position she is placed.

    Fig. 224.      Fig. 225.

Manner of Making Miss Nancy.]

[Illustration: Fig. 226.—Miss Nancy.]

=A Soft Ball.=

A very pretty and safe return ball for the little ones to play with may
be made of paper (Fig. 227), which, being soft, precludes all danger of
“thumps and bumps.”

[Illustration: Fig. 227.—Paper Ball.]

Take a piece of newspaper, and, using both hands, roll it and fold it
into something of the required shape. Then place it in the centre of
a square piece of bright-colored tissue paper; take the four corners
of the tissue-paper up to the centre of the top of the ball, fold them
over, also fold and smooth down what fulness there may be; next place
a small round piece of gold, silver, or some contrasting colored paper
on the top of the ball. Secure all by winding a string around the ball,
making six or eight divisions; tie a piece of elastic to the string
where it crosses on the top of the ball, then paste over this a small
artificial flower. In the other end of the elastic, make a loop to fit
over the finger, or tie on it a small brass ring.

If a tiny sleigh-bell be placed in the centre when the ball is being
made, it will give a cheerful little tinkling noise whenever the ball
is thrown.

[Illustration: Fig. 228.—The Rooster.]

    Fig. 229
    Fig. 230
    Fig. 231
    Fig. 232.
    Fig. 233.—The Weight.

Pattern of Rooster.]

=A Lively Rooster.=

To make the rooster (Fig. 228), cut out of stiff cardboard Figs. 229,
230, 231, and 232. Tie on Figs. 229 and 230 each a piece of string
seven and one-half inches long. Then attach the head and tail to the
body by running a string through holes at A in Fig. 230 and A in Fig.
231, and another through B in Fig. 229 and B in Fig. 231. Bring the
head and tail up close to the body and fasten the ends of the strings
down securely with court-plaster or pieces of paper pasted over them.
Bend Fig. 231 at dotted line C; then on the space marked E, paste the
portion of Fig. 232 marked E after bending it at dotted line O. Again
bend Fig. 232 in the same direction at dotted line P, and paste it
across the space marked P, on Fig. 231. When all is fastened together,
and the paste perfectly dry, paint the rooster to look as life-like as
possible. Tie the strings of Figs. 229 and 230 together four inches
from where they are fastened on, then again about three inches lower
down, and attach a weight to the ends. A common wooden top, with a tack
in the head (Fig. 233), will answer the purpose nicely. To bring the
rooster to life, place him on the mantel-piece, with a book serving as
a weight on the projection of Fig. 232, swing the top and he will move
his head and tail in the most amusing manner.

[Illustration: Fairy Dancers.]

=Fairy Dancers.=

[Illustration: Fig. 234.—A Fairy Dancer.]

[Illustration: Fig. 235.—Pattern of Fairy Dancer.]

Among the gifts made by little hands, a box, containing a set of fairy
dancers, will be a most novel and welcome addition. These little
figures, when placed on the piano, will move as soon as the keys are
touched, dancing fast or slow in perfect time to the music. They may
all be made to resemble fairies as in Fig. 234, or a famous collection
of figures in the costumes of different periods in history will be
equally pretty and perhaps more interesting. Ladies in kirtles and
tunics, gentlemen in slashed doublet and hose of the Tudor times, Queen
Elizabeth’s starched ruffs and farthingales, etc. All these dresses
can be more easily copied from pictures of the period than from any
written description of them. The materials used for the costume must
be of the lightest kind, for a heavy dress will weigh down the dancer
and hamper its movements. To make the fairy (Fig. 234) trace Fig. 235
on cardboard and cut it out, sew a piece of bonnet-wire down the back,
as shown in diagram. Mark the slippers on the feet with ink or black
paint, select a Christmas or advertising card representing a child,
with a head of a suitable size, cut the head out and paste it on the
fairy.

[Illustration: Fig. 236.—Pattern of Chinaman.]

[Illustration: Fig. 237. Fig. 238. Chinaman’s Queue.]

[Illustration: Fig. 239.—The Chinaman.]

Gather two short skirts of tarlatan, make a waist of the same, sew
with a few stitches to the doll, and cover the stitches with a
sash of bright colored tissue paper; add a strip of tarlatan for a
floating scarf, gluing it to the uplifted hands. Bend back the piece
of cardboard projecting from the foot, and glue to it a small piece
of bristle brush. The wire on the doll should be long enough to pass
tightly around the brush, thus making it more secure.

If you would like to have the Chinaman (Fig. 239) in your troupe of
dancers, trace on cardboard Fig. 236, draw a face with slanting eyes,
or paint it; then take several strands of black thread and tie them
together in the centre with another piece of thread (Fig. 237), bring
the ends down together (Fig. 238), braid them and sew the braid to the
back of the Chinaman’s head (239). Cut a loose sacque from pattern Fig.
240, fold at the waved lines and sew together at the dotted lines;
cut an opening for the head as seen in pattern. Make the hat of dark
green paper cut in the form of Fig. 241, and crimp it from the centre
(Fig. 242). Sew the hat to the back of the Chinaman’s head, bend the
cardboard projection at the feet and glue it to a piece of brush.

[Illustration: Fig. 240.—Chinaman’s Sacque.]

[Illustration: Fig. 241.—Pattern of Chinaman’s Hat.]

[Illustration: Fig. 242.—Chinaman’s Hat.]

    _Fig. 243_

    _Fig. 244_

    _Fig. 245_

    _Fig. 246_

Butterfly Pattern.]

[Illustration: _Fig. 247_

Butterfly.]

Butterflies of brilliant hues, all hovering and circling, may take
the place of the fairies, or they may mingle with them in the dance,
presenting a scene indeed fairy-like. To make a butterfly, trace the
pattern given in Fig. 243, on brilliantly colored paper. Form a body by
rolling a small piece of beeswax between the fingers until it assumes
the desired shape (Fig. 244); then attach the wings to the body by
softening the wax and sticking them to it. Wax a piece of black thread
to stiffen it, and make a knot in each end (Fig. 245), bend this in
the middle and stick it on to the head to form the antennæ (Fig. 246).
Fasten one end of a very fine wire securely in the middle of the wax
body, and wrap the other end around a small piece of brush as seen in
Fig. 247. A number of these butterflies placed on the pianoforte will
move, bend and sway with the music as if endowed with life.

Toys, also, which are small and light enough, can be made to “trip the
light fantastic” in time to the music.

Select those most suitable and glue them to pieces of brush in the way
described for the other dancers.

The children, generous little souls, always long to do their part
towards making Christmas presents, and we hope that the suggestion we
have offered will help them to manufacture, without other aid, many
little gifts which their friends will prize the more highly for having
been made by the loving little hands.

CHAPTER XXX.

AMUSEMENTS AND GAMES FOR THE CHRISTMAS HOLIDAYS.

A WINTER passed in-doors would be irksome indeed for a healthy, hearty
girl, and even the most delicate are the better for an outing now and
then. The keen northwest wind, the biting frosts, the crisp atmosphere
and the glistening ice and snow are not without their attractions, and
we hope that no American girl will neglect the opportunities this time
of the year affords for healthy, enjoyable out-door pastime. It is well
to follow the example of our Canadian sisters, and, clad in garments
warm and appropriate, indulge in coasting, tobogganing, skating,
sleighing, and walking.

The country, wrapped in its winter mantle, is very attractive. Many
of our small animals and birds that city people are apt to associate
only with a summer landscape, are to be found abroad in mid-winter,
and upon a bright sunny day the birds are not only to be seen, but
heard twittering and even singing in the hedges; they do not feel
the cold and are enjoying themselves heartily. The reason the birds
and wild creatures are so comfortably content, is because they are
prepared for the weather, their clothing is not only soft and warm, but
fits them perfectly, without interfering with their movements. Take a
lesson from them, girls, dress as becomingly as you choose, the birds
always do that, but do not wear thin-soled shoes or anything that is
uncomfortable; wrap up warm and you can enjoy yourself out of doors in
the coldest weather just as well as the birds. The cold winds will only
bring the roses to your cheeks, and the keen, invigorating air, health
and suppleness to your body.

We do not think any person ever learned to skate, coast, or walk on
snow-shoes from reading the directions that can be given in a book. It
is for that reason we have no chapter devoted to these sports and not
because we do not believe in, and enjoy them, too. Therefore we will
direct our attention to indoor sports, for they can be learned in this
way and are quite as important as the others in filling out the list of
winter amusements.

There are a great many days in winter when it is so stormy and
disagreeable out-doors, one is glad enough to have the shelter of a
roof and the warmth of a fire; these are the days and evenings when
in-doors games are in demand, and during the holiday season, when work
has been put aside, and you have nothing to do but enjoy yourself, any
new diversion is always welcome. It is here then that we will insert the

=New Game of Bubble Bowling.=

When the game of Bubble Bowling was played for the first time, it
furnished an evening’s entertainment, not only for the children, but
for grown people also; even a well known general and his staff, who
graced the occasion with their presence, joined in the sport, and
seemed to enjoy it equally with their youthful competitors. Loud was
the chorus of “Bravo!” and merry the laugh of exultation when the
pretty crystal ball passed safely through its goal; and sympathy was
freely expressed in many an “Oh!” and “Too bad!” as the wayward bubble
rolled gayly off toward the floor, or, reaching the goal, dashed itself
against one of the stakes and instantly vanished into thin air.

[Illustration: Bubble Bowling.]

The game should be played upon a long, narrow table, made simply of
a board about five feet long and eighteen inches wide, resting upon
high wooden “horses.” On top of the table, and at a distance of twelve
inches from one end, should be fastened in an upright position, two
stakes, twelve inches high; the space between the stakes should be
eight inches, which will make each stand four inches from the nearest
edge of the table. When finished, the table must be covered with some
sort of woollen cloth; an old shawl or a breadth of colored flannel
will answer the purpose excellently. Small holes must be cut at the
right distance for the stakes to pass through. The cloth should be
allowed to fall over the edge of the table, and must not be fastened
down, as it will sometimes be necessary to remove it in order to let it
dry. It will be found more convenient, therefore, to use two covers, if
they can be provided, as then there can always be a dry cloth ready to
replace the one that has become too damp. The bubbles are apt to stick
when they come upon wet spots, and the bowling can be carried on in a
much more lively manner if the course is kept dry. Each of the stakes
forming the goal should be wound with bright ribbons of contrasting
colors, entwined from the bottom up, and ending in a bow at the top.
This bow can be secured in place by driving a small brass-headed tack
through the ribbon into the top of the stake. If the rough pine legs of
the table seem too unsightly, they can easily be painted, or a curtain
may be made of bright-colored cretonne—any other material will do as
well, provided the colors are pleasing—and tacked around the edge of
the table, so as to fall in folds to the floor. The illustration shows
the top of the table, when ready for the game.

For an impromptu affair, a table can be made by placing a leaf of a
dining-table across the backs of two chairs, and covering it with a
shawl; lead pencils may be used for the stakes, and they can be held in
an upright position by sticking them in the tubes of large spools. This
sort of table the children can arrange themselves, and it answers the
purpose very nicely. The other things to be provided for the game are
a large bowl of strong soapsuds, made with hot water and common brown
soap, and as many pipes as there are players.

The prizes for the winners of the game may consist of any trinkets or
small articles that fancy or taste may suggest.

Bubble Bowling can be played in two ways. The first method requires
an even number of players, and these must be divided into two equal
parties. This is easily accomplished by selecting two children for
captains, and allowing each captain to choose, alternately, a recruit
for her party until the ranks are filled, or, in other words, until all
the children have been chosen; then, ranked by age, or in any other
manner preferred, they form in line on either side of the table. A pipe
is given to each child, and they stand prepared for the contest. One
of the captains first takes her place at the foot of the table, where
she must remain while she is bowling, as a bubble passing between the
stakes is not counted unless blown through the goal from the end of the
table.

The bowl of soapsuds is placed upon a small stand by the side of the
bowling-table, and the next in rank to the captain, belonging to the
same party, dips her pipe into the suds and blows a bubble, not too
large, which she then tosses upon the table in front of the captain,
who, as first bowler, stands ready to blow the bubble on its course
down through the goal. Three successive trials are allowed each player;
the bubbles which break before the bowler has started them, are not
counted.

The names of all the players, divided as they are into two parties, are
written down on a slate or paper, and whenever a bubble is sent through
the goal, a mark is set down opposite the name of the successful bowler.

When the captain has had her three trials, the captain on the other
side becomes bowler, and the next in rank of her own party blows the
bubbles for her. When this captain retires, the member of the opposite
party, ranking next to the captain, takes the bowler’s place and is
assisted by the one whose name is next on the list of her own side;
after her the player next to the captain on the other side; and so on
until the last on the list has her turn, when the captain then becomes
assistant and blows the bubbles.

The number of marks required for either side to win the game, must be
decided by the number of players; if there are twenty—ten players on
each side—thirty marks would be a good limit for the winning score.

When the game has been decided, a prize is given to that member of the
winning party who has the greatest number of marks attached to her name
showing that she has sent the bubble through the goal a greater number
of times than any player on the same side. Or, if preferred, prizes may
be given to every child belonging to the winning party. The other way
in which Bubble Bowling may be played is simpler, and does not require
an even number of players as no sides are formed.

Each bowler plays for herself, and is allowed five successive trials;
if three bubbles out of the five be blown through the goal the player
is entitled to a prize. The child acting as assistant becomes the next
bowler, and so on until the last in turn becomes bowler, when the one
who began the game takes the place of assistant.

When the evening lamps are lighted and the young folks, gathered
cosily around the cheerful fire, begin to be at a loss how to amuse
themselves, let them try the game of

=Biographical Nonsense.=

A paper must be written by one of the players which will read like the
following:

    The name of a noted man.
    A date between the flood and the present year.
    The name of a noted man.
    A country.
    The name of some body of water or river.
    Some kind of a vessel.
    A country.
    A country.
    The name of a school.
    A city.
    A city, town, or country.
    A city, town, or country.
    A number.
    The names of two books.
    The name of one book.
    A wonderful performance.
    The name of a well-known person.
    A profession or trade.
    A term expressing the feeling entertained for another person.
    A term descriptive of someone’s appearance.
    A word denoting size.
    A term describing form.
    A color.
    A word denoting size.
    The name of an article of some decided color.
    The name of any article.
    The name of any article.
    A number of years.

This paper is to be passed to each member of the party who in turn will
fill up the blanks left, with the words, terms, and names indicated.

When the blanks have been filled, one player must read the following,
and another supply the words, when she pauses, from the paper just
prepared, being sure to read them in their true order.

A BIOGRAPHY.

—— was born in —— the same year when —— discovered ——, by sailing
through the —— in a ——. His father was a native of ——; his mother of
——. He was educated at ——, in the city of ——. His first voyage, which
was a long one, was from —— to ——. He wrote three books before he was
—— years of age. They are ——, and ——. He performed the miraculous
feat of —— with ——. He was a great ——, and one we shall ever ——. In
appearance he was —— being rather —— of stature. His nose was ——, his
eyes ——, his mouth ——, and hair the color of —— adorned his head. He
invariably carried in his hand a —— and a ——, by which he was always
known, and with which he is represented to this day. He died at the
advanced age of ——-.

The ridiculous combinations found in this game make it very funny.

=Comic Historical Tableaux=

are very amusing, and being impromptu require no preparation beforehand.

As in charades, the company must divide into two parties. But instead
of acting as in charades, one party decides what event in history they
will represent, and then they form a tableau to illustrate the event,
making it as ridiculous as possible. The other party must try and
guess what the tableau is; if they are successful, it is their turn to
produce a tableau, if not, the first party must try another subject,
and continue to do so until the subject of their tableau is correctly
guessed.

We will give a few suggestions for the tableaux.

BALBOA DISCOVERING THE PACIFIC OCEAN.

Place a pan of water on the floor in plain sight of the audience; then
let someone dress up in a long cloak and high-crowned hat to personate
Balboa, and stand on a table in the middle of the floor, while the rest
of the performers, enveloped in shawls, crouch around. When the curtain
is drawn aside, Balboa must be seen looking intently through one end of
a tin horn, or one made of paper, at the pan of water.

NERO AT THE BURNING OF ROME.

Nero, in brilliant robes made of shawls, sits on a table, surrounded
by his courtiers, who are also in fantastic costumes. Nero is in the
act of fiddling, his fiddle being a small fire shovel, and the bow a
poker. On the floor in front of the group is placed a large shallow pan
or tray, in which is set a small house, which has been hastily cut from
paper. A lighted match is put to the paper house just as the curtains
are parted.

These two suggestions will no doubt be sufficient to show what the
tableaux should be like and we need give no further illustrations.

=Living Christmas Cards.=

To impart seeming life to the little figures painted on the Christmas
cards, is a performance intensely amusing to the little ones. A moving
toy whose actions are life-like is always of great interest; but when
a little flesh-and-blood head is seen nodding and twisting upon the
shoulders of a figure painted on a card, the children fairly shout with
delight.

[Illustration: Fig. 248.—Manner of Holding Card.]

Here is the method of bringing life into the bits of pasteboard.

Select cards with pretty or comical figures, whose faces are the size
of the ends of your first or second finger. Carefully cut the face out
of a card; then with ink mark the features on your finger, and put it
through the opening, as in Fig. 248. Place on this little live head
a high peaked tissue-paper cap, and the effect will be exceedingly
ludicrous (Fig. 249). A little Santa Claus who can really nod and bow
to the children will be very amusing, and there are quite a number of
Christmas cards which portray the funny, jolly little fellow.

Floral cards may have nodding fairies peeping out from among the petals
of the flowers, whose heads are crowned with queer little fairy caps,
as in Fig. 250. If among your collection you have a card with a picture
of a house on it, it will be amusing to thrust a little head wearing a
night-cap, out of one of the windows. Round holes will, of course, have
to be cut in the cards wherever the heads are to appear.

[Illustration: Fig. 249.—Live Head with Peaked Cap.]

Still another way of managing these living puppets is to cut in a
piece of cardboard, five inches long and two inches wide, three round
holes a little more than half an inch apart. Sew around the edge of
the cardboard a gathered curtain of any soft material six inches deep.
Sketch faces on three of your fingers, pass them under the curtain and
through the holes in the cardboard. The curtain will fall around and
conceal your hand, leaving the three heads appearing above (Fig. 251).
On these heads place any kind of head-dress you choose, making them of
paper; or caps of white swiss look quaint, and wee doll hats may be
worn.

[Illustration: Fig. 250—Nodding Fairies.]

It is best to use a little mucilage or paste in fastening the hats on,
that there may be no danger of their falling off with the movement of
the fingers.

The hair may be inked, or little wigs made of cotton can be used.

[Illustration: Fig. 251.—Living Puppets.]

If the little faces are painted with water colors, giving color to the
cheeks and lips, the life-like appearance will be enhanced.

These little personages can be made to carry on absurd conversations,
and a great deal of expression be given to the bobbing and turning
of their heads. One person can easily manage the whole thing, and
entertain a roomful with the performance of the living puppets.

[Illustration: Happy New Year]

CHAPTER XXXI.

NEW YEAR’S AND A LEAP YEAR PARTY.

MY earliest recollection of New Year’s day is of being awakened at
midnight by the clangor of the fire bells, and the ringing of the
church bells, as they swung and rocked in their high steeples and
cupolas, shouting, Happy New Year! from their brazen throats to all the
sleeping town. Not being thoroughly conversant with bell language, I
was very much alarmed because they seemed to say “Come, get up—Come,
get up—House on fire—House on fire!” but, upon opening my eyes, I was
assured that they were ringing in the New Year, and, as I again fell
asleep, the bells were saying distinctly, “Wish you Happy New Year—Wish
you Happy New Year.”

Next day the table was decked with flowers, and was laden with roast
turkey, fruits, salads, and mince-pies. Oh, my! what delicious
mince-pies they were! None since have ever tasted as good as those made
and baked by my grandmother.

I often wonder if the next generation of grandmammas will make such
cookies, mince pies, and doughnuts as ours did; but this was in
Kentucky, and you know that we still observed the old-fashioned
customs, and all day long the gentlemen came dropping in by twos and
fours, and such handshaking and laughing, and such courtly compliments,
and such a bowing and a wishing of Many Happy New Years, it does me
good to think of. Who knows but that so many kind wishes of a long and
happy life, sincerely given, may really help to bring it to pass.

Small as I was at the time, and little as I understood the customs or
conversation, the spirit of the whole day was intelligible and appealed
to the little child, perhaps more forcibly than to the grown-up people.

It is really too bad that the crowded states of our large cities tend
to lead to the gradual decline of the custom of New Year’s calls, so
that now many people confine themselves to sending and receiving cards,
making the always stiff and formal bits of engraved pasteboard, do all
the calling and receiving; but

=New Year’s Parties=

are not out of date, so we will have one on New Year’s Eve, because
then young and old are privileged to sit up all night, that is, until
after twelve o’clock midnight, and have all the fun possible. Let us
begin our frolic with a

=Pantomime of an Enchanted Girl.=

For this a damp sheet must be fastened up across the room or between
the folding doors of the parlor. First, fasten the corners of the
sheet, next, the centre of each of the four sides, in order that the
cloth may be perfectly smooth; then place a lighted candle on the
floor, about four or five feet from the centre of the curtain. When the
lights in the room occupied by the audience are turned out, leaving it
in total darkness, so the shadows of the actors behind the curtain may
be seen on the screen, someone, standing outside of the curtain and
facing the audience, should explain or relate the story of the play:
of how a young girl, while walking out on the last day in November,
meets Halloween, who presents her with three gifts to try her fortune,
and how, when she is about to do so, a witch enchants her, etc. After
the story is finished, and a lively overture has been performed on some
musical instrument, the pantomime is played as follows:

The young girl personating the enchanted one, comes gayly forward from
the side, when almost across the curtain she meets Halloween, who
approaches from the opposite side, arrayed in short dress, with wings
made of newspaper folded fan fashion, and fastened on the shoulders;
in her hand she carries a cane with a silhouette of a cat, or two or
three stars and a crescent cut of stiff, brown paper and pasted on the
end; the cane is so held that the profiles of the figures are kept
toward the curtain. Seeing this queer being the young girl clearly
demonstrates, by her actions, that she is alarmed. When Halloween
quiets her fears, by surely and plainly indicating with slow movements
of the head, and downward motions of the arms that no harm is intended,
they shake hands; then Halloween shows the maiden three gifts, an
apple, a hand-mirror, and an unlighted candle. Before presenting them
she illustrates by gestures, the use to be made of each. Holding the
mirror in front of her face, she bites the apple, then looks quickly
around, as if expecting to see someone, and, again holding up the
mirror in one hand and the candle in the other, she takes a few steps
backward, when a boy enters by jumping over the light, which gives the
appearance of his having fallen down from the sky, Halloween looks
around, and the boy quickly disappears in the same manner as he came.

All this time the girl stands transfixed, with her hands raised and
all the fingers spread out in astonishment; she receives the presents
which are given with many nods and gestures. As Halloween walks away
the fortune-seeker turns and watches her with a telescope made of
a roll of paper she finds at her feet on the floor. The maiden then
proceeds to examine the gifts; as she takes up the apple and mirror,
her hand is stayed by a witch with flowing hair, who has approached
unperceived, carrying under one arm a broom, and wearing on her head an
ordinary hat with a piece of newspaper rolled up and pinned on to form
a peaked crown. She motions to the girl to be seated; then stands over
her and makes passes in the air, and taking up her broom from the floor
makes grand flourishes and departs walking back towards the candle,
which causes her shadow to grow larger and larger. The poor girl looks
anxiously around and discovers she has been enchanted, for there are
three girls instead of one; this effect is produced by two more lighted
candles being placed on the floor on either side of the first candle,
and every movement the girl makes is mimicked by her other selves. The
candles are removed and the Old Year instantly appears, his figure
bent, a piece of fringed paper pasted on his chin for a flowing beard,
and carrying in his hand a cane with a piece of stiff paper fastened
on to represent a scythe. Discovering him the girl runs forward to
tell her sorrows, and finds that it is only when alone that she is
enchanted, for when she attempts to point out her other selves they
have disappeared; making many gestures she looks here and there for
them, but in vain, then as the Old Year leaves she bids him a sorrowful
adieu. Again alone, the facsimiles reappear and she grows desperate,
so do the other two selves, she throws her arms about, skips, jumps,
and dances wildly around, the other selves do likewise, and at the same
time they are made to pass and repass her, by two persons taking up the
two extra lights, and, keeping the lights facing the curtain, walking
back and forth, passing, and repassing each other but never stepping
in front of the candle on the floor. In the midst of the dancing the
two extra candles are taken away and immediately the little New Year
enters, crowned with a paper star and wearing wings of paper. The young
girl rushes to meet the New Year with a hearty greeting, she then tells
him of her enchantment, counting the three selves by holding up the
first finger of the right hand three times in succession, and while the
New Year makes gestures that indicate advice the maiden listens with
her hand to her ear, and, promising by signs to be a good girl, she
kneels down, and the little New Year raises both hands above her head,
then, kissing her hand to the maiden, departs.

The glad New Year has disenchanted her, she carefully looks this way
and that, but seeing all is well she tosses her head, dances around,
makes a courtesy, kisses both hands to the audience and disappears.

When the play is over, and just as the clock strikes twelve, the party
can instantly change its character if it is leap-year and become a

=Leap-Year Party=

for the remaining hour or so, thereby creating a great deal more
merriment and sport; the novelty of the fact that the girls exchange
places with the boys makes everything appear strange. And when the
music commences for dancing the girls look from one to another, no
one at first having the courage to invite a partner to dance, so
unaccustomed are they to even the thought of such a thing. The boys of
course laugh, and make no move to assist their timid, would-be partners
in the part they must play, but quietly await the expected invitation.
When, however, someone takes the initiative step, the others follow,
and all goes merrily.

The supper presents a new phase, but here the girls do their part
perfectly, providing all the boys with a plentiful repast, and each one
is made to feel that his presence is necessary to the success of the
party, thereby insuring a happy, pleasant time for all.

In giving a leap-year party it is very essential that all the guests
understand perfectly that the idea of the entertainment is to have
the girls take upon themselves all the duties and courtesies properly
belonging to the boys, and that the boys shall wait for an invitation
before dancing, promenading, or partaking of refreshments, and that
a boy should not cross the floor unattended, but wait for some fair
friend to escort him. The girls are at liberty to go and come as they
like, though they must remember not to leave a partner standing after
the dance is over, but politely conduct him to a seat, and the girls
must also endeavor to make the party pleasant and agreeable to all.
The chaperons, of course, should have charge of the boys during the
entertainment.

The leap-year party need not necessarily be a dancing party, as any
social gathering can take the form of a leap-year party.

When an entertainment is given on the eve of a new leap-year, with a
view to dancing the old year out and the new year in, just as the clock
strikes twelve the party can immediately change into a leap-year party
as described, or should the New Year be a common year, then as the time
flies and the hands of the clock approach the hour of twelve all are
on the qui vive to be the first to have the pleasure of greeting their
friends with a Happy New Year.

CHAPTER XXXII.

HOME GYMNASIUM.

EVERYONE _must_ exercise to keep healthy and strong, for life is motion
and activity. It is natural to be well and happy, and to keep so we
must exercise all our muscles, as well as our moral and intellectual
faculties, or they will dwindle and wither. The arm of the Hindoo
devotee, not being used, at length becomes completely paralyzed, and
fish in the Mammoth Cave having no use for eyes pass their life without
them; so we find that _use_ is the foundation of all things, otherwise
they would cease to exist; then, girls, it lies within your power to
become stronger and more graceful each day by regular and graduated
bodily exercise, which will bring life and energy to every part of your
system by causing the blood to circulate freely through all the body.

There are some simple methods of carrying this into effect in the most
agreeable and salutary manner, but the exercises must be very light at
first, and as you advance they may be increased a little each time, but
always stop before you feel fatigued, for when the calisthenics cease
to give pleasure it is doubtful if they are beneficial.

The best time for exercising is in the morning after having partaken
of some light refreshments, though any time will do except directly
after hearty meals. Try and have a regular time set apart each day for
your physical culture. Commence by exercising five or ten minutes,
then for a little longer period next time, and so on until you can
exercise with ease for half an hour or longer. You will feel refreshed,
invigorated, and better prepared for the duties and pleasures which
await you. Your clothing must not incommode the free action of the
body, and it is essential that it be comfortable. What is suitable
for lawn tennis is also well adapted for the gymnasium. An ordinary
bathing-dress answers the purpose very well, as it is made for exercise.

The Egyptian water-carrier, with the jug of water poised so prettily
on her head, and her figure so straight and beautiful, has always
challenged admiration; her carriage is dignified, erect, and graceful,
something worth striving for, especially when we have the certainty of
success if we will only be faithful and persevering. The peasantry of
foreign countries who carry all their burdens balanced on their heads
have their reward in healthy, strong, straight figures, even in old age
they do not stoop. Witness the emigrants landing at Castle Garden who
carry their possessions done up in huge bundles on their heads with the
utmost ease; of this class, three generations—a grandmother, mother,
and grown daughter—with baggage of the same weight on their heads, were
lately seen at a New York ferry, each equally upright, strong, and
vigorous.

A good straight back is an excellent thing; and when the head is
properly carried and all the movements are buoyant and elastic, then
we may walk as it was intended we should, every step bringing a glow
to the cheek and a sparkle to the eye. It requires only a few minutes’
regular daily exercise for any girl to attain a carriage equal to that
of the Egyptian water-carrier, and the only apparatus needed for

=Exercise First=

is a roll of paper. Now stand with your heels together, toes out, and
shoulders well back; then place on your head the roll of paper; if
your position is not perfectly erect the roll will fall off; keep your
chin straight and back against your neck, for it is the _chin_ which
determines the poise of the body. You cannot stand straight unless the
chin is straight; throw out your chin and your shoulders will stoop
forward, have your chin straight and your back will be straight; bear
this in mind in all your exercises. Now walk, keeping the roll balanced
on your head (Fig. 252). Practice this walking back and forth until
you can do so without the paper rolling off; then try a tin cup full
to the brim with water. Walk erect or the water will wash over, down
on your head, and it will feel cold as it trickles through your hair;
soon, however, you will be able to carry the cup of water with ease
and no danger of its spilling. But do not discontinue the practice on
that account; try something else in its place, until you are able to
carry anything you wish on your head with no fear of it falling. The
exercise affords amusement, and at the same time you will be acquiring
a beautiful, dignified, and graceful carriage.

[Illustration: Fig. 252.—Balancing a Roll of Paper.]

=Exercise Second=

is for gaining agility, suppleness, quickness of eye, hand, and foot.
Standing as far from the wall as possible, take a common rubber
hand-ball and toss it against the wall, catching it as it rebounds
(see illustration), and again toss it against the wall. Vary this by
allowing the ball to strike the floor, catching it on the rebound;
then try keeping the ball in constant motion by using first one hand
and then the other as a bat for returning the ball to the wall. The
exercise can also be changed by striking the ball against the floor,
and on its return bound again striking it, thus keeping it in motion.
You will find that activity is necessary, and the work so quick that it
will keep you on the jump all through the exercise.

=Exercise Third=

is with a broom-handle. Saw or cut off the broom and smooth down the
sharp ends of the handle, and it will be ready for use. Stand erect,
heels together, toes out, chin well back and straight, so as to throw
out and expand the chest. Now grasp firmly each end of the broomstick
and bring it up over the head (Fig. 253); repeat this motion six or
seven times; then change by carrying the broomstick over back of the
head down across and back of the shoulders; then up above the head
again, repeating this, and all other motions in your calisthenics, half
a dozen times. Another exercise is holding the stick down in front of
you with both hands and bringing it up over the head and down back of
the shoulders without stopping.

[Illustration: Fig. 253.—Broom-handle Exercise.]

The side motion is made by grasping the broomstick at each end, holding
it down in front of you, and swinging it sideways, thus bringing the
right hand up when the left is down, and _vice versa_. Another way is
to hold the stick by both ends above your head and swing it from one
side to the other, which will cause the right arm to come in contact
with the right side of the head, while the left arm is extended out
horizontally to the left. Next carry the stick back of and against the
shoulders; then swing it from right to left, which gives another side
movement. Vary all the movements in as many different ways as you can
think of.

=Exercise Fourth.=

Stand erect always when in position for exercising, according to the
directions given—heels together, toes out, etc. Now allow your arms to
hang naturally down at your sides, raise your heels, and stand on your
toes; now lower the heels and repeat the motion; then close your hands
tightly and raise your arms out sideways at right angles with your
body, next up straight above your head, and down again to the level of
the shoulders, then back down to your sides as at first.

Again take position, close your hands tightly, and raise them up under
the arms, bringing the elbows out to a level with the shoulders; then
bring your hands down at your sides again and repeat the movement
vigorously; resume position, firmly close your hands and carry them up
to the shoulders, next extend them up straight above your head, down
again to your shoulders, and back to the first position. A very good
exercise is to extend both arms straight out in front of you, close
your hands and bring them back to your chest, which will cause the bent
elbows to project beyond your back.

=Exercise Fifth.=

Assume position, close your hands, and take one long step forward
with your right foot, bend the right knee and stand with your weight
resting on the right foot; then extend your arms out sideways straight
from the shoulders, now bring your hands together in front of you,
still keeping the arms on a level with the shoulders, and while doing
so throw the body back, straightening the right knee and bending the
left so the weight of the body will rest on the left foot; repeat this
and vary it by taking one step forward with the left foot and going
through with the same motions.

Resume position, and place your hands on your hips, with your thumbs
turned forward and fingers backward. Now take a long step forward with
your right foot, throwing the weight on that foot, then back again in
position, and in the same manner step forward with your left foot and
back again; next take a step backward with your right foot, resume
position, and then with your left.

Again stand with your hands on your hips, thumbs turned forward, and
without bending your knees move the body, first bending it forward,
then backward, and resuming an upright position, bend over to the right
and to the left.

[Illustration: Fig. 254.—Balancing Broom-handle.]

=Exercise Sixth.=

In this the broomstick is used for balancing; hold it in an upright
position, and first try balancing it on the palm of your hand; then
on the back of your hand, next on each of the fingers in succession,
commencing with the first finger (Fig. 254); be cautious, and when
the stick wavers do not let it fall, but catch it with the other hand,
and again balance it. This is an interesting, light, and diverting
exercise, requiring all your attention, and, for the time being, your
thoughts are concentrated on the effort to keep the broomstick properly
balanced.

=Exercise Seventh.=

Pure blood means good health, and to purify the blood and keep the
complexion clear it is essential that you breathe a sufficient quantity
of _pure_ air, and you cannot take in a proper amount of air unless
your lungs are wholly extended. So take position with your hands
correctly placed on your hips; then very slowly draw in your breath
until your chest and lungs are fully expanded; next slowly exhale your
breath, and repeat the exercise.

=Exercise Eighth.=

Screw in two large, _strong_ hooks in the woodwork on each side of the
doorway; place the hooks as far above your head as you can conveniently
reach; slide the broomstick in so that it will extend across the
doorway and be supported by the hooks; have the apparatus on that side
of the doorway where it will not interfere with the opening and closing
of the door, and be sure that it is perfectly secure before attempting
to exercise; each time before commencing a new movement examine the
stick, and be certain that it is not in any danger of slipping from
the hooks. Unless you can be perfectly safe from liability to hurts or
falls, do not include this in your list of exercises.

For the first movement grasp the bar firmly with both hands and swing
the body forward and backward, standing first on the toes, then on the
heels; next, still grasping the bar, raise up on your toes, then back
again. Change the movements in as many ways as you like, but do not
try anything that may strain or hurt you. Now screw in two more hooks,
on either side of the woodwork, below the first ones, placing them
about two feet and eight inches from the floor; take the stick from
its elevated position and slide it across the doorway so it will rest
securely on the two lower hooks. Standing in front of it, grasp the bar
firmly with both hands and try to raise yourself up, feet and all, from
the floor by bearing your weight down on the bar; then let yourself
gently back again. When you have finished exercising, remove the stick
and put it away.

[Illustration: Fig. 255.—The Swing.]

=Exercise Ninth.=

In the top part of the framework of the doorway fasten a very strong
hook by screwing it into the wood; then take a broomstick and, after
shortening it so that when held in a horizontal position it will
readily pass through the doorway, cut notches in each end and securely
tie the two ends of a rope across the notches; suspend this swing by
slipping the centre of the rope over the hook in the doorway (Fig.
255); have the apparatus strong and firm, capable of any amount of wear
and tear. Stand facing the stick, which should be at the height of the
chest, and take hold of it with both hands; now bend the knees until
they are within a short distance of the floor, then rise and repeat
the exercise. Next, with both hands on the stick, take a long step
forward with the right foot, throwing the weight on that foot; return
to your position and go through the same exercise with your left foot.
Try different movements which suggest themselves, and select those you
like best. When not in use the swing can be slipped off the hook and
put out of the way.

=Exercise Tenth.=

To develop a weak voice and make it clear and sweet, and to strengthen
the lungs, reading aloud is an excellent exercise; as it requires both
mental and muscular exertion and performs a double duty, it should
receive a full share of time and attention. Begin with something you
are interested in, then you will find it much easier to read aloud than
if you undertook a book or an article which might be full of merit,
but lack interest for you. When commencing this exercise read only ten
minutes or less at a sitting, increasing the time as you practise and
the reading grows less difficult. Do not be discouraged if your voice
sounds a little husky while reading; stop a moment, and then go on
again. After a few trials you will have no more trouble in that way,
for your voice will grow clear and distinct, and the exercise will
become a great pleasure as well as an attractive, useful accomplishment.

Let your reading matter be very choice and of the best; do not
condescend to waste your time on other writings.

From the ten different exercises given, select those best adapted to
your size, age, and liking, and practise them for a short time daily;
you can hardly realize the great advantage they will prove to be. In
this way all parts of the system may be strengthened and harmoniously
developed. But the constitution cannot be hurried: all must be
accomplished little by little. Allow yourselves to be happy and merry;
be ready to enjoy the little pleasures of life, and this, with kind
and generous feelings for others, will do a great deal toward keeping
you well and strong.

Out-of-door exercise is always to be preferred to in-door when one has
a choice. Walking, tennis, archery, horseback, and swimming are some
of the athletic sports for girls, and they all have their attractions.
But there are times when we are denied the pleasure of these pastimes,
and then we are glad of a little exercise in-doors, which also affords
enjoyment and recreation.

CHAPTER XXXIII.

A DECORATIVE LANGUAGE.

WHEN in olden times the warriors went around the country dressed in
suits of clothes made by a blacksmith instead of a tailor, their hats
were manufactured at the forge also, and had _iron front doors_ that
moved upon hinges. When danger was nigh these doors were closed,
locked, and barred over the poor men’s heads, leaving only a loop-hole
or two for them to peep through. At such times in meeting Mr. Brown it
was impossible to distinguish him from Mr. Smith, who was arrayed in
like manner, and it might happen that Mr. Smith was the last man in
the world that one cared to meet, not being on speaking terms or some
such reason. Well, as we were saying, there was no chance whatever of
telling one man from another unless he wore a distinguishing mark of
some kind.

So to prevent such uncomfortable mistakes and to distinguish friend
from foe, every gentleman had to be marked and labelled, like an
express package, so one might read as he ran, “I am Earl Jenkins,
of Thunderland, who married a Rhazor, of Stropshire.” These names
and addresses were not painted in words on their owners with a
marking-brush, but worked and embroidered in translatable designs on
cloaks, saddle-housings, and silken banners, or emblazoned on the
shield they carried with which to meet the advances of their neighbors.
Since that time our more recent ancestors in England have taken great
pride in preserving and handing down from generation to generation
these distinguishing marks, as a guarantee to their children that they
came of gentle birth, which is very interesting and gratifying for
European girls, but American girls need nothing of the kind; it is
sufficient that we are Americans.

Of course, some of us do take pleasure in knowing that our
great-great-grandparents came over in the Mayflower, or that the
name of an ancestor is among the signatures upon that Declaration of
Independence which made such a stir a century ago, for that proves us
to be Columbia’s daughters.

When there was no other method of distinguishing a man his label became
a very important item; so these family devices were reduced to a
science and protected by law.

The old countries’ coats of arms may remain abroad, where they belong,
but the ingenious scheme, that was gradually evolved, of picturing
ideas, mottoes, and pretty sentiments we will adopt as our inheritance,
with many thanks to our mediæval ancestors with the metallic clothes,
who bequeathed them to us.

We propose to revive enough of this neglected knowledge of chivalry to
serve our purpose in suggesting a method of designing devices which
will not only be artistic decorations, but to the initiated can be made
to portray almost any sentiment or set of principles the artist may
choose.

The many uses to which these designs can be applied will, we hope,
at once be seen by the quick-witted American girls, and we trust
will interest the reader as much as they do the writer, who in this
chapter can only give a few necessary, brief hints upon the subject,
sufficient, however, to explain the application that can be made of
this beautiful and perfect system of

=Decorative Language.=

In the following directions anyone can learn how to make a device which
will not only be a decoration, artistic in form and color, but will at
the same time express the peculiar traits, characteristics, and virtues
of the friend for whom it is intended, or the precept, code, proverb,
or creed of the designer. All technical terms, as far as practicable,
are discarded, but the rules of heraldry strictly adhered to, with such
simplifications as are necessary to render it intelligible.

=The Field.=

The surface on which the design is portrayed is called the field.
This may be of any shape; originally it was supposed to represent a
warrior’s shield, but you may use a circle, oval, square, diamond, or
any other form.

[Illustration: Fig. 256.—The Field.]

=The Points=

on the surface of the shield locate the exact spot where a design or
object in heraldry may be placed. Refer by numbers to Fig. 257.

[Illustration: Fig. 257.—Points.]

    1. Fess point.
    2. Honor point.
    3. Nombril point.
    4. Dexter chief point.
    5. Middle or chief point.
    6. Sinister chief point.
    7. Dexter base point.
    8. Middle base point.
    9. Sinister base point.

If you desire to place a flower on the fess point, you find that it
means the exact centre of the shield, and so on.

The devices take significance in accordance with the more or less
importance of their position on the shield; the honor point holds the
highest grade, next to it the middle or chief point, and the right or
dexter side is of more importance than the left or sinister.

The field may be divided, if desired, in any of the following

=Divisions,=

each of which has a significance, suggested generally by the form:

Fig. 258, the Chief, occupying the top or head of the shield, indicates
pre-eminence, main object, intelligence, first principle.

[Illustration: Fig. 258.—Chief.]

[Illustration: Fig. 259.—Fess.]

[Illustration: Fig. 260.—Parted per Fess.]

Fig. 259, the Fess, denotes cause and effect, the central band
containing the means by which the ends, in the other spaces, are
accomplished.

[Illustration: Fig. 261.—Pale.]

[Illustration: Fig. 262.—Parted per Pale.]

[Illustration: Fig. 263.—Bend.]

Fig. 260 is a partition, and partakes of the meaning of the division,
it is denoted by the term, parted per fess.

Fig. 261, the Pale, represents rectitude, uprightness; also union, the
object in the central division uniting whatever occupies the dexter and
sinister sides.

Fig. 262 is parted per pale.

[Illustration: Fig. 264.—Parted per Bend.]

[Illustration: Fig. 265.—Chevron.]

[Illustration: Fig. 266.—Cross.]

Fig. 263, the Bend, is auspicious, meaning prosperity, success.

Fig. 264 is parted per bend.

Fig. 265, the Chevron, is indicative of aid, assistance, support.

Fig. 266, the Cross, suggests humility, devotion, patience,
perseverance.

[Illustration: Fig. 267.—Saltire.]

[Illustration: Fig. 268.—Pile.]

[Illustration: Fig. 269.—Canton.]

Fig. 267, the Saltire, a variation of the cross, is recognized as
order, discipline.

Fig. 268, the Pile, being in the form of a wedge, means penetration,
incision, entering to divide or distribute.

Fig. 269, the Canton, denotes an additional, separate idea or
principle; also some characteristic that is added to the original
design.

=Colors.=

These also have symbolical meanings.

Fig. 270.—Gold or yellow is expressed in black and white by means of
dots, and is used in the sense of wealth, ability, or knowledge.

[Illustration: Fig. 270.—Gold.]

[Illustration: Fig. 271.—Silver.]

[Illustration: Fig. 272.—Red.]

Fig. 271.—Silver or white is represented by a plain white surface,
and being the color of light, signifies brightness, purity, virtue,
innocence.

Fig. 272.—Red, represented by perpendicular lines, means ardent
affection, love.

Fig. 273.—Blue is represented by horizontal lines; like the color in
the heavens, it is truth, freedom, eternity.

[Illustration: Fig. 273.—Blue.]

[Illustration: Fig. 274.—Purple.]

[Illustration: Fig. 275.—Green.]

Fig. 274.—Purple, represented by diagonal lines from sinister chief to
dexter base, being the royal color, is understood as authority, power,
grandeur.

Fig. 275.—Green is represented by lines running diagonally across the
shield from dexter chief to sinister base. Like spring foliage, it
suggests hope, life, vitality, youth, freshness.

Fig. 276.—Orange is represented by horizontal lines crossed by diagonal
lines from dexter base to sinister chief. It is the color of the king
of beasts and signifies strength, honor, generosity.

[Illustration: Fig. 276.—Orange.]

[Illustration: Fig. 277.—Crimson.]

[Illustration: Fig. 278.—Black.]

Fig. 277.—Crimson, or blood-color, is represented by diagonal lines
from dexter chief and sinister chief, crossing each other. It denotes
boldness, enthusiasm, impetuosity.

Fig. 278.—Black is represented by horizontal and perpendicular lines
crossed. It means darkness, doubt, ignorance, uncertainty.

To the principal design portrayed on the shield can be added such
appendages as are appropriate—crest over the top and a scroll with a
motto beneath the shield—but they are supplementary, and not of great
importance; their colors should be those of the shield.

Thus far our plans have followed the exact science of heraldry, but
at this point comes a departure, for in the place of other armorial
devices we shall place Dame Nature’s sweetest thoughts—flowers.

If we now add to the significance of the forms and colors already
given the accepted and authentic language of flowers, we shall have a
possibility of combinations practically inexhaustible, and with such
a dictionary of symbols to draw upon, we can successfully translate
almost any terse sentiment into a unique decorative design.

In order to give all the assistance in our power we have culled from
the most generally accepted authorities and authentic sources a short
floral vocabulary, and now that we have the material at hand let us
test the system and learn

=How to Make a Design in Decorative Language.=

Suppose our Natural History Society desires an appropriate pin or badge.

First we turn to the floral vocabulary and there find that the magnolia
means love of nature. The flower has a good decorative form, its
sentiment is exactly appropriate, and we unhesitatingly adopt it.

[Illustration: Fig. 279. TRUE LOVE OF NATURE]

After trying various forms for the shield, we select a very plain one
that the effect of the decorative form of the magnolia may not be
lessened by too ornate surroundings, and to show the large size of the
blossom we must have it occupy the entire field without any divisions.
Next, as to color; let us think. White, meaning brightness, purity,
etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we
have it—_knowledge?_ Yes, that will do nicely—a love of nature on a
field of knowledge; that certainly is appropriate. But the top of
the shield being so square and plain gives the device an unfinished
appearance. Suppose we try a bar over it, and something not a flower.
As we wish this design to remain simple, a leaf of some kind would be
best; so we return to the floral vocabulary, and after trying many and
almost taking several, finally decide that the oak leaf is just the
form needed to give a finish to the top, and its meaning, strength,
will be an excellent element in the society. There, our insignia is
complete, good in form, attractive in color, and appropriate in its
meaning; but some of us prefer having the motto written out in plain
English, so we will add a decorative scroll, with the meaning of the
design inscribed “True Love of Nature.” (See Fig. 279.)

To familiarize ourselves with the working of the method let us try
another experiment, and take the sentiment, “Wealth is the Reward of
Industry,” to illustrate.

After deciding on the form of the shield, we turn to the divisions, and
running them slowly over for something suitable, stop at Fig. 259, the
Fess, meaning cause and effect. That sounds promising. Industry is the
means by which the end, wealth, is accomplished. Good so far. We can
now see that a floral emblem to represent industry should be placed in
the central division, and whatever signifies wealth on the other two
spaces. Among our legends of flowers we find industry portrayed by the
bee orchid, and wealth and prosperity are symbolized by wheat. That
is plain and easy. Now we have only to decide upon appropriate colors
for the field to complete the design. Gold would mean wealth, but that
we have in the wheat; besides the yellow of the wheat would not show
well on the gold background, while on white or silver the contrast
is strong and the appearance agreeable. Silver denotes innocence and
virtue, which are so necessary that without them wealth would be
undesirable. Therefore silver or virtue shall be the groundwork for
our wealth, and for industry we will select purple as meaning power.
Industry possesses the power to acquire wealth. Thus we complete the
emblematical design, as seen in Fig. 280.

[Illustration: Fig. 280. Wealth is the Reward of INDUSTRY]

The following is a problem given to us for solution: On a gold chevron
in a black field is a scarlet lily, to which is added as a crest a
sunflower, and under all a blank scroll. On this we must write a motto
that will be appropriately symbolized by the design.

It would be excellent practice for the student in this new motif in
decorative art to try, by application of the foregoing instructions, to
decipher the meaning of this design before reading the analysis.

SOLUTION OF FIG. 281. —We do not think this is put together as
scientifically as the system would admit of, but still it can be
deciphered.

[Illustration: Fig. 281.]

The scarlet lily (high-souled aspirations) on a gold (knowledge)
chevron, which is aid, assistance, in a field of black (ignorance),
surmounted by the sunflower (pure and lofty thoughts), freely
translated, might be read: Aspirations after knowledge help to illumine
the darkness of ignorance with pure and lofty thoughts. Aspirations
(lily) after knowledge (gold) help (chevron) to illumine (the gold
chevron and lily brighten up the dulness of the black field) the
darkness of ignorance (black) with pure and lofty thoughts (sunflower).

[Illustration: Fig. 282.]

For younger girls the plain shield of one color with an appropriate
flower had best be used, which they may vary _ad infinitum_. A simple
yet pretty shield can be made by placing a four-leaved clover,
symbolical of good-luck, on a shield of one color, silver, meaning
purity, innocence, showing that innocence, combined with the language
of the clover, expresses good-fortune.

[Illustration: Fig. 283.]

[Illustration: Fig. 284]

We might go on forming innumerable designs, each more beautiful than
the last, but enough hints have been given to enable the young people
to make any style of design in this decorative language which may
best suit their purpose. Young girls can decorate menu cards, having
each motto exactly suited to every separate guest, the sentiment
being indicative of some feeling or quality peculiar to each person.
Invitations for parties, also orders of dances or games, may be
designed in the same way.

[Illustration: Fig. 285.]

This beautiful combination of flowers and heraldry is appropriate for
ornamental needlework, to be embroidered on chairs, worked on screens,
painted on velvet, wrought on scarfs, and adapted in innumerable ways
to add to the refinement and attractiveness of home.

[Illustration: Fig. 286.]

The idea can be utilized in stained-glass effects and in china

[Illustration: Fig. 287.]

[Illustration: Fig. 288.]

The chosen motto may be a decoration in marking personal possessions,
such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back
(Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288),
handkerchief (Fig. 289), and sofa-cushion (Fig. 290).

[Illustration: Fig. 289.]

[Illustration: Fig. 290.]

These are only a few examples of the many articles which can be
beautified and stamped with your individual mark. Portières offer a
good ground for applique or embroidery in decorative language.

=Book-Plates=

seem to be regaining their popularity and usefulness. These book-plates
are tablets in any style, which, when gummed inside on the front covers
of books, have been used for many years to designate to whom the books
belong.

There is a certain book-plate more interesting to us than all others.
To the design on it we are indebted for our national shield and our
Stars and Stripes. It was used by the Father of our Country, and we are
glad to be able to give a print of the original in Fig. 291.

[Illustration: Fig. 291.]

In the decorative language any style of book-plate can be designed,
which, when pasted in a favorite book, will add to the value of the
already treasured volume.

=Floral Vocabulary.=

    Apple-blossom                   Preference.
    Almond                          Hope.
    Acanthus                        Art.
    Arbor vitæ                      Unchanging friendship.
    Bulrush                         Docility.
    Balm                            Social intercourse.
    Balsamine                       Impatience.
    Blue violet                    Faithfulness.
    Bay wreath                     Glory.
    Box                            Constancy.
    Broom                          Humility.
    Buttercup                      Riches.
    Camellia japonica              Unpretending excellence.
    Cherry                         A good education.
    Canterbury-bell                Gratitude.
    Chestnut                       Do me justice.
    China aster                    Love of variety.
    Cabbage                        Profit.
    Coreopsis                      Always cheerful.
    Clover, red                    Industry.
    Cowslip                        Winning grace.
    Clover, white                  I promise.
    Daffodil                       Uncertainty.
    Dahlia                         Elegance and dignity.
    Dandelion                      Coquetry.
    Fennel                         Strength.
    Geranium                       Gentility.
    Grass                          Submission.
    Heliotrope                     Devotion.
    House-leek                     Domestic economy.
    Hollyhock                      Ambition.
    Ivy                            Dependence.
    Laurestine                     A token.
    Lichen                         Solitude.
    Lettuce                        Cold-hearted.
    Lemon-blossom                  Discretion.
    Lilac, purple                  Fastidiousness.
    Lily, white                    Purity.
    Mullein                        Good-nature.
    Mignonette                     Worth.
    May-flower                     Welcome.
    Nasturtium                     Patriotism.
    Oats                           Music.
    Olive                          Peace.
    Ox-eye                         Patience.
    Poppy, white                   Dreams.
    Snowdrop                       Consolation.
    Straw                          United.
    Sensitive-plant                Sensitiveness.
    Star of Bethlehem              Reconciliation.
    Sweetbrier                     Simplicity.
    Thyme                          Thriftiness.
    Thorn-apple                    Disguise.
    Tulip-tree                     Fame.
    Witch-hazel                    A spell.
    Winged seeds of all kinds      Messengers.
    White violet                   Modesty.
    White rose                     Silence.

CHAPTER XXXIV.

A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, WITH SOME NEW AND ORIGINAL
PATTERNS.

“COME around early this afternoon and bring your fancy-work; we will
have a nice, cosey time; all the girls will be there, and we can read
that last new book.” Such is the familiar and welcome invitation given
and received, from time to time, by most young girls, and they find
quiet but real recreation in these informal meetings, where, while
listening to a friend read aloud, they believe it much easier to keep
their minds on the subject if their hands are employed with dainty
needle-work. Then, too, sewing is a real pleasure when one becomes
interested in the work, and anyone who thoroughly understands plain
sewing can with ease learn fancy stitches of all kinds, for good
old-fashioned

=Plain Sewing=

is the foundation—the A B C—of all the more elaborate drawn work,
embroideries, and some of the laces. As a rule we think

OVERHANDING

comes first on the list of plain stitches; this is exactly the same
as sewing over and over. Hold the two edges of the material firmly
together between the first finger and thumb of the left hand, while
with the right hand you take the stitches very close together and as
near the edge as possible, sewing from right to left (Fig. 292). It is
well to keep the edge nearest to you a little tighter than the outer
edge, to prevent its puckering. Always baste the seam before sewing,
and when the seam is finished open it and flatten out the stitches
(Fig. 293), so that the edges of the material will not overlap, but
just meet together and lie smooth and flat.

[Illustration: Fig. 292.—Overhanding; or Sewing over and over.]

[Illustration: Fig. 293—Overhanding. The seam opened with stitches
flattened out.]

OVERCASTING

is the same as overhanding, except the stitches slant, are farther
apart, taken down deeper in the material, and the seam is not opened.

HEMMING.

First turn in the raw edge four or five threads, according to the kind
of goods to be hemmed, then turn it down again to the desired width;
this done, baste the hem down evenly and neatly—it must be of the same
width throughout—hold the sewing over the first finger of your left
hand, and have the stitches small, even, and very near the edge of the
hem (Fig. 294).

[Illustration: Fig. 294.—Hemming.]

RUNNING.

Pass the needle in and out of the material in a straight line (Fig.
295), making all the stitches the same size. We believe the rule is to
take up two threads and leave two; but the length of the stitch should
be regulated by the kind of material used.

[Illustration: Fig. 295.—Running.]

BASTING

is to take long stitches in the same manner as running.

GATHERING

does not differ much from running; the stitches are taken on the needle
in the same manner, but in this case two threads are taken up and four
left; the line should be kept perfectly straight.

If you wish to gather an apron or a skirt divide it into halves, then
into quarters, in order to make the fulness even on each half of the
band; mark the four places and gather on the right side; when finished
draw the stitches tightly together on the thread and stroke down
evenly with a needle. To sew in the gathers, back-stitch each one in
separately.

STITCHING.

Take two threads back of the needle and two before, having each stitch
meet the last one, as in Fig. 296; keep the stitches even and in a
straight line.

[Illustration: Fig. 296.—Stitching.]

BACK-STITCHING.

Proceed as in stitching, only make the stitches longer and do not have
them meet.

FELLING.

First baste up the seam, allowing the upper edge to extend five threads
beyond the lower edge (Fig. 296); then back-stitch or stitch the two
edges together; next turn the upper edge down over the lower one and
lay open the seam so that the fell will lie down flat like a hem (Fig.
297); then hem it down neatly.

[Illustration: Fig. 297.—Felling.]

=Button-holes.=

Fig. 298 shows how to take the proper stitch. Be careful in cutting
button-holes to make the slit even to a thread and cut the outer corner
rounded; bar the inner corner by taking two stitches across it, and
overcast the button-hole around three or four threads deep from the
edge, or if the material is not inclined to ravel run it with thread,
either double or single, drawing it a trifle tight; then begin at the
left-hand corner to work the button-hole, leaving one thread between
each stitch; keep the stitches exactly the same depth and the loop or
pearl of the button-hole on the upper edge.

[Illustration: Fig. 298.—Button-hole Stitch.]

HERRING-BONE OR CAT’S-TOOTH STITCH

is used to keep the seams in flannel spread open and fastened neatly
down. Fig. 299 shows how to take the stitch; make the stitches all even
and of the same size.

[Illustration: Fig. 299.—Herring-bone Stitch.]

We have now given all the stitches which properly belong to plain
sewing, and our next step will be

=Darning and Mending.=

“A stitch in time saves nine;” this much most of us know from
experience, and it is wise to devote a little time on a certain day
each week to looking over the wardrobe and making any repairs that may
be needed; the little care and time thus bestowed will prove a true
economy, and it is a real comfort to have all one’s clothing in perfect
order.

TO DARN A JERSEY OR A STOCKING.

With a needle and thread carefully draw out the uneven ravelled edges
of the hole, in order to diminish its size as much as possible, and
bring the loops and ends back in their proper places; then place under
it a wooden egg or anything that will answer the purpose, and using
thread of the same texture and shade of color as the garment to be
mended, run back and forth across the hole as far as the material is
worn thin, leaving a loop at the end of each turn. In crossing the
threads, take up every other thread alternately each way (Fig. 300),
and make the darn of an irregular shape, as one of an even outline does
not wear well; when the weaving or darning is finished the loops can be
cut off.

[Illustration: Fig. 300.—Jersey or Stocking Darn.]

[Illustration: Fig. 301.—Tear Darn.]

TO DARN A TEAR.

Carefully bring the ragged edges together and baste the tear as nearly
as possible in its original position; then, if it is delicate muslin
or dress material to be mended, use ravellings of the same instead of
thread to darn with, and weave it in and out across the edges of the
rent, as in Fig. 301; if the darn needs strengthening, baste a piece
of the same material under the rent before darning, and catch down
the edges of the piece on the under side of the goods. In mending
broadcloth or like material, darn it on the wrong side, and when the
darn is finished, ruff up the nap with the point of the needle at the
edges of the tear on the right side to cover the stitches; then dampen
the darn, and after laying a thin clean cloth over it, press with a
moderately hot flat-iron; this should make the darn almost, if not
quite, imperceptible.

=How to Patch.=

If possible cut the piece intended as a patch of the same goods as the
garment to be mended, and if there is a pattern be careful to so cut
and place the patch that it will match exactly; baste and hem down the
patch on the right side of the worn part of the garment; then cut out
the old material on the wrong side, leaving enough edge to form a firm
hem; sew this to the patch, taking care that the stitches do not show
on the right side.

=How to Sew on a Button.=

Should much strain come on the button, as in little children’s clothes,
first hem down a small double piece of muslin, on the wrong side of
the garment, at the exact spot where the button is to be placed, and
with strong thread take a stitch on the right side; then sew the button
through about four times, being careful not to let the stitches spread
on the wrong side; wind the thread three times around the shank of the
button formed by the stitches, drawing the thread a little tight, pass
the needle through and fasten the thread neatly on the wrong side; the
extra piece of muslin can be omitted when not needed.

=To Mend a Kid Glove.=

If the glove is merely ripped, and there is no strain on the portion
to be mended, sew the two edges together over and over on the right
side with fine thread or sewing-silk matching in color the glove to
be mended; if, however, there _is_ liability of its tearing out again,
strengthen the edges by first working a button-hole stitch on each;
then sew them together over and over, passing the needle in and out of
the loops of the button-hole stitch, so forming a narrow net-work of
thread between the two pieces of kid. Should the glove need a patch,
carefully cut a piece of kid out of the best part of an old kid glove
corresponding in color to the one needing repairs; make the patch
exactly the shape and size of the hole, and button-hole stitch all
around the edge of the hole and the edge of the patch; then sew in the
patch over and over, catching together the loops of the button-hole
stitches; this makes the mending firm, neat, and strong.

=Fancy Stitches.=

These are in many varieties of style; one of the most useful is known
as the

FEATHER STITCH.

Fig. 302 gives the position of the needle and the manner of taking
the stitch. Remember to make all the stitches of an exact length and
the same distance apart, first one on this side and then one on that,
keeping them in a straight, even line.

[Illustration: Fig 302.—Feather Stitch.]

CHAIN STITCH

sometimes takes the place of braiding; it is the same stitch as
that used in the old-fashioned tambouring (Fig. 303); many Persian
embroideries are made in silk with the chain-stitch.

[Illustration: Fig. 303.—Chain Stitch.]

A NEW IDEA IN OUTLINE STITCH.

The stitch (Fig. 304) is used for outline embroidery, and when made
with fine black sewing-silk resembles pen-and-ink work. We have seen
figures outlined on linen with the drapery worked in colors, while the
face, hands, and feet were simply in black and white; being finely
outlined, the effect was novel and artistic, for in this way the
features were made as true as if drawn on paper with a pencil.

For filling in the solid colors take the common running stitch, but
make the stitches long on the right side of the embroidery and very
short on the wrong side, so as to give the appearance of the colored
fabric copied.

[Illustration: Fig. 304.—Outline Stitch.]

Use filo-silk; and English or French embroidery cottons, when colors
are needed in the work. Always soak the silks and cottons in strong
salt and water before using; this sets the color and keeps it from
running when washed.

HEM-STITCHING.

Decide upon the width of the hem and the width of the space for drawn
threads; carefully draw out the thread at one edge of the space, then
the thread at the other edge; next all the intervening threads; this
finished, fold and baste down the hem, allowing it to meet the edge
of the drawn work, and taking five threads running lengthwise in the
space, bind them together at the edge of the hem; at the same time
stitch them to the hem, as in Fig. 305.

[Illustration: Fig. 305.—Hem-stitching.]

=Drawn Work=

always looks well and is very serviceable when made of linen.
Scarfs for buffets, bureaus, or tables, and tea-cloths, tidies, or
chair-backs, can be made of crash, butchers’ linen, and linen sheeting;
it is better to have doylies of very fine linen.

[Illustration: Fig. 306.—Fagotting Stitch.]

In making drawn work, if the article is to be fringed, first draw out
a few threads to measure the depth of the fringe, and at the opening
thus made hem-stitch all around the edge of the material, leaving the
ravelling out of the fringe until the drawn work is finished; proceed
to draw the threads wherever spaces are desired, and before working the
pattern always hem-stitch both edges of the spaces. In Fig. 306 the
pattern marked B shows the stitch called fagotting, made by crossing
every other group of threads back over the one preceding and drawing
the linen thread through in such a way as to keep the groups twisted;
the two lines marked A, in the Fig. 306, are intended more as a finish
to some elaborate design than as a pattern in themselves; these are
made by hem-stitching down a number of threads to each group. Fig.
307 gives a favorite pattern; for this count the threads, so that the
spaces may be equal and regular; draw the threads in all the spaces
running one way first; then draw the threads in the spaces crossing
the first one and run linen threads diagonally across from the top of
the right-hand corner to the bottom of the left, dividing each linen
square into two equal parts; cross these by threads also running
diagonally across from the top of the left-hand corner to the bottom of
the right, again dividing the linen squares, making four equal parts;
then weave threads through all the spaces running both horizontally
and perpendicularly, using the fagotting stitch (Fig. 306), and when
crossing the threads in the open spaces tie the centres of each in
turn, as in Figs. 308, 309; finish the pattern by running a thread in
and out several times around the knots in the centres of the wheels and
fasten the ends by tying neatly. Another pattern is given in Fig. 310.

[Illustration: Fig. 307.—Drawn Work.]

[Illustration: Fig. 308.—First Knot.]

[Illustration: Fig. 309.—Second Knot.]

[Illustration: Fig. 310.—Border in Drawn Work.]

Outline work is often combined with drawn work; fast colors, in
either cotton, linen or silk, are used for the outline design. When
the article worked is intended for daily use and must frequently be
laundried, it is better to substitute in place of the fringe a wide
hem-stitched hem edged with firm linen lace.

Very dainty fancy aprons are made of common scrim with spaces drawn
and narrow ribbons of different colors simply woven in and out of the
threads, running crosswise through the spaces.

=Applique and Original Designs for Portières.=

The pattern in this work is cut from one material and sewed on another.

Almost any kind of fabric can be used as either applique or foundation;
velvet and plush are suitable for applique, but make poor groundwork,
owing to the long nap; both materials in dark rich colors are handsome
when used as a border on portières or table-covers. To applique a
pattern of velvet or plush cut the design very exact and cover the
wrong side with a slight coating of gum, being careful to have the
gum thin on the edges so that it will not spread on the groundwork;
then lay the velvet on the place it is to occupy, and after pressing
it down very gently and lightly with your hand, allow it to dry; this
accomplished, the edges of the pattern may be hemmed down neatly on
the foundation. If a further finish is desired, outline the design by
sewing all around the edge a small gold or silken cord.

=Portières.=

We give an original applique design for a portière in Fig. 311,
representing Day. The foundation is of soft dark-blue momie-cloth, the
sun a round piece of bright yellow or orange satin, and the rays are
of gold or heavy yellow silk thread merely run in stitches of various
lengths; the cloud is of light blue crape or crazy cloth, and the bird
is one of those which come prepared expressly for applique by the
Japanese, and can be purchased at almost any Japanese or fancy store;
if possible a lark should be selected in preference to other birds.
The border is a band of old gold velvet. Our other design (Fig. 312)
represents Night; the foundation and band are the same as those for the
“Day” portière; the star is of white silk, the moon of very pale Nile
green silk, and the cloud of dark pearl gray crape or crazy cloth, much
darker than the blue momie-cloth.

[Illustration: Fig. 311.—Portière. Day.]

[Illustration: Fig. 312.—Portière. Night.]

The applique work must be done very carefully. First cut out the
designs, next turn in the raw edges evenly and smoothly, and with a
very fine thread and needle baste the edges down; then baste the
designs carefully on the foundations, and, with a fine needle and
sewing-silk matching in color the piece to be appliqued, hem each one
down neatly, making the stitches almost invisible. The band of velvet
can be sewed on the bottom edge of the momie-cloth, then turned up like
a hem and hemmed down.

=Lace.=

Very beautiful lace is made by cutting out the heavy patterns which
are still perfect, from old and worn laces and embroideries, and
transferring the designs to new fine wash-net. After first basting them
on, hem them down to the netting with a fine needle and thread; in this
way the embroideries last as long again and look as well as when new.

=Ribbon Embroideries.=

We can give a clearer idea of this work by means of an example, and we
will take the common white daisy as an illustration.

Thread a long-eyed coarse needle with very narrow white ribbon, and
beginning at the centre of the flower, pass the needle from the wrong
side up through your material, drawing the ribbon out nearly its full
length and leaving only a short piece on the wrong side to be fastened
down; now take a stitch straight out the length of a daisy petal and
pass the needle through to the wrong side; then, taking a very short
stitch, draw the needle out through on the right side; next take
another long stitch back to the centre of the daisy, thus forming the
second petal; continue in the same manner, making the petals radiate
out in a circle from the centre of the flower. Work the centres of the
daisies with yellow silk and the stems in dark-green silk; the leaves
can be either worked or appliqued. For half-blown daisies make only
about a quarter of a circle of petals, and in place of the yellow
centre, work a green calyx. Ox-eyed daisies can be made in the same
way with soft, thin yellow ribbon, a little broader than the ribbon
used for white daisies. The work is rapid and pleasing, and almost any
flower can be imitated very perfectly with ribbon embroidery.

CHAPTER XXXV.

SCRAP-BOOK AND HOME-MADE BOOK-COVERS.

THE fashion of collecting pictured advertising cards, so much in vogue
among the children a few years ago, seems to have run its course,
and dying out, it has left on the young collectors’ hands more cards
than they know well what to do with. Many of the collections have
been pasted in scrap-books, of which the children have long since
tired. While examining one of these volumes with its row after row of
cards, it occurred to me that these advertisements might be utilized
in a new way by dividing and combining them. The experiment proved a
success, and I will now try to show you how, with the aid of scissors
and mucilage, the pictures which have become so familiar may be made
to undergo changes that are indeed wonderful, and how from them may be
formed a

=Mother Goose Scrap-book.=

The nursery scrap-books made of linen or paper cambric are, perhaps,
familiar to most of our readers; but for the benefit of those who
may not yet have seen these durable little books, we will give the
following directions for making one: Cut from a piece of strong linen,
colored paper cambric, or white muslin, four squares twenty-four
inches long by twelve inches wide. Button-hole stitch the edges all
around with some bright-colored worsted, then place the squares neatly
together and stitch them directly through the centre with strong thread
(Fig. 313). Fold them over, stitch again, as in Fig. 314, and your book
is finished and ready for the pictures.

It is in the preparation of these pictures that you will find the
novelty of the plan we propose. Instead of pasting in those cards
which have become too familiar to awaken much interest, let the young
book-makers design and form their own pictures by cutting special
figures, or parts of figures, from different cards, and then pasting
them together so as to form new combinations.

[Illustration: Fig. 313.—Scrap-book Opened and Stitched through the
Centre.]

[Illustration: Fig. 314.—Scrap-book Folded and again Stitched.]

Any subject which pleases the fancy can be illustrated in this way,
and you will soon be deeply interested in the work and delighted at
the strange and striking pictorial characters that can be produced by
ingenious combinations.

Stories and little poems may be very nicely and aptly illustrated; but
the “Mother Goose Melodies” are, perhaps, the most suitable subjects
with which to interest younger children, as they will be easily
recognized by the little folk. Take, for instance, the “Three Wise Men
of Gotham,” who went to sea in a bowl. Will not Fig. 315 serve very
well as an illustration of the subject? Yet these figures are cut from
advertising cards, and no two from the same card. Fig. 316 shows the
materials, Fig. 315 the result of combining them.

[Illustration: Fig. 315.—“Three Wise Men of Gotham.”]

Again, the little man dancing so gayly (Fig. 317) is turned into
“Little Jack Horner” eating his Christmas pie (Fig. 318), by merely
cutting off his legs and substituting a dress-skirt and pair of feet
clipped from another card. The Christmas pie in his lap is from still
another card.

[Illustration: Fig. 316.—Figures cut from Advertising Cards.]

[Illustration: Fig. 317.—Figures cut from Christmas Cards.]

[Illustration: Fig. 318.—“Little Jack Horner.”]

In making pictures of this kind, figures that were originally standing
may be forced to sit; babies may be placed in arms which, on the cards
they were stolen from, held only cakes of soap, perhaps, or boxes
of blacking; heads may be ruthlessly torn from bodies to which they
belong, and as ruthlessly clapped upon strange shoulders; and you will
be surprised to see what amusing, and often excellent, illustrations
present themselves as the result of a little ingenuity in clipping and
pasting. Another kind, which we shall call the

=Transformation Scrap-Book,=

will be found exceedingly amusing on account of the various and
ever-changing pictures it presents.

Unlike any other, where the picture once pasted in must remain ever the
same, the transformation scrap-book alters one picture many times. To
work these transformations a blank book is the first article required;
one eight inches long by six and a half or seven wide is a good size.

[Illustration: Fig. 319.—Transformation Scrap-book with Pages cut.]

Cut the pages of this book across, one-third of the way down. Fig. 319
shows how this should be done. The three-cornered piece cut out near
the binding allows the pages to be turned without catching or tearing.
Leave the first page uncut; also the one in the middle of the book.

Cut from picture-cards, or old toy-books which have colored
illustrations, the odd and funny figures of men and women, boys and
girls, selecting those which will give a variety of costumes and
attitudes.

Paste a figure of a woman or girl on the first page, placing it so that
when the lower part of the next page is turned, the upper edge of it
will come across the neck of the figure where it is joined on to the
shoulders.

[Illustration: Leaves from a Transformation Scrap-book.]

Cut the heads from the rest of the pictured women, and choosing a
body as different as possible from the one just used, paste it upon
the lower part of the next page, directly under the head belonging to
the first body. Upon the upper part of the same page paste any one
of the other heads, being careful to place it so that it will fit the
body. Continue in this way, pasting the heads upon the upper, and the
bodies on the lower, part of the page, until the space allowed for the
women is filled up; then, commencing at the page left in the middle of
the book, paste upon it the figure of a man, and continue in the same
manner as with the woman, until the spaces are all used and the book is
complete.

The combinations formed in this way are very funny. Old heads with
young bodies; young heads with old bodies; then one head with a great
variety of bodies, and so on.

The first picture may represent a man, tall and thin, dressed in a
rowing costume, as shown in the illustration. Turn the lower part of
the next page, and no longer is he thin and tall, but short and stout,
the position of this body giving the expression of amazement, even to
the face. The next page turned shows him to be neither tall nor short,
thick nor thin, but a soldier, well-proportioned, who is looking over
his shoulder in the most natural manner possible.

The figures in the illustration were cut from advertising cards, and
the head belongs to none of the bodies.

A curious fact in arranging the pictures in this way is that the heads
all look as though they might really belong to any of the various
bodies given them.

Instead of having but one figure on a page, groups may be formed of
both men and women, and in the different arrangement of the figures
they can be made very ludicrous indeed.

A scrap-book for older girls, which might be termed more fitly

=An Album,=

can be made by mounting engravings, wood-cuts, photographs, and
water-colors on pieces of thin card-board all of the same size. If any
one subject be chosen, and such pictures selected as tend in some way
to illustrate that subject, the book will prove more interesting in the
making, and will be quite valuable when finished.

There will be no difficulty in mounting the pictures; simply paste
them on the card-board with good flour-paste, and press under a heavy
weight, keeping them perfectly neat and free from smears of paste on
the edges. When two or more are mounted at the same time, place clean
pieces of blotting-paper between, pile one upon another, and put the
heavy weight on top.

Such a scrap-book should be bound in a

=Home-made Book-cover,=

which is made in this way:

[Illustration: Fig. 320.—One Side of Book-cover with Holes cut near the
Edge.]

[Illustration: Fig. 321.—Book-cover Tied with Ribbons.]

[Illustration: Fig 322.—Book-cover Laced together with Silk Cord.]

Take two pieces of heavy card-board a trifle larger than the book you
wish to cover, make three holes near the edge of each (Fig. 320) and
corresponding holes in the edges of the book, which must not be too
thick—that is, contain too many leaves; pass narrow ribbons through
these holes and tie in bow-knots, as in Fig. 321. If the leaves of the
book are thin, more holes can be made in the back and the covers laced
together with silk cord (Fig. 322).

These book-covers may be beautifully decorated by anyone who can paint
in water-colors, and tinted card-board can also be used for them. They
are pretty, and suitable as covers for manuscript poems or stories, or
for a collection of autographs.

In making any kind of scrap-book it is very necessary that the paste
used should be good. If the paste is poor, the pictures will peel off
or the paste turn sour. The recipe given below we can recommend as an
excellent one for

=Flour-paste.=

Mix one-half cup of flour with enough cold water to make a very thin
batter, which must be smooth and free from lumps; put the batter on
top of the stove—not next to the fire—in a tin sauce-pan, and stir
continually until it boils; then remove from the stove, add three drops
of oil of cloves, and pour the paste into a cup or tumbler. This will
keep for a long time and will not become sour.

CHAPTER XXXVI.

A HEAP OF RUBBISH, AND WHAT TO DO WITH IT.

IN almost every house there is an attic, and in almost every attic
may be found a room where trunks are stored, where broken toys and
disabled furniture are put out of sight, and where all articles not
worth selling or giving away gradually accumulate until this attic
room contains, literally, a heap of rubbish. Entering one of these
lumber-rooms not long ago, and glancing over the medley which comprised
so much, from a tin can to a piece of broken bric-à-brac, the thought
occurred to me that something might be done with it, some use be made
of at least a few of the articles consigned to the place as utterly
useless.

That was rather a thrifty thought. Do you not think so, girls? Then let
us make the most of it and together venture back into that mysterious
and somewhat dusty chamber, and see if there really is anything there
worth the making over.

In imagination we will stand in our attic lumber-room and begin to look
about us with eyes and mind open to perceive possibilities.

On one side of the room, leaning against the wall, we see what was once
a handsome old-fashioned mirror, quite large and of heavy plate-glass.
It’s poor dusty face, reflecting dimly its barren surroundings, is
shattered in many pieces, and at first sight it seems hopeless to
attempt to restore it to the plane of beauty or usefulness; but do
not let us be hasty; we will examine it more closely. Yes, here is a
piece of glass large enough to frame. Never mind its uneven shape and
rough edges; we will work out that problem later. Now we must put it
carefully aside and continue our investigations.

Here is a large tin can, which can be made into a lantern to hang in
the hall, and this baking-powder can may be of some use, so we will
take it also.

The tops of three cheese-boxes; something should be done with them.
Perhaps they can be used for a table; put them with the other chosen
things.

A croquet-ball! That will make a fine key-rack. This box of silks and
ribbons we may need, and the large pasteboard-box will do for the
foundation of our mirror frame.

We must have this piece of old brass chain, this handful of large
nails, the pasteboard roll which has been used for sending engravings
through the mail, and that old broad-brimmed straw hat; also these
three broomsticks and the piece of nice dark-gray hardware paper.

Now, seated in our own room, let us see what we can do with this rather
unpromising array of objects spread around us. First we will try

=The Mirror,=

and must cast about us for the ways and means of framing it. The large
pasteboard-box we have already decided will make a good foundation.
After tearing off the sides, we will cut an even square from the
bottom, which is smooth and unwarped.

[Illustration: Fig. 323.—Brown Paper Pasted on Mirror and Pasteboard
for Home-made Mirror-frame.]

[Illustration: Fig. 324.—Bevel of Hardware Paper on Frame.]

[Illustration: Fig. 325.—The Outside Covering for Mirror-frame.]

[Illustration: Fig. 326.—Back of Frame with Tape Attached.]

Next laying the piece of mirror on the square of pasteboard we must
cut, out of ordinary brown wrapping-paper, a square two inches larger
all around than the pasteboard, make a hole in the centre as large as
the shape of the mirror will allow, and paste it down on the mirror
and pasteboard (Fig. 323). Then, after clipping out the corners, we
will turn the edges over on to the back of the pasteboard foundation
and paste them down. Cutting four strips of the hardware paper, about
two inches wide, we will fold them through the centre lengthwise and
paste them around the glass, lapping them just a little over the edge
of the other paper, the folded side being next to the glass (Fig. 324).
This will form a bevel for our frame. From the same paper we will now
cut a square, three inches larger on all sides than the foundation;
then, exactly in the centre, mark a square half an inch larger all
around than the square of mirror showing. In the centre of the square
marked out we must insert our scissors, cut it like Fig. 325, and after
clipping off the points, as indicated by the dotted lines L, M, O, N,
turn back the four pieces at the dotted lines, P, Q, R, S, leaving an
open square. Then placing it over the mirror so that the same width of
bevelled edge shows on all sides of the mirror, we must paste it down.
Clipping out the corners, as shown in diagram, we will bring the edges
over and paste them down securely to the back of the frame. A piece of
hardware paper, cut in a square one inch smaller than the frame, we
will paste on the back to finish it off and hide the edges of the paper
where they have been turned over (Fig. 326).

We must fasten on a piece of tape by which to hang the mirror, by
pasting down the ends of the tape on the frame (letter T, Fig. 326),
and pasting over each a strip of the hardware paper (letter U, Fig.
326). When the frame is quite dry we will paint a branch of dog-wood or
some light-colored flower across it, and have as pretty a little mirror
as anyone could wish for.

[Illustration: Home-made Mirror-frame.]

The next thing to commence will be

=The Table,=

which you can make yourselves by following these directions:

The three cheese-box lids will answer nicely as shelves for a work- or
bric-à-brac table, and the broomsticks, which are all the same length,
will do for the legs.

[Illustration: Fig. 327.—Narrow Grooves Cut around Broomstick for
Table-leg.]

[Illustration: Fig. 328.—Holes Bored in a Box-lid Used as a
Table-shelf.]

[Illustration: Fig. 329.—Manner of Fastening a Shelf to Table-leg.]

[Illustration: Fig. 330.—Table-shelf and Leg Fastened securely together
by Wire.]

[Illustration: Bric-à-brac Table.]

Upon each broomstick mark the distances for placing the shelves,
allowing six inches from each end of the stick for the top and bottom,
and the exact centre between these points for the middle shelf. With a
pocket-knife cut narrow grooves around each stick, one-half inch on
either side of the points marked on them (Fig. 327). This will make
six grooves on each stick. Now measure the box-lids to find their
circumferences, and divide them into thirds, marking the distances on
the rim to obtain the true position for the legs. At these points bore
four holes with a gimlet, one inch apart, two above and two below (Fig.
328). Through one of the top holes pass a piece of pliable wire, place
one of the broomsticks against the rim of the lid, pass the wire back
through the other upper hole (Fig. 329), fit it into the upper groove
of the stick, and draw it tight. Twice the wire must be put through the
upper holes and around the stick in the top groove; then, bringing it
down on the inside of the lid, you must put it twice through the lower
holes and around the stick in the lower groove; then twist the ends and
tuck them under the wire on the inside of the lid (Fig. 330). In this
way each leg will have to be fastened to each shelf. When the table
is all put together paint it black, and, as soon as it is dry, tie a
bright ribbon on one of the sticks at the top, and a charming little
bric-à-brac table will be the result of your labor.

You can make a very pretty

=Lantern=

of the old tin can; but first you must have some tools to work with;
not many, only a piece of wood, rounded on one side to fit into the
can, a hatchet or heavy hammer, and a few wrought iron nails. If the
piece of wood is not large enough to fit the can, another stick can
be put in to hold the first one firmly against the can. That being
arranged, you must decide upon some kind of a pattern to be made by the
holes, and indicate it on the can with a small paint-brush and paint or
ink; then, laying the can on its side, the rounded piece of wood being
at the top, with one of the wrought iron nails puncture the holes where
you have indicated the pattern. With the hammer drive the nail through
the tin into the wood; then draw it out, make another hole, and so on
until all the holes you wish are driven through that part of the can
held in place by the rounded piece of wood.

This wood, you see, keeps the can from bending when the nail is being
driven through. In moving the wood as the work progresses, you must
always keep it under that part of the can being punctured. To make the
large hole, you will have to put a number of the small holes close
together, and then drive the nail through the partitions, cutting them
away. The pattern being completed, puncture three holes, close to the
top of the can, at equal distances apart. These are for the chains to
pass through, by which to suspend the lantern. In the cover of the
baking-powder can make three holes at equal distances; then divide the
chain, which is about one yard and a quarter long, into three equal
lengths, separating the pieces by prying open the links. Put an end of
each piece through the holes made for them at the top of the can, and
fasten them by hooking the open links through the links of the chain a
little farther up, and hammering them together again.

Now pass the ends of the chains through the holes made in the lid of
the baking-powder can, and, bringing the ends together, fasten them by
joining the links.

[Illustration: Fig. 331. Fig. 332.—Stand in Lantern, with Nails for
Holding Candle.]

Paint the lantern, chain and all, black, and while it is drying make a
stand for the candle which is to furnish the light. A square piece of
thin board, just large enough to fit into the can without touching the
sides will do for the stand. Drive four small nails in the centre to
hold the candle (Fig. 331).

Make handles for lifting the stand in and out of the lantern, by
bending two pieces of wire like Fig. 331, and fastening them to the
board with staple tacks (Fig. 332).

[Illustration: Lantern.]

When the paint on the lantern is dry, paste red tissue-paper all around
the inside to give a cheerful red glow to the light, which will shine
through it. If you would like it to resemble a jewelled lantern, paste
different colored papers over the large holes and leave the small ones
open. An S hook passed through the loop made by the three chains will
serve to connect them to the chain which should suspend the lantern
from the ceiling.

=A Music-Roll=

can be made of the pasteboard roll.

Cut a round piece of pasteboard just the size to fit into one end of
the roll; then cut out another round piece, this time of paper, one
inch larger than that made of pasteboard. Clip the edges (Fig. 333) and
paste it over the end of the roll which is filled in with the round of
pasteboard (Fig. 334).

[Illustration: Fig. 333.—Paper Covering for End of Music-roll.]

[Illustration: Fig. 334.—Paper Pasted over End of Music-roll.]

Among the scraps of silk and ribbons you will, perhaps, find a
good-sized piece of dark-green or brown silk; use this for the case,
which must cover the roll neatly. To make the case fit the end of the
roll you have just filled up, mark on a piece of the silk a circle the
size of that end of the roll. This can be done by standing the roll
on the silk, and running a pencil around the edge. When cutting out
the silk leave a margin of a quarter of an inch on the outside of the
pencil-mark for the seam. Cut the silk for covering the roll three
inches longer than the roll, and wide enough to allow for a quarter of
an inch seam. Sew up the long seam, and then sew the round of silk into
the end of the case. Hem the other end of the case, and run in a narrow
ribbon about an inch from the edge. This is for a draw-string.

[Illustration: Music-roll.]

When the roll is fitted snugly in its case, tie a ribbon, matching it
in color, around the roll, making a loop to form the handle. Fasten the
ribbon by taking a few stitches under the bows, catching them on to the
silk.

The old straw hat can be transformed into a dainty

=Work-Basket.=

It is stiff and harsh at present, but pour boiling water over it and
the straw will become soft and pliable, and can be bent into any shape
you like. When dry, it will be again stiff, and will retain the form
you have given it. After scalding the hat bend the brim in toward the
centre, in four different places, at equal distances apart. This will
make a fluted basket. You must tie it in shape (Fig. 335) and leave
until perfectly dry; then bronze the basket, line it with silesia,
and sew silk or satin around the top to form a bag. Run a draw-string
of narrow ribbon near the top of the bag, and the pretty little
work-basket is finished.

[Illustration: Fig. 335.—Straw Hat Tied in Shape for a Work-basket.]

[Illustration: Work-basket.]

The croquet ball you can make into a

=Key and Button-Hook Rack.=

First you must gild it, and then around the middle of the ball, at
regular intervals, insert small brass hooks. A yellow ribbon and bow,
tacked on the top with small tacks, will serve to suspend it by, and
completes the rack.

With the gilt left from gilding the ball, and a piece of bright ribbon
you can make a

=Paper-Weight=

of six of the large nails. Gild each nail separately, let them dry, and
then tie them securely together with a piece of ribbon.

[Illustration: Key Rack.]

[Illustration: Paper-weight.]

All the articles brought from the attic have now been turned to some
use, but there are many other things to be found there which we
have not space to mention, and which with little trouble can be so
transformed that no one would ever suppose they were taken originally
from a heap of rubbish.

CHAPTER XXXVII.

HOW TO MAKE ATTRACTIVE BOOTHS AT A FAIR—A NEW KIND OF GRAB-BAG.

DECIDING to have our fair unlike those which have preceded it, we must
do away with monotony and introduce not only variety, but originality
as well. New ideas, something different from that which has served us
heretofore, is what we strive for. Novelties are always attractive, let
them be decorative also, and help to make the room or hall as inviting
as possible.

[Illustration: The Fair.] [Illustration: Fig. 336.—Framework for the
Canopy of a Booth at a Fair.]

[Illustration: Fig. 337.—Block of Wood Fastened on the side of Table.]

=The Tables=

being the most important item, we will give them our first attention.
Have each table or booth canopied in a style differing from all others,
and make the canopy extend up as high as practicable, in order to
avoid the flat, blank appearance so common in small fairs. If tables
are arranged in this fashion, they will go far toward decorating the
hall. Fig. 336 shows one style in which a framework for the roof or
covering may be constructed. At the four corners of the table, where
the top projects over the sides, fit in blocks of wood according to
Fig. 337; the dotted lines represent the block. Nail the wood fast
to the table, so that the uprights may stand perfectly straight. Use
laths or similar sticks for the four uprights, and screw or nail them
at the corners of the table according to Fig. 336; then with small
screws fasten a stick across the top of the laths at each side, and at
the top of the sticks on the front of the table tie the two ends of a
barrel-hoop to form the arch; also attach another hoop at the back to
the other two uprights, and connect the top centre of each by a wire
running across. The hoops are fastened to the laths by binding the
ends of the hoops to the ends of the laths with strong twine, or wire,
wound around in notches which have previously been cut in the ends of
both sticks and hoops. Should the barrel-hoops be too short for the
arch, take children’s large-sized toy wooden hoops, and fasten them up
in the same manner. Fig. 338 is another way to arrange the framework.
The four upright sticks are attached to the table as described in
Fig. 336; then in the top of each is driven a very large-sized tack,
and a strong flexible wire is stretched from lath to lath and wound
around each tack, thus connecting the four uprights together.[G] Flags,
shawls, drapery curtains, sheets, and inexpensive cheese-cloth make
good canopies; undressed cambric and canton flannel in desirable colors
drape nicely, and can also be used for the purpose. Where you wish to
produce light, airy effects, tarlatan, in one or more colors, will be
found useful; again, let some of the tables have only a suggestion of
a roof, made by ornamenting the framework with flowers, or whatever is
most suitable, according to the style of table and the place it is to
occupy.

Try and have a variety of shapes and sizes in the booths, and avoid
sombre dulness and monotony. Let the room fairly sparkle and shine with
light and color.

[Illustration: Fig. 338.—Construction of Framework for the Canopy of a
Table at a Fair.]

To make a tent-like covering, firmly bind a large-sized Japanese
umbrella to a pole, and fasten the pole in the centre of the table.
To hold it securely, make a bench of two pieces of board, with a hole
through the centre of each, and join them together by a block of wood
nailed in each end (Fig. 339). The bench can be made fast to the table
by screws put through from the under side of the top of the table

[Illustration: Fig. 339.—Bench for Holding a Pole as a Support for a
Canopy of a Booth.]

In erecting the canopy place the end of the pole in the bench and it
will be steady and firm. Attach pieces of string to several ribs on
each side of the umbrella, stretch the strings down and fasten the
ends securely to the table; paste over the strings bright-colored
tissue-paper fringe (Fig. 340). Cut the paper four or six thicknesses,
and when pasted on turn the fringe part uppermost, so it will look
fluffy and not hang down in a tame, fringe fashion. When a red umbrella
is used, and the strings are covered with fringe of the same hue, it
looks very pretty. Be extremely careful that no light comes dangerously
near the tissue-paper, or any other inflammable material; all the
decorations must be arranged with a view to perfect safety from contact
with gas, lamp, or candle.

In decorating the room remember to mass your color so the effect may be
broad. If the colors are too much mingled the effect will be weakened,
and in some cases lost entirely.

[Illustration: Fig. 340.—Tissue-paper Fringe.]

Paper-flowers and plants in great abundance will be needed, and if you
can persuade all your friends, as well as those actively interested
in the fair, to make paper-flowers or plants, they will prove very
acceptable, and after the fair is over the floral decorations can be
safely stored away to do service again on like occasion. Large, showy
flowers, like peonies, dog-wood, and magnolias, as well as large-leaved
plants, are best to use, though the smaller ones look well in a few
places.

In making

=Flowers for Decorations=

we aim at general effect, with less regard to detail than if the
blossoms were to be used in other ways. Fig. 341 is a pattern of the
dog-wood. Cut the flowers of white writing paper and make them quite
large. Use wire to fasten them to a natural branch, and imitate nature
as nearly as possible in the arrangement of the blossoms.

[Illustration: Fig. 341.—Dog-wood.]

If you fold the paper a number of times and then place your pattern
over it, you can cut out six or eight flowers at once, and save both
time and labor.

Peonies are made of white, pink, or red tissue-paper, cut in squares
of about eight inches each and pinked on the two opposite edges.
Twelve squares are needed for one flower. With your fingers gather the
squares up in the centre (Fig. 342); then fold over the pieces, as in
Fig. 343; when all are ready string them on a wire and shape the bunch
to resemble a peony; twist the wire up tight and fasten the petals
together, leaving a length of wire for a stem.

[Illustration: Fig. 342.—Peony Petal Gathered through the Centre.]

Make the cherry-blossoms (Fig. 344) in clusters of five or seven each,
and attach green leaves (Fig. 345) cut in different sizes. Fig. 346
shows the method of giving the leaf a pretty, crimped appearance. By
holding the point of the leaf firmly under the head of the pin with
your left hand, and with the right hand pushing the leaf up toward the
head of the pin, you can crimp the leaves very rapidly, and they look
much more natural than when left plain.

[Illustration: Fig. 343.—Peony Petal Folded over.]

All the materials necessary for the manufacture of flowers for fair
decorations will be paper, wire, and paste. The buds of different
flowers can be imitated by pinching together the petals of open
blossoms. Figs. 347, 348, 349 are the petals of the magnolia; the
inside petals are five and one-half inches long, the others in
proportion. Cut three of each size. No. 347 forms the innermost petals,
No. 348 the next, and No. 349 the outermost; these last should be
double; make the outside of pink tissue-paper and the inside white, all
the other petals are white; cut three, from Fig. 350, of green paper to
form the calyx.

[Illustration: Fig. 344.—Cherry Blossom.]

[Illustration: Fig. 345.—Green Leaf of Cherry Tree.]

[Illustration: Fig. 346.—Method of Crimping Leaf.]

Other ornamental flowers may be manufactured from these hints. Patterns
can be cut from any natural flowers, and they may be made without the
aid of further directions. When natural blossoms can be obtained, they
are far preferable, though the paper plants make splendid substitutes
and at a little distance cannot be distinguished from the natural ones.

[Illustration: Fig. 347.]

[Illustration: Fig. 348.]

[Illustration: Fig. 349.]

[Illustration: Fig. 350.]

If the fair comes off in the season when the trees are leafless, bare
branches with green paper leaves wired on will help very much where
foliage is needed.

An excellent scheme in the arrangement of a fair is to divide the
tables into twelve separate booths and let each one represent one month
in the year. They should contain articles appropriate only to the month
represented, and when planned in this way each month should be of
appropriate color. For example:

=December=

can be all white, with tufts of cotton scattered about for snow, and
mica or isinglass sprinkled around and over places to represent frost
and ice. Icicles, varying in size, depending from the arch or canopy,
add to the effect. The icicles are made of strips of paper first rolled
up like paper-lighters, then completely covered with tallow from the
dripping of a lighted candle; the tallow being allowed to harden on in
raised places makes the twisted paper resemble in form a real icicle;
the tallow icicle is next covered with a wash of mucilage, and powdered
mica or isinglass is sprinkled all over it, so that it sparkles and
shines.

In place of the usual grab-bag at this booth, there should be a
Christmas-tree without lights and burdened with little gifts tied up in
colored tissue-paper. Santa Claus must have charge of the tree.

=July=

calls for flags and decorations of red, white, and blue, as well as
flowers, fruits, and green foliage; the table should be presided over
by Columbia.

=May.=

Deck this table in spring blossoms and make the canopy of a slender
May-pole. Pass the pole through the holes in the bench (Fig. 339) and
screw the bench tight on the centre of the table; fasten a wreath of
flowers and the ends of a number of ribbons at the top of the pole;
bring the ribbons down and tack them to the sides of the table. Give
the Queen of May care of the booth.

=November=

may be gay with late fall leaves and berries, and a very large pumpkin,
which has been previously scraped out and lined with paper, can serve
as a receptacle for odds and ends. A little Puritan maid should be in
charge of the booth.

=June=

is all rose color, with the queen of flowers, the rose, holding the
post of honor. This month is very suitable for the flower-table, and
Flora, the Goddess of Flowers, may preside over it.

We have chosen these few months only as suggestions of the manner in
which the idea can be carried out.

Those in charge of the different booths might wear as a badge a
conspicuous sign of the zodiac appropriate to the month represented.

=The Five Senses=

can be illustrated by five booths, each one bearing its proper symbol
as a sign. To represent

HEARING,

make a large pasteboard ear-trumpet and cover it with silver paper;
fasten this on the highest point of the booth and place the word
Hearing in large letters under the trumpet; have these signs in plain
sight, where none can fail to see and read. The articles on the table
should consist of everything pertaining to the sense of hearing, such
as sheet-music, musical instruments, telephones, and suitable toys.

It would be a great addition if a phonograph could be rented or
borrowed for the occasion, and a certain sum charged to each one
speaking in the instrument and hearing the echo of his own words and
tones ground out to him again.

An oracle would be a capital thing at this table, each person
consulting it paying so much a question.

SEEING

likewise must be labelled with a sign in the shape of a very large pair
of spectacles cut out of stiff pasteboard and placed over the lettering.

The goods offered here for sale should pertain to the sense of
sight; and could be such articles as pictures, decorated candles,
kaleidoscopes, and common blue glasses. All things pleasing to look
upon may find place at the Seeing Table. Any kind of a peep-show can be
used, five cents being required from every curious person wishing for a
peep behind the curtain.

FEELING

is more difficult to portray. Perhaps an ordinary riding-whip will
answer the purpose, with the word Feeling in large type under it.

Sofa-cushions, quilts, mittens, canes, muffs, fancy toilet articles,
and almost anything adding to our personal comfort, or pleasant to
handle, are suitable for the Feeling booth.

TASTING.

As an emblem for this booth make a huge cornucopia for candy, with the
sign “Tasting” beneath, and the booth can be the candy-table.

SMELLING

naturally suggests perfumes and sweet-scented flowers. This sense will
most fitly be represented by an immense bouquet fastened up over the
table. The booth, of course, must be the flower-table.

If you have only a few tables, make four booths of them, and let each
booth represent a season. They should be decorated in keeping with the
time represented, and the idea fully carried out in all the details.

When the booths stand for different nations there is a great field for
variety and beautiful decoration. But in this, as in all cases where an
attempt is made to carry out an idea, it must be faithfully adhered to,
or the effect will not be that intended.

When it is necessary to decorate the

=Walls=

use flags, bright, soft draping cloth, and large palm leaves; also
branches of leaves, showy flowers, and anything that can be arranged to
look well. As rooms differ so much in size and style, it is impossible
to give any but general directions, leaving it to the taste of the
decorator to carry out the details.

[Illustration: Fig. 351.—Grab-bag of a Sheet with Holes Cut for Face
and Arms.]

[Illustration: Fig. 352.—Apron Skirt Sewed on Sheet.]

=Grab-Bags.=

On a narrow sheet hung up in a door-way, and fastened securely at the
sides, or attached to a frame, cut a hole large enough to allow of a
false face being fitted in (Fig. 351 A). The flaps of the cloth are
left for pasting inside the face; now cut two more holes for the arms
to pass through (Fig. 351 B). In these holes sew sleeves of the same
material as the skirt, which is made of bright-colored cambric in the
form of an apron, and sewed on the sheet (Fig. 352). The sides of the
skirt are basted down on the sheet. When pasting in the false face,
first cover the flaps, left at the opening for the face with stiff
paste; then paste these flaps down into the inside of the false face,
which will bring it up close against the sheet. If small openings are
left, or the sheet puckers a little after the face is fastened on,
never mind, as all defects can be covered by sewing on a thin white
frill all around the face, to form a cap, and making a collar of the
same material (Fig. 353).

[Illustration: Fig. 353.—Grab-bag.]

[Illustration: Fig. 354.—Inside of Sheet for Grab-bag.]

Leave an opening, or pocket-hole, through the sheet at one side of the
dress, so that the hand can be slipped through to get the packages,
which are placed within reach at the back of the curtain. Fig. 354
shows the inside of the sheet, and C the opening for the hand. Someone
must stand or be seated behind this curtain, and slip her arms into
the sleeves, then she can look out through the mask and see with whom
she is talking. In one hand she may hold a package, while she receives
the money with the other.

On the sheet print these words: “Five cents for what is in my pocket.”

=The Lady of the Lake.=

You will need a tin bath-tub for the lake, the longest one you can
find, and a toy boat which will not easily tip or turn over. Place tiny
flags in the bow and stern, and in one end of the boat glue a doll
dressed like the “Lady of the Lake” in Scott’s poem. Attach a pulley to
each end of the tub, and fasten the string to the boat, as it must be
run back and forth by means of the pulleys. Fill the tub nearly full
of water, then cover the edges with moss and vines. The bath-tub must
be completely disguised, and surrounded by plants and foliage, with
an opening left at one end for purchasers, and another small one near
the other end for the boat to pass through to those stationed behind
the shrubbery, who have charge of the boat, and where the parcels are
kept. At the store-room end the screen of vines or leaves should be
so arranged that those in charge can see all that is going on outside
without being seen themselves.

The boat should be stationed at the farther end of the lake, and
whoever wishes to make a purchase must give the doll five cents; then
the boat may immediately leave, sail across the lake, and disappear
behind the screen, only to emerge again laden with a parcel in place
of the money, and lightly skimming over the water arrive at her
destination, when the purchaser can relieve the “Lady of the Lake” of
her package.

The Bubble Range described on page 335 can be used in a fair with
advantage. Unless the fair is very small, it is better to have two
Bubble Ranges, to prevent the tiresome waiting for a turn, and give
all who wish to try their skill the opportunity to enjoy the sport.

=Fortune’s Wheel.=

Cut of stiff pasteboard a large circle (Fig. 355) with a point on the
edge at the end of one of the spokes, for the circle must be painted
to resemble a wheel. With a large round nail fasten the wheel through
the centre to a board, which has previously had numbers painted on in a
circle somewhat larger than the circumference of the wheel (Fig. 356);
the wheel should turn around easily on the nail. Hang the board up flat
against the wall. The gypsy in charge of the Fortune’s Wheel should
be stationed by its side, holding a basket filled with many envelopes
numbered to correspond to the figures on the board, each envelope
containing some appropriate fortune-telling lines; and when the people
come to seek their fortunes the gypsy must allow each in turn to give
the wheel a twirl, sending it around rapidly, and then hand to the
fortune-seeker an envelope whose number corresponds with the figure at
which the wheel pointed when it stopped turning.

[Illustration: Fig. 355.—Circle for Fortune’s Wheel.]

[Illustration: Fig. 356.—Fortune’s Wheel.]

=Rag-Balls.=

Prepare a number of carpet-rag balls with a small gift in the centre of
each one. These sell rapidly, and it is very amusing to see the buyers
unwinding their balls to discover the contents, which may prove to be
a thimble, a bundle of jackstraws, a grotesque Japanese toy, or any
little comical conceit which can be hidden in the odd receptacle.

The same idea might be applied to the always pleasing popcorn balls;
then the knick-knacks must be first wrapped in soft paper to protect
them from the candy used in making the balls.

Pleasant mysteries and surprises are always popular at fairs, and the
more that can be invented the better.

[Illustration: Window Decorated with Imitation Stained Glass and Dutch
Curtain.]

 FOOTNOTE:

[G] If the uprights seem to need it, brace them with cross-sticks in
place of wire.

CHAPTER XXXVIII.

WINDOW DECORATION.

NOW, girls, we must have practicable ideas in regard to our
decorations; they should consist of something which we _know_ will be
easy to make and at the same time look well; the materials employed
must be within possible reach of all, and nothing expensive or
difficult to obtain allowed to enter into their manufacture. What
are commonly called Dutch curtains are very popular; they are short
curtains of some thin, transparent fabric, fastened with rings to a
slender rod of bamboo, and when drawn, cover the lower part of the
window without intercepting the light. The curtains are very useful,
but, while they do not obstruct the light, they do obstruct the vision.

We all know that the front window is just the place to sit when sewing
or doing fancy-work, and although few ladies care to be seen by every
passer-by, yet they all like to see what is going on outside, and
while their deft fingers ply the needle their bright eyes take in the
landscape out of doors and derive amusement and entertainment from the
birds and flowers, if it be in the country, or the ever-moving throng,
if in the city.

An ornamental screen, therefore, that will shield one and yet not
interfere with the view is desirable. What might be termed the

=Oriental Window-Shade=

not only comes up to the above requirements, but is inexpensive, and
not difficult to construct.

[Illustration: Fig. 357.—Manner of Making Fringe for Oriental
Window-shade.]

[Illustration: Fig. 358.—Fringe of Macaroni and Beads.]

Make a small lawn-tennis net, long enough to reach across the width of
the window and about eight inches deep; make loops of the rope on the
ends for hanging the screen to knobs or hooks screwed in the framework
of the window; spread the net out and fasten it up on a door, between
two chairs, or any convenient place; then cut a number of pieces of