the supposed person, expel the words with a deep, quick breath.

When answering in the imitative voice, the breath must be held back, and expelled very slowly, and the voice will come in a subdued and muffled manner, little above a whisper, but so as to be well distinguished. To cause the supposed voice to come nearer by degrees, call loudly, and say, “I want you down here!” or words to that effect; at the same time make a motion downwards with your hands. Hold some conversation with the voice, and cause it to say, “I am coming,” or “Here I am,” each time indicating the descent with the hand.

Let the voice, at every supposed step, roll, as it were, by degrees, from the pharynx more into the cavity of the mouth, and at each supposed step contracting the opening of the mouth, until the lips are drawn up as if you were whistling. By so doing, the cavity of the mouth will be very much enlarged. This will cause the voice to be obscured, and so to appear to come nearer by degrees. At the same time care must be taken not to articulate the consonant sounds plainly, as that would cause the disarrangement of the lips and cavity of the mouth; and in all imitation voices the consonants must scarcely be articulated at all, especially if the ventriloquist faces the audience. For example, suppose the imitative voice is made to say, “Mind what you are doing, you bad boy,” it must be spoken as if it were written, “ind ot you’re doing, you ’ad whoy.” (It is rarely a ventriloquist shows a full face to his audience, unless at a great distance from them. It would help to destroy the illusion if the jaws were seen to move.) This kind of articulation is made by forming the words in the pharynx, and then sending them out of the mouth by sudden expulsions of the breath clean from the lungs at every word. This is often illustrated by a ventriloquist pretending to talk to a man on the roof.

4.—POLYPHONIC IMITATIONS.

Mr. Love, the great polyphonist, delighted in his youth to imitate the buzzing of insects and the cries of animals. Such accomplishments are easily acquired, and we think if our young boy friends will follow our directions, they will acquire at least polyphonic powers to amuse their friends at home and abroad.

To imitate a “tormenting bee,” a boy must use considerable pressure on his chest, as if he was about to groan suddenly, but instead of which the sound must be confined and prolonged in the throat; the greater the pressure, the higher will be the faint note produced, and which will perfectly resemble the buzzing of the bee or wasp. In all imitations of insect noises, the bee should be heard to hum gently at first, so as in a private party not to attract attention till the right pitch is obtained. The sound will penetrate every corner of a large room. To assist the illusion, the person imitating a bee should pretend to try to catch the insect. To imitate the buzzing of a blue-bottle fly, it will be necessary for the sound to be made with the lips instead of the throat: this is done by closing the lips very tight, except at one corner, where a small aperture is left; fill that cheek full of wind, but not the other, then slowly blow or force the wind contained in the cheek out of the aperture; if this is done properly, it will cause a sound exactly like the buzzing of a blue-bottle fly.

To make the above perfectly effective, the person imitating a fly or bee, should turn his face to the wall; with a handkerchief strike at the pretended bee or fly, at the same time pretend to follow his victim, first this way and then that, and finally to “dab” his pocket handkerchief on the wall, as though he had killed it; the sound should be at times suddenly louder and then softer, which will make it appear as it is heard in different parts of the room.

“The Spectre Carpenter.” The noise caused by planing and sawing wood we often hear imitated. Yet but few boys know how easily it is done. Much amusement is often caused by this imitation. To imitate planing, a boy must stand at a table a little distance from the audience, and appear to take hold of a plane and push it forward; the sound, as of a plane, is made as though you were dwelling on the last part of the word hash. Dwell upon the sh a little, tsh, and then clip it short by causing the tongue to close with the palate, then over again. Letters will not carry the peculiar sound of sawing; but any bright boy, by carefully listening to the sound made by carpenters, with these suggestions, can, with practice, imitate the sound perfectly. To make the deception more perfect, put some shavings in your pocket to sprinkle as you pretend to saw, also a piece of wood to fall when the sawing is ended. A friend of ours told us of a negro, well known as a famous whistler about the streets of Boston years ago, who would place both hands tightly over his ears, incline his head downwards, and imitate with great precision a music-box; but he said it pained him to do this.

5.—TO IMITATE AN ECHO.

It is impossible for a ventriloquist to produce an echo in a room of ordinary size, as the walls, being so near, would cause the sounds to be blended, and would only produce one impression on the ear; and yet a skilful ventriloquist can with ease imitate, in a room, a mountain echo. We will give the instructions, as it is very amusing.

Turn your back to the listeners; whistle loud several short, quick notes, just as if you were whistling to a dog; then as quick as possible, after the last note, and as softly and subdued as possible to be heard, whistle about a third the number of notes, but it must be in the same note or pitch; this will cause the last whistle to appear just like an echo at a great distance. This imitation, if well done, causes much surprise to those listening. The same thing can be done by shouting any sentence, such as, “Halloa, you, there!” or, “Ship, ahoy!” Let your voice be formed close to the lips; then quickly, and in the same pitch or note, speak the same words very subdued, and formed at the back of the mouth. This is very simple, yet effective.

6.—CONCLUDING REMARKS.

“Any person acquainted with the voices before described, may imitate many others by contraction and expansion of the glottis, and by modifications of the cavity of the pharynx and mouth. The best way to practise is in a room alone, to talk aloud, and, while so doing, to make all sorts of contortions with the muscles of the mouth and jaws, first fixing the jaws in the manner already described, then drawing the lips inward, next putting them forward, at the same time placing the tongue in different shapes and positions in the mouth; also by speaking in the natural voice, and answering in the falsetto pitch, which is the imitating voice for women and children.”

The ordinary compass of a voice is about twelve notes, and a very good practice to the attainment of the art is to call aloud in a certain note, and then in the octave to that note; do this several times a day, changing the note or pitch, loud at first, and by degrees decrease the sounds; this kind of practice will assist any one in learning to modulate the voice to appear to recede or come near by degrees.

We think enough has been said to enable any boy, sufficiently persevering, to become a good ventriloquist. “Always remember, that to render a voice perspective, the most essential thing is to attend to the study of sound as it falls upon an ear; then imitate that sound by the different contractions and expansions of the muscles of the throat, mouth, face, and jaws. During these various contractions and expansions, draw in a long breath, and talk, first rapidly, then slowly, but always with a slow expiration of breath. Do this a dozen times consecutively for several days, at the same time elevate and depress the roof of the mouth, especially the back part, as this movement causes the voice to appear near or at a distance.”

We have now given our young friends the best practical directions we could obtain from the rules given by a skilful ventriloquist. All boys who have faithfully followed our directions, should try their powers before some friend. We think they will be astonished at their success, and will be pleased to become a source of great amusement to their friends as well as themselves. But beware, boys, of misusing your power; always remember the “golden rule,” and never frighten any person seriously.

Ventriloquism was well known, even before Christ; but it was used only as a means to foster superstition, and often took the form of divination. The statue of Memnon will instantly suggest itself as a familiar example. The gigantic head was heard to speak the moment the sun’s rays glanced on its features. Undoubtedly the magic words were pronounced by the attendant priest, who must have been a ventriloquist. We could give innumerable instances of its use among the ancients; but we will close with an amusing anecdote we once heard of a famous ventriloquist. He was passing through a street with a friend, at the same time a load of hay was passing along. The ventriloquist called the attention of his friend and others passing along to the suffocating cries of a man in the centre of the hay. A crowd gathered round and stopped the astonished carter, and demanded why he was carrying a fellow-creature in his hay. The complaints and cries of the suffocated man now became fainter, and he appeared to be dying. The crowd, instantly proceeded to unload the hay into the street, the smothered voice urging them to make haste. The feelings of the people may be imagined, when the cart was found empty. The ventriloquist and his friend walked off, laughing at the unexpected result of their trick.

Natural Magic.

The Æolian Harp consists of an oblong box of thin deal board, about five or six inches deep, with a circle drawn in the middle of the upper side, an inch and a half in diameter, around which are to be drilled small holes. Along the upper side of the box seven, ten, or more small strings, of very fine gut, are stretched over bridges near each end, like the bridges of a violin, and tightened or relaxed with screw pins. The strings must be tuned to one and the same note, and the instrument placed in some current of air where the wind can pass over its strings with freedom. A window, the width of which is exactly equal to the length of the harp, with the sash just raised to give the air admission, is a good situation. When the wind blows upon the strings, with various degrees of force, different musical tones will be sounded; sometimes the blast brings out all the tones in full concert, and sometimes it sinks them to the softest murmur. In many old castles these harps were fastened in the windows, and their wild music caused the ignorant to think they were haunted.

A colossal imitation of the instrument just described was invented at Milan, in 1786, by Abbate Gattoni. He stretched seven strong iron wires, tuned to the notes of the gamut, from the top of a tower sixty feet high, to the house of a Signor Muscate, who was interested in the success of the experiment and this apparatus, called the giant’s harp, in blowing weather, yielded lengthened peals of harmonious music. In a storm this music was sometimes heard at the distance of several miles.

Simply tying waxed saddler’s silk to little sticks, and pushing them into the crevices of windows, so as to receive a draught of wind (the silk being strained tight), will produce very sweet sounds.

1.—THE MAGIC OF ACOUSTICS.

The science of acoustics furnished the ancient sorcerers with some of their most complete deceptions. The imitation of thunder in their subterranean temples did not fail to indicate the presence of a supernatural agent. The golden virgins, whose ravishing voices resounded through the temple of Delphos; the stone from the river Pactolus, where trumpet notes scared the robber from the treasure which it guarded; the speaking head, which uttered its oracular responses at Lesbos; and the vocal statue of Memnon, which began at the break of day to accost the rising sun, were all deceptions derived from science, and from a diligent observation of the phenomena of nature.

2.—TO SHOW HOW SOUND TRAVELS THROUGH A SOLID.

Take a long piece of wood, such as the handle of a broom, place a watch at one end, apply your ear to the other, and the ticking will be distinctly heard.

3.—THEORY OF THE VOICE.

Provide a species of whistle common as a child’s toy, or a sportsman’s call, in the form of a hollow cylinder, about three fourths of an inch in diameter, closed at both ends by flat circular plates with holes in their centres. Hold this toy between the teeth and the lips; blow through it, and you can produce sounds, varying in pitch with the force with which you blow. If the air be cautiously graduated, all the sounds within the compass of a double octave may be produced from it, and if great precaution be taken in the management of the breath even deeper tones may be brought out. This simple instrument or toy, has indeed the greatest resemblance to the larynx, which is the organ of the voice.

4.—A SINGULAR EXAMPLE OF SUPERSTITION.

The following true story was related to me by one who was personally acquainted with the facts. There was a certain bend in one of our western rivers which was avoided by every one, as it was supposed to be haunted by the devil. At a certain hour in the evening, for many years, terrible curses were distinctly heard. Suddenly they ceased. A gentleman skilled in the science of acoustics, hearing an account of the strange phenomena, determined to ascertain the cause, and carefully examined the river on each side for about a mile above and below the bend. He ascertained that at about the time the sounds ceased, an old fisherman, who had lived on the opposite side of the river, full a mile from the spot where the curses were heard, had died. He was told that the fisherman was in the habit of crossing the river to a village, where he found a market for his fish, and where he spent his money for liquor; and that after drinking freely on his way home, while rowing across the river at night, he would swear terribly. This gentleman then persuaded a friend to go down the river to the place where the curses were formerly heard, while he remained in a boat on the river at the point at which the old man usually crossed. He then played on a bugle and sang several songs. His friend soon returned, and with eager delight exclaimed, “O, ——, such glorious music fills the air, just where the curses used to be heard!” The neighbors came rushing down to hear it, and some fell on their knees, praying. They said, “the angels have driven the devil away.” Mr. —— then asked what were the songs they heard. His friend described them correctly, and said he understood even the words, one of them being the famous Marseillaise, another a German song; the foreign words made the ignorant more sure that the sounds were supernatural. Mr. —— then played on the bugle, and sang again the same songs, while his friend stood by; but his friend said the music was not equal to that he had heard below, where the sounds had really seemed heavenly.

The peculiar configuration of the river banks had concentrated the sounds, and the distance and the water had softened them.

The person who related this anecdote to me said that he and his friend had often tried the experiment. Nothing would convince the more ignorant neighbors that the sounds were occasioned by merely natural causes. A love of the supernatural is strong within us, and sometimes leads us into grave mistakes.

Gardening, Flowers.

We, as a nation, are not a happy, home-loving people. The “spirit of unrest” pervades all classes.

This enterprising, uneasy spirit, has been, and is of benefit to us, as a comparatively new country, in settling and breaking our wild western lands.

But the time has come when it is well to curb that spirit, and cultivate all quiet, home-loving influences.

Therefore we beseech you, parents, to begin in earliest infancy to cultivate a love of the beautiful in nature; give your little ones flowers; and as soon as they are able to play in the garden, give them a little spot of their own to dig in; and when they can understand the process, give them seeds to plant, and some few flowers to cultivate. We can tell you of a happy cottage home, where the children, from earliest infancy, have lived among flowers. Each had their tiny garden, with spade, hoe, trowel, and watering-pot. The father and mother would also assist with their own hands in training vines, roses, and shrubs, in artistic beauty. The good father never went to his counting-room without some flowers in his hand, or in the button-hole of his coat, the valued gift from the tiny garden of one of his darlings. Years passed and fortune favored them, but they never would exchange their cottage home, with its vines, trees, and shrubs, for all the stately mansions in the town. And as the daughters married, and the sons left to seek their fortunes, they would look back with intense longing to their loved home; and joyous were their meetings around the home Christmas tree.

On Sundays they always, even in midwinter, ornamented their social table with flowers, for they are God’s smiles. Therefore, my friends, we speak from observation, and from seeing the effect of an opposite course. If you wish to lessen your doctor’s bill, and give the beauty of robust health and happiness to your children, girls or boys, give them a garden, and let them plant, weed, and water it. If your children bring you even a simple field daisy, express your pleasure to them, and let them not see you cast it aside.

A well cared for garden displays—and displays to good advantage too—the love of home, domestic taste, a wish to please, industry, neatness, taste, and all the sweet household virtues that create a happy home.

Horticulture confines itself to no rank, and it may form the amusement or the pursuit alike of great and small, rich and poor; only the kind of garden we choose, and what we do with it, must depend on our circumstances.

Teach your boys the use of a pruning-knife, and how to graft; then give them some trees to experiment upon. You may save them from dissipation, by giving them a taste for horticulture. It is a happy, health-giving employment.

Decorate even your barn with graceful vines. The poorest house can be made an agreeable place by transplanting a few of the many simple wild vines. It is not natural to love intensely a stiff, ungainly object.

We have often thought, as we have roamed about the farming districts of New England, and have seen the many great, stiff, square houses, with not a graceful tree or flower to relieve their nakedness (though now and then a syringa, or lilac bush, or cinnamon rose, and perhaps a stately old butternut, may be seen), the sons and daughters of those households will surely emigrate. Utility is our hobby. Some farmers think it waste time to plant a flower, as it yields no fruit.

Remember the old saying, “All work and no play makes Jack a dull boy.” You that dwell in a city, strive to have a small spot in the country to which you may send your children in summer, to roam at will. We heard a little child, in urging her mother to go into the country in vain, cry out, “It is too, too bad, mamma. We know God did not make the city for little children, because he loves us.”

Do not waste your money at fashionable watering-places. Even in early years, take your children to the woods and let them see nature in its wild state. There is nothing like a day in the woods for refreshing us all, in body and mind. The wild music of running brooks is so lulling, the birds carol their “native wood-notes wild” so sweetly, the strange blended odor of the damp mould, the leaves, the wild flowers, and the prospect of the distant meadow, are so delightful; the play of the sunlight through the dense foliage, and on the sylvan walks, is so beautiful, and the quiet is so marked, after the hum and roar of a city, that the mind is tranquillized, and both you and your children will be nearer to God, and nearer to one another, for every hour thus spent. Our whole country is full of wild beauty. Spend your spare money in decorating your homes with trees, flowers, and shrubs. The influence upon your children will be far more beneficial.

If your children wish for money to purchase seeds and flowers for their gardens, if possible, give it cheerfully. It is far better so spent, than in dress and toys. Let them plan their own gardens, and experiment as much as they please. A very pretty fence can be made round such gardens by a number of stakes of equal lengths, pointed at one end to drive into the ground, square at the top, and painted green. Then place them at equal distances around your garden, and bore holes about six or seven inches apart for the twine, which should be brown linen. Pass the twine through the holes, in lines all around the garden. Plant vines which run rapidly, such as Cypress Vine, Madeira Vine, Nasturtium, Maurandya, Barclayanna, Dwarf Convolvulus, Mountain Fringe, &c. By midsummer your simple fence will be very beautiful.

Having spent many years in cultivating flowers, perhaps a few practical directions from our own experience may be of service to our readers. And we will give some excellent suggestions taken from a famous florist.

1.—HOW TO PLANT SEEDS.

We often think, because the seed we plant does not germinate, that we have purchased poor seed, when the fault is in the manner of planting.

Nearly all kinds of flower seeds require transplanting, therefore it is best to plant in boxes, pots, or hot-beds. Old cigar boxes are convenient, and are easily handled, but first bore holes in the bottom of the boxes, and in your pots or boxes place either broken clam or oyster shells, or pieces of old flower pots, as a drainage; then take light, rich earth and sift it or rub it carefully in your hands, to be sure there are no lumps; some bake the earth to destroy any insects which may be in it, but it answers the same purpose to pour boiling water upon it. After you have filled your boxes or pots with this prepared earth, sprinkle your seed carefully over it, and sift over them light soil sufficient to cover them, moisten them with warm water, and place the box where there is but little light, and throw a piece of paper over the top. Some use a piece of thick flannel; if you use flannel, water your seeds without removing it, until your seeds have sprouted. A warm place will start them best. Let them remain thus several days, till the seeds have a chance to swell, before you give them much light, and keep the earth moist (a sponge is excellent to water them, as it does not disturb the position of the seeds; also use warm water); as soon as you see they are sprouting, give them light, and air, if not too cold, or else the plant will not have strength to grow well. Hot-beds are the best, and can be made with but little expense, by taking some old box; and if you do not possess an old window-sash, you can purchase one of some builder for a trifling sum of money, and fit it to your box by nailing strips at the sides; dig a place the size of the box, and two or three feet deep; fill it with horse manure, mixed with straw, which is the most heating; then sprinkle soil over the top about six inches deep; place your box on the top, carefully heaping the earth around the outside, and your hot-bed is made, in which you can start your seeds and slips by either placing your boxes or pots in the earth on top of the manure, and plant your seeds and slips in them, or as many prefer, planting in the soil of your hot-bed. After your seedling plants are of sufficient size to transplant, if you first transplant them into small pots, you can easily plant them in your flower beds without disturbing the roots, and the plants will not require covering; you must first dig a hole and pour water into it, then carefully slip the plant, dirt and all, from the pots, and place into the hole made for it, and press the earth tight around it. Of course they must remain in the pot till they are well rooted. In raising slips, you need to mix in full half common scouring sand with the soil, and they must be shaded from the light several days.

All who care for flowers will desire to raise verbenas, as they blossom all summer. If you wish to raise them from seed, they should be sown in February or first of March. One secret in raising fine verbenas is change of soil. It would be better to plant them every year in a different location, but if you renew the soil it will do to plant them twice in the same bed, but never three years in succession. Indeed, flowers as well as vegetables need constant change of soil; they soon exhaust the earth. Seeds are better that are raised in locations distant from the place where they are to be sown. Flowers soon deteriorate if you continue to plant over and over from seed raised in the same spot; that is one of the reasons why seeds from Europe are generally preferred by florists. Japan Pink seed should be planted in March, in order to have them flower the first year; they are hardy and blossom also the second year. Pansy seed should be planted as early as Verbenas. Ten Weeks’ Stock, Phlox Drummondi, Double Zinnias, Lobelia, Petunias, Portulaca, Salpiglossis, Candytuft, Larkspur, &c., should be planted in April. If you desire to raise Picotee or Carnation Pinks for the next year, and Canterbury Bells and Fox Gloves, sow in April. Sow Asters of all kinds the last of April or first of May. Some of the climbers, such as Maurandya Barclayanna, Tropæolum, commonly called Nasturtium, Cypress Vine, Thunbergia, &c., need transplanting, and better be sown early. Sweet Peas should be sown in the open soil about three inches deep, early in April. It is better to soak the seed in warm water before sowing. When they have germinated, and as they begin to climb, fill in earth around them, and water now and then thoroughly with soap suds. Mignonnette should not be transplanted; sow the seed in the open soil the first of May. Candytuft and Sweet Alyssum are hardy, and the seed can be sown out of doors; but if you have once had them, they will come up self-sown. Look over your beds in spring, and take up such plants, when you have the soil prepared and beds made, then you can plant them back again where you desire. Joseph’s Coat is a very brilliant plant; its leaves are all shades of green, red, and yellow; the seed can be sown either in or out of doors by the first of May, also Golden Calliopsis. Balsams will grow better if the seeds are not planted till the second week in May, out of doors.

All the flowers we have mentioned are desirable, even in a small garden; of course there are hundreds of varieties of even annuals, but unless you have a gardener it is impossible to raise them all, for it is desirable, even in a small garden, to have some flowers raised by slips, or bought from some green-house, such as Fuchsias, Double Feverfews, Scarlet Geraniums, Bouvardias, Heliotropes, Rose Geraniums, Lemon Verbenas, Monthly Roses, Hardy Perpetuals, &c. Hardy Perpetual Roses are desirable in every garden, they grow so thrifty and blossom all summer, and with a little covering will live out all winter, and if they are showered often, early in the spring, while the dew is on the roses, with whale-oil soap suds, using a syringe to shower them, it will prevent the usual damage done by the slug. If you have a shady, moist place in your garden, there you can plant your Lily of the Valley, Double Blue English Violet, Forget-me-not, and Pansy.

Fuchsias also require some shade. Heliotropes and Geraniums will bear enriching more than most plants; frequent waterings with guano water are excellent. A table-spoonful of guano to a gallon of water is sufficiently strong. It also improves Pansies, Fuchsias, and nearly all plants except Roses. Soap suds is better for Roses and Verbenas, at least according to our experience. Nearly all plants make a finer show in a garden arranged either in beds, each variety by itself, or in clusters. Before planting your garden in spring, it is well to carefully consider the nature of each flower, and arrange your garden so that each flower can be displayed to advantage; never plant promiscuously; it is astonishing what a difference landscape gardening will make in the general aspect of even a small place. It is quite as desirable as to arrange the colors in a picture to harmonize. Even an old stump of a tree can be made beautiful by planting vines around it, or by scooping out the top and filling in soil, and planting Nierembergia, Lobelia, Double Nasturtium, Variegated Myrtle, &c., in it. Those we have mentioned blossom all summer, except the Myrtle, the leaves of which are as beautiful as many flowers.

If we ladies would spend less time on our dress and in arrangements for the table, and take that time for working in our gardens with our children, we should not only make our homes more attractive, but we should gain in health and strength. Early every spring call a family council to decide the arrangement of your flower garden. Let your boys have a place to raise vegetables as a pastime. Encourage them to diligence by promising to purchase all they will raise; in that way they can earn money to give to the poor, or for their Christmas presents; even children will take far more pleasure in giving what they have really earned with their own hands.

2.—THE QUEEN OF FLOWERS, THE ROSE.

This beautiful flower deserves especial attention, and is truly called the Poet’s flower. A rose is the type of beauty in women. A lovely maiden is called a rose-bud. A beautiful matron compared to a rose in full bloom. Its delicate and refreshing perfume is always welcome to an invalid. It adorns a bride, and is a tribute of love in decorating the lifeless remains of our loved ones.

Volumes could be written upon the beauties of the rose. A child can cultivate this beautiful flower. If you do not possess any ground, there always will be room for at least one pot with a rose in your own room.

Roses can be classified under three general heads.

No. 1.

Those that bloom only once in a season, such as Hybrid China, Provence, Sweet and Austrian Briars, most of the mosses, and all climbing varieties that are hardy in New England and the Middle States. We do not advise our young friends to cultivate this class, unless they have large gardens. Madame Plantier is the only variety which we retain in our garden. This rose is a profuse bloomer, and one of the most perfect white roses grown. We will mention some of the desirable climbing varieties which can be used for “Pillar Roses.”

• Queen of the Prairies, deep rose color.
• Baltimore Belle, blush white, blooming in large
• clusters.
• Russeliana, crimson shaded to pink.
• Madame d’Arblay, creamy white.
• Gem of the Prairies, carmine, blotched white, very
• full.
• Superba, flesh color, clusters immense.

No. 2.
THE HYBRID PERPETUALS, OR REMONTANTS.

This desirable class is of comparatively recent origin, and obtained by hybridizing the Provence and Damask varieties with the Ever-blooming, or China. They in a measure combine the qualities of the two classes, but less of the China, as the name Perpetual is a misnomer, for the chief blooming ones in regular season of rose flowering, unless especial care is taken to cut off every flower as soon as they begin to wither, and keep the plant growing freely, then these plants will blossom twice or thrice in a season. Most of these Remontants are full bloomers, and the flowers very perfect. We will give a list of a few varieties we can recommend.

• Auguste Mie, pale shade of rose, very full.
• Baronne Provost, bright rose, very double.
• Blanche Vibert, pure white, delicate grower.
• Caroline de Sensal, blush, pink centre, free bloomer.
• Géant des Batailles, reddish crimson, superb.
• General Jacqueminot, bright crimson, very brilliant.
• Jules Margottin, bright scarlet crimson.
• Le Lion des Combats, very dark crimson purple.

No. 3.

The monthly, or ever-blooming class, are distinguished by their delicate shining leaves and stems. This class comprises four sub-classes, namely, the Noisette, Tea, Bengal, and Bourbon.

The Noisette are of rampant growth, usually flowering in clusters. In the Southern States they need no covering during the winter months, but in the North, East, and West, if buried in winter, and properly trained, they are often used as Pillar Roses, particularly the beautiful La Marque, whose pure white buds are so valuable to all florists. If planted in the ground in a green-house, it will climb all over the walls. We will name some varieties which we have cultivated, and know can be successfully raised, even in New England.

NOISETTE. Aime Vibert, pure white, very full bloomer. America, straw color. Gloire de Dijon, blush white, buff centre. Lamarque, large, white, shading to yellowish centre. Minette, light crimson, very double. Marshal Niel, very beautiful deep yellow. Souvenir d’Anseleme, deep carmine. Solfaterre, deep straw color.

TEA. Adam, rich rose, salmon shaded. White Tea, the freest bloomer of all roses. Camellia Blanche, pure white. Devoniensis, blush, Magnolia fragrance. Isabella Sprunt, clear canary yellow. La Pactole, canary color, free bloomer. Safrona, orange yellow.

BENGAL. Agrippina, bright crimson. Bousanquet, blush white. Louis Philippe, light crimson. Madame Rohan, pure white. Napoleon, blush, extra large.

BOURBON. Marshal Niel, a deep buff; the king of roses. Bousanquet, rich blush, free bloomer. Duc de Chartres, large, very double, crimson. Hermosa, deep pink, most desirable. Psyche, light rose, very double. Souvenir de Malmaison, flesh color, very double, superb. Sombriel, blush white, one of the best.