Things Worth Doing and How To Do Them
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Title: Things Worth Doing and How To Do Them
Author: Lina Beard
Adelia B. Beard
Release date: May 17, 2015 [eBook #48978]
Most recently updated: October 24, 2024
Language: English
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*** START OF THE PROJECT GUTENBERG EBOOK THINGS WORTH DOING AND HOW TO DO THEM ***
[Transcriber's Note: Bold text is surrounded by =equal signs= and
italic text by _underscores_.]
THINGS WORTH DOING AND HOW TO DO THEM
THE BEARD BOOKS FOR GIRLS
By LINA and ADELIA B. BEARD
=Things Worth Doing= and How to Do Them. Illustrated by the
authors. $2.00.
=Recreations for Girls.= Illustrated by the authors. $2.00
(postage extra).
=What a Girl Can Make and Do.= New Ideas for Work and Play.
Illustrated by the authors. $2.00.
=The American Girl’s Handy Book;= or, How to Amuse Yourself
and Others. Illustrated by the authors. $2.00.
THE BEARD BOOKS FOR BOYS
By DANIEL C. BEARD
=The Field and Forest Handy Book.= New Ideas for Out of
Doors. Illustrated by the author. $2.00.
=The Jack of All Trades;= or, New Ideas for American Boys.
Illustrated by the author. $2.00.
=The Outdoor Handy Book.= New and Cheaper Edition of The
American Boy’s Book of Sport. Illustrated by the author.
$2.00.
=The American Boy’s Handy Book;= or, What to Do and How to
Do It. Illustrated by the author. $2.00.
[Illustration:
THINGS
WORTH
DOING
AND
HOW
TO DO THEM
BY
Lina Beard
and
Adelia B. Beard
_New York_
Charles
Scribner’s
Sons
1906
]
COPYRIGHT, 1906 BY
CHARLES SCRIBNER’S SONS
SPECIAL NOTICE
The publishers hereby give warning that the unauthorized
printing of any portion of the text of this book, and the
reproduction of any of the illustrations or diagrams, are
expressly forbidden.
TO
OUR
LITTLE NIECE
BARBARA BEARD
PREFACE
WE know our girls. We know and sympathize with their restless longing
for activity. The normal girl simply must be doing something, and
this ceaseless energy, at times rather appalling to her elders, is
but natural and right. It is in the young blood coursing so swiftly
and joyously through her veins, and it must find vent in one way or
another. But there is no need of doing that which brings neither true
pleasure nor the joy of accomplishing something worth while, for the
world is full of delightful things really worth the doing. We have only
to open our eyes and ears to find them crowding forward to claim our
attention, and the choice is between better and best.
There are merry frolics and active games that stimulate the health and
renew the vitality of the body and there are scores of charming things
for willing hands to make which are not only worth the making but which
bring skill to the fingers and breadth and energy to the mind.
In this, our fourth book for girls, we are giving some of the things
we have found well worth the doing, and it is our hope that our girl
friends will also see their worth and find in them inspiration for
further experiments in pastime and frolics.
THE AUTHORS
July 3, 1906.
CONTENTS
PART I
PARTIES, SHOWS AND ENTERTAINMENTS
CHAPTER I
PAGE
A FOURTH OF JULY LAWN FROLIC 3
Ground Decoration, 3; Firecracker Invitation, 4; Pantomime
Charades, 6; To Make the Sun-bonnet, 7; Shuffle Race,
10; Hurling the Lance, 10; Daylight Fireworks, 11;
Balloon Ascension, 11; The Myth, 12; Pandora Box, 12;
The Balloons, 13.
CHAPTER II
A WONDERFUL CIRCUS AT HOME WITH MOVING ANIMALS 15
Mademoiselle Rosebud, 16; To Give the Horse Power to Move,
18; Bob, the Wonderful Elephant, 20.
CHAPTER III
A NOVEL EASTER PARTY WITH NEW EASTER GAMES 33
Egg Tennis, 33; Number of Eggs, 33; To Prepare the Eggs,
34; Shower of Paper, 36; The Rackets, 38; The Game, 39;
Butterfly Game, 42; Magic Dye Kettle, 43.
CHAPTER IV
A DOORWAY PUNCH AND JUDY SHOW 45
The Stage, 45; To Make Punch’s Head, 46; Punch’s Dress,
50; Judy’s Head, 51; The Baby, 52; Drama of Punch and
Judy, 53.
CHAPTER V
HALLOWE’EN MERRYMAKING 55
Novel Ways of Telling Fortunes, 55; Invitation Rings of
Grass, 55; Black Cats, 56; Pair of Old Slippers, 58;
Cups and Bowls, 59; The Wedding Race, 61; The Vesper
Rite, 65; Bean Bag Test, 66; The Witch Screen, 66; Fairy
Airships, 70; Blarney Stone Game, 71.
CHAPTER VI
DANCE OF TITANIA, QUEEN OF THE FAIRIES 75
The Stage, 75; Titania, 79; Costume, 82; Wings, 83.
CHAPTER VII
THANKSGIVING PARTY 85
Apple, Orange and Pumpkin Games, 85; Game Court, 90; The
Game, 92; Rapid-Transit Thanksgiving Story, 92; Pumpkin
Lantern, 93; Forfeit, 95.
CHAPTER VIII
IMPROMPTU MOVING PICTURES FOR THANKSGIVING 97
Puritan Woman’s Dress, 98; Puritan Man’s Costume, 98; The
Properties, 101; A Pantomime, 102.
CHAPTER IX
A VALENTINE ENTERTAINMENT WITH ORIGINAL VALENTINES 103
The Post-Office, 104; Valentine Stamps, 107; When the Bell
Rings, 107; Heart Valentine, 109; World Valentine, 109;
Daisy Valentine, 110; Love’s Palette, 111.
CHAPTER X
THE WILD WEST SHOW ON A TABLE 113
A Panorama, 113; Pasting Pictures, 120; The Performers,
120; A Tent, 123.
CHAPTER XI
ROOF PICNIC WITH BROOK TO CROSS AND FLOWERS TO PICK 127
Sunflowers, 127; Hollyhocks, 129; Roses, 130; Peaches,
Plums and Apples, 130; On the Roof, 131; Country Picnic,
132; Crossing the Brook, 133; Japanese Tag, 134.
CHAPTER XII
THE MAGIC PEEP SHOW 137
The Slides, 138; The Cow Jumped Over the Moon, 139; Life
in Fairy Waters, 141; Easter Chicks, 143; Three Blind
Mice, 144; Dance of the Dolls, 145; The Bouquet, 147;
The Little Sun-bonnet Girl, 149.
CHAPTER XIII
PLANT YOUR GARDEN IF YOU CAN 153
A New Flower Game, 153; Marking Out Flower Beds, 157;
Flags, 157; The Rackets, 158; The Game, 159; A Tally
Card, 159; To Determine Choice of Sides, 160.
CHAPTER XIV
JOLLY LITTLE SANTA CLAUS WITH HIS REINDEER AND SLEIGH 163
The Sleigh, 164; Reindeer, 165; Santa Claus, 168;
Christmas Gifts, 170; Christmas Cards, 172.
CHAPTER XV
A LIVING CHRISTMAS TREE 173
How to Prepare, 173; The Peaked Hat, 174; To Decorate, 177.
CHAPTER XVI
HOW TO GET UP A GIRLS’ FAIR 179
A Managing Committee, 179; Blackbirds, 181; Packages for
the Blackbirds, 184; Express Office, 186; Letters, 187;
Post-Office, 187; Decorations, 187; Postmaster, 192.
CHAPTER XVII
CAMPING OUT IN YOUR BACK YARD 194
Camping Outfit, 194; Tent, 197; Table, 198; Safe, 199;
Spring, 200; A Fine Pail, 201; Camp-fire, 201; A Boat,
202; Out Fishing, 204.
CHAPTER XVIII
OUTDOOR FUN WITH HOME-MADE TETHER BALL 207
The Pole, 207; The Cover for the Ball, 207; A Court on the
Grounds, 211; A Pattern for the Rackets, 214; The Object
of the Game, 215.
PART II
MINIATURE SEVEN WONDERS OF THE WORLD
CHAPTER XIX
THE PYRAMIDS OF EGYPT 219
Cheops’s Home, 219; The Pyramid, 220; Carving the
Wonderful Sphinx, 225; Making the Date Palm, 227; Making
the Camels, 228.
CHAPTER XX
THE COLOSSUS OF RHODES 233
Island of Rhodes, 233; To Make the Colossus, 234; Mark the
Features, 238; The Pedestal, 240.
CHAPTER XXI
THE PHAROS OF ALEXANDRIA AND THE MAUSOLEUM OF
HALICARNASSUS 245
The First Lighthouse, 245; The Building Lot, 246; The
Foundation, 248; The Marble Steps, 252; An Artificial
Island, 254; The Mausoleum of Halicarnassus, 255.
CHAPTER XXII
THE STATUE OF ZEUS AT OLYMPIA 259
Throne of White Cardboard, 263; Upper Dais, 264;
Footstool, 265; Inlaying the Throne with Ebony, 267; The
Drapery, 267; Winged Victory, 268.
CHAPTER XXIII
THE TEMPLE OF DIANA AT EPHESUS 269
Ionic Column, 269; The Ground Plan, 270; The Outer Row
of Columns, 271; A Cella, 271; The Goddess Diana, 272;
Marble Steps, 274; The Side Steps, 276.
CHAPTER XXIV
HANGING GARDENS OF BABYLON 279
The King’s Wife, Amytis, 279; The Foundation, 280; To
Make the Twelve Openings, 281; The Babylonian Arches,
283; Last Platform, 285; To Find the Centre, 285;
Planting Shrubs and Trees, 287; Building the Steps, 289;
Stone Broad-fronted Bulls, 293; Two Statues, 294; The
Shrubbery, 297.
PART III
THINGS TO MAKE FOR HOME, GIFT DAYS AND FAIRS
CHAPTER XXV
NEW CHRISTMAS DECORATIONS 303
Paper, 303; Holly, 304; Holly Berries, 307; Wreaths, 310;
For Mistletoe, 310; Stems, 311; Ropes of Evergreen, 312.
CHAPTER XXVI
DOLL HOUSE OF PASTEBOARD 315
Windows and Doors, 316, 317; Doorknobs, 317; Window Glass,
318; Window Sash, 319; The Frieze, 322; A Rug for the
Living Room, 323; Book Shelves, 324; Tissue Paper
Curtains, 324.
CHAPTER XXVII
THE MAKING OF A BAYBERRY CANDLE 326
Bayberry Bushes, 326; The Leaves, 329; The Berries, 330;
Ready for the Candles, 330; Bayberry Wax, 331; Candle
Moulds, 331; Candlewicks, 334.
CHAPTER XXVIII
WATER TOYS—LITTLE WAX PEOPLE THAT SWIM AND RIDE ON RAFTS 338
Patterns for the Little People, 338; A Toy Life Rope, 340;
The Bathing Place, 341; For the Raft, 341; A Little
Lumberman, 344; Launching the Raft, 345; Making the
Mermaid, 345.
CHAPTER XXIX
HOW TO WEAVE WITHOUT A LOOM 349
Method Invented by the Author, 349; A Weaving Board, 349;
Directions for a Blue and White Cotton Rag, 350; To
Weave, 352; To Lengthen the Warp, 353; To Make a Heavier
Rug, 357.
CHAPTER XXX
HOW TO MAKE YOUR OWN EASTER CARDS AND GIFTS 358
[8.6] Cards Representing Easter Flowers, 358; The Cross,
360; The Tulip Bud, 361; The Dainty Bloodroot, 363;
Easter Egg Card, 363; Easter Bells, 364; To Make the
Turtle, 366; The Pig, 367; The Spoon, 368; An Umbrella,
369; The Doll’s Chair, 370; Strawberry, 371; Doll’s
Cradle, 372; Bird’s Nest, 373; Sail Boat, 373; Napoleon,
375; Josephine, 379.
CHAPTER XXXI
HOME-MADE CANDLESTICKS 385
The Clay, 385; Modelling Tools, 387; Strong Table, 387;
China Saucer, 388; A Close Coil, 389; The Handle, 393;
Blending of Decoration, 394; How to Preserve Unfinished
Work, 395; Glazing, 395; Other Methods of Coloring
Pottery, 396.
CHAPTER XXXII
WHAT TO MAKE OF BANANAS, ORANGES AND APPLES 399
An Orange-skin Coracle, 400; A Canoe Made from a Banana
Skin, 401; Apple Lantern or Fairy Lamp, 403.
CHAPTER XXXIII
LITTLE PAPER COLUMBUS AND HIS PAPER SHIP 405
Columbus’s Ship, 406; To Make the Mizzenmast, 408; The
Bowsprit, 408; The Forward Deck, 409; Deck-Fence, 410;
A Spar, 410; The Mainmast, 411; The Sails, 411; A Paper
Flag, 412; Main-Topsail, 412; Crow’s Nest, 412; The
Jigger Sail, 413; Wigwams, 416; Ferdinand and Isabella,
417.
CHAPTER XXXIV
HOW TO MAKE FRIENDS WITH THE STARS 418
Ursa Major, 418; Ursa Minor, 420; A Fairy Tale about the
Starry Bears, 421; Cassiopeia, 421; Leo, the Lion, 422;
Northern Crown, 423; Castor and Pollux, 423; Orion, 424;
Taurus, 425.
CHAPTER XXXV
STENCIL PAINTING AND HOW TO MAKE THE STENCILS 426
Dyes, 426; A Portière, 427; To Make a Design for
Stencilling, 428; Stencilling Cheese-cloth Curtains,
433; The Tassels, 435; Laundering, 438.
PART I
PARTIES, SHOWS, AND ENTERTAINMENTS
CHAPTER I
A FOURTH OF JULY LAWN FROLIC
THIS is not to be a formal lawn party, but a genuine, fun-provoking
Fourth of July frolic with every one in comfortable dress appropriate
for active games. There is to be no dancing, no tennis, nothing in the
way of ordinary entertainment except, perhaps, the refreshments, and
they too should be as nearly in keeping with the day as possible.
Prepare your guests for something novel by issuing your invitations in
the form of giant firecrackers.
=Decorate Your Grounds=
and make them as festive as possible with fluttering flags, floating
streamers, red, white, and blue bunting, and Japanese lanterns. Also
provide a number of small flags, one for each guest, to be worn in the
hat, hair, belt, and buttonhole. This little touch of uniform will
not only make the scene gayer and more exhilarating, but, like badges
of an order, will have the effect of dispelling the stiffness of new
acquaintances, and bringing the party closer together as members of one
band of merrymakers.
=For the Giant Firecracker Invitations=
you will need several sheets of bright red tissue paper, more of white
tissue paper, and some white unlined writing paper. A ball of soft
white cotton string will also be required.
[Illustration: Fig. 1.—Lay the paper cylinder on the red tissue paper.]
Cut an oblong of red tissue paper, a circular piece of white tissue
paper, and a square of writing paper for each invitation. Make the red
oblong six inches long and three inches wide, the circle six inches in
diameter, and the writing paper four inches square. Of the paper square
make a cylindrical roll that will measure about three-quarters of an
inch across the end. The easiest way to do this is to roll the paper
on a candle, keeping the end edges even, and paste the side edge down
while still wrapped around the candle. Pull the candle out of the paper
and you have a perfect cylinder. Place the paper cylinder on the red
tissue paper oblong so that there will be an even inch of red paper at
each end (Fig. 1). Paste one long edge of the red paper to the cylinder
and roll it on the table, bringing the opposite edge up smoothly, then
paste that edge also in place (Fig. 2).
[Illustration: Fig. 2.—Cylinder in red paper cover.]
Now prepare and write the note of invitation to be put in the
firecracker envelope.
=With Short Brush Strokes,=
from inside to edge, paint an irregular band of blue, half an inch
wide, around the edge of the tissue paper circle, using water colors
for the purpose. Write the invitation with red ink around the circle
just inside the blue border, or straight across above and below the
centre.
Although the party is to be informal, a note written in the first
person does not harmonize with the impersonal nature of a firecracker,
therefore it is better to word the invitation something like this:
Miss Mary Brown requests the pleasure of the Misses Green’s
company at an informal lawn frolic on Wednesday, the Fourth
of July, from four to six o’clock. Active games.
[Illustration: Fig. 3.—The note of invitation looks like this.]
When the ink is quite dry pinch the paper together at the centre,
making it look something like a paper flower, twist it a little, and
tie on the point a piece of the white cotton string. The string should
be about ten inches long and must be tied at the middle (Fig. 3). Drop
one end of the string through the cylinder and, taking hold of the
end, draw the invitation into its envelope. Crush in the extra red
paper at each end until it fills the opening and leaves the string
extending from the centre (Fig. 4). Write the address and the words,
“Pull the long string,” on the outside of the now almost perfect giant
firecracker, and deliver by hand, for such an invitation would be
broken and spoiled in going through the mail.
[Illustration: Fig. 4.—Giant firecracker with invitation inside.]
The following
=Order of Entertainment=
is well adapted to the Fourth of July lawn frolic:
Out-of-door Pantomime Charades.
Shuffle Race.
Hurling the Lance.
Daylight Fireworks.
The programme opens with the not too vigorous game of
=Pantomime Charades.=
This will give all the opportunity of taking part and alternately
acting and resting. Stake out the four corners of your stage with
groups of flags, driving their sticks into the ground to hold them
upright. Provide seats for the audience in front of the stage and at
the back or side arrange a screen as dressing and green room for the
actors.
[Illustration: Making Hay While the Sun Shines.]
Divide the party into two sides of equal numbers and let the first
side choose a proverb to be acted out in pantomime and guessed by the
opposite side, which is taking the part of audience. When the proverb
is guessed the actors must retire and the other side take the stage.
If the subject of the first charade is not guessed the same side must
present another proverb, putting new actors in the place of those who
have just taken part. Not a word must be spoken in the charade, but the
actors must make their meaning as clear as possible by good acting.
Our first illustration shows the out-of-door pantomime charade in
progress. The proverb is: “Make hay while the sun shines.” This
requires but one act as the first part, “Make hay,” and the last part,
“while the sun shines,” are both represented. Making hay is acted out
and that the sun is shining is implied by the quaint sunbonnets and
wide-brimmed hats worn by the actors.
=The Costumes Are Impromptu,=
and may be prepared in a few minutes. The odd and most charmingly
becoming bonnets, somewhat resembling Dutch caps, are made of
newspapers, pinned in shape. The men’s wide-brimmed hats are simply
ordinary hats with wide brims made of wrapping paper. Black derby hats
were worn on this occasion, but straw hats are better. The girls’
dresses are turned up in front and pinned at the back. If checked
gingham aprons are worn looped up at one side they will add to the
color effect of the costume.
=To Make the Sun-bonnet,=
take one folded sheet of a newspaper and turn the folded edge back four
inches (Fig. 5). Fold down the corners like Fig. 6, put it on the head,
bring the straight edge together at the back and pin it with a large
pin. Bend out the laps at the sides and you have made Fig. 7; Fig.
8 gives the pattern of the boy’s hat. Cut a large circle from rather
stiff, new wrapping paper; press it down upon the top of the crown of a
man’s straw hat; crease it along the edge of the crown, then cut a hole
in the centre two inches within the creased line. Slash from the inner
edge to the creased line as shown in Fig. 8, fit the paper brim over
the crown of the straw hat and pin in place to the hat band.
[Illustration: Fig. 5.—Fold the newspaper for the bonnet like this.]
[Illustration: Fig. 6.—Fold down the two corners.]
High peaked hats, wide collars, and even short capes may be quickly
manufactured from paper and the effect of the impromptu costume is
marvelously good.
[Illustration: Fig. 7.—A most becoming newspaper bonnet.]
[Illustration: Fig. 8.—Cut the boys’ hat brims like this.]
=The Shuffle Race,=
next in order, is new and it is funny. Its requisites are, for the
girls, short skirts, held well above the ankles, and low shoes or
slippers many times too large, worn over ordinary shoes. Unless the
foot can be lifted out of the shoe without touching it with the hands
the shoe is too small. For the boys you must provide the largest sized
slippers obtainable, having uppers only at the toes.
The course should be about one hundred feet over a smoothly shaven
lawn. The contestants must stand in line at the starting point and
at the word “go,” start off on the race, shuffling along as fast as
possible. The boys have no advantage over the girls in this game,
for it is no easier for one to cover the distance quickly, shuffling
along in the large shoes, than for the other, and both look equally
ridiculous in their absurdly frantic efforts to win the race.
After resting from the shuffle race allow your guests to try their
skill at
=Hurling the Lance.=
From the limb of a tree have suspended five or six feet from the ground
a small wooden hoop, about eighteen inches in diameter, covered like a
drumhead with white tissue paper.
Provide each player with a round, green, tapering stake, white tipped
and five feet long—the kind used for propping up plants. On the blunt
end of each stake, or lance, should be tied streamers of red, white,
and blue, which will make streaks of color as they are sent hurtling
through the air.
[Illustration: Hurrying Along in the Shuffle Race.]
Clear the space on the far side of the hoop that no one may be hurt
by the falling lances, then have each player in turn throw his
or her lance with the object of piercing the paper and sending the
lance entirely through the ring. Each player may have three trials in
succession, and unless her lance passes through the hoop at least once
she is counted out. There are three rounds and the player wins who, at
the end, has succeeded most frequently in sending her lance through the
hoop.
Let the farewell be a
=Burst of Daylight Fireworks.=
Strings of firecrackers stretched from tree to tree, bunches hidden
under barrels, harmless torpedoes for your guests to explode, and any
other fireworks that do not need darkness for a background may be used.
It is a good idea to make
=The Balloon Ascension=
an especial feature of the display. In the early days of our country
“Independence Day” was not to be thought of without a balloon
ascension, and the time-honored custom may be observed, but in a new
way. This part of the programme should come as a complete surprise, and
all the preparation for it be kept secret, that none of your guests may
suspect what you have in store for them. The old observances always
included a patriotic speech, and that, too, should form a part of the
ceremony, being used as an introduction to the balloon ascension. You
may make the speech yourself or get some one to do it for you, but in
either case let it be quite short. Balloons should not be mentioned,
but in some way the old Grecian myth of Pandora and her wonderful box
must be brought in.
=The Myth=
can be used quite appropriately and effectively for, as you will
remember, it was to punish Prometheus, and mankind in general, for
stealing fire that Zeus commanded Hephæstus to form from earth this
most beautiful Pandora, in order that by the charms with which the
other gods endowed her, she might bring trouble and vexation upon them.
It does not appear to have been altogether her charms, however, that
worked the mischief, for we are told it was curiosity that induced her
to open the box, or cask, which was filled with winged blessings for
men, thus allowing all of the blessings except hope to escape. As the
remarks are being brought to a close have your
=Pandora Box=
carried out and placed in front of the speaker.
In this case the box is to be a good-sized sugar-barrel, wrapped in
flags, or red, white, and blue bunting, and having a lid that is easily
lifted. With the final words let the speaker step forward and suddenly
raise the lid of the barrel. This will set free not the things that
were in the original Pandora box, but a number of gas-filled, rubber,
toy balloons, that will burst out like a volley of fireworks, for a
moment filling the air with color and movement, then sailing upward and
away to finally disappear from view in the blue sky overhead.
In preparing your Pandora box choose a barrel that is perfectly smooth
inside, without long splinters or nails to pierce the fragile balloons.
Then see that the cover has a handle or knob by which it can be lifted.
A spool fastened on with a screw will serve very well and is easily
grasped by the hand.
=The Balloons=
are the kind one sees for sale on the streets tied in great bunches by
their long strings. Red is the most common color, but sometimes they
vary. Frequently there are white ones with red or yellow lettering and
bands, and again, just before the Fourth, red, white, and blue ones may
be found. Have all the colors possible, and crowd in as many as the
barrel will hold, cutting the strings off close to the balloons that
they may not become entangled, and taking great care that they do not
escape, like the blessings, before their time.
[Illustration: CIRCUS
THE MODERN TRIUMPH
CONTINUOUS PERFORMANCES—NOVEL FEATURES
MADEMOISELLE ROSEBUD
_IN HER_
THRILLING AND DARING HORSEBACK FEATS
UNPARALLELED TRICKS
_OF_
BOB, THE TRAINED ELEPHANT
_COME AND SEE_ ==== _FUN FOR ALL_
DON’T MISS THE SHOW]
CHAPTER II
A WONDERFUL CIRCUS AT HOME WITH MOVING ANIMALS
MAKE your poster as nearly as possible like the one on the opposite
page. Paint the lettering in gay colors on a big sheet of paper and a
day before the show tack it up in a conspicuous place where all the
family will see it, for, of course, your show must have an audience,
and if you follow out all directions very carefully it will be well
worth seeing.
Have your circus on top of a large table, or on the floor, or out of
doors on the bare ground. Almost any place will do where there is a
good-sized level surface.
Make the circus ring about forty inches in diameter, outline it with
chalk and cover the marked line with either sawdust or dry corn meal
built into a narrow ridge similar to that of earth around the large
rings; then your circle will look just like the ring of a real circus.
Be sure to have some kind of music at your show, if only music on a
comb. Place a piece of paper over the comb and play a lively march. Let
all the music be sprightly and gay.
Following the method given for making the horse and elephant, you can
make various other moving animals.
Fig. 9 shows
=Mademoiselle Rosebud=
standing firm and upright without the slightest tremor as her Kentucky
charger leaps high in the air over an outstretched banner.
Fig. 10 gives the pattern of the horse and rider, which you can trace
on stiff cardboard, not too heavy. If enlarged to twice the size given
they will be more imposing, but this is not necessary, as the size of
pattern is very good.
When outlined cut out the design, let the horse remain white, and with
pen and ink draw the lines which give him form, shaping the head and
neck, and separating the legs, as in Fig. 9.
[Illustration: Fig. 9.—Making the high jump.]
[Illustration: Fig. 10.—Pattern of horse and rider.]
Paint Mademoiselle’s face, arms, and neck flesh color; her waist,
skirt, stockings, and slippers light blue; make a full double
tissue-paper skirt of the same color by gathering a strip of
light-blue tissue paper through the lengthwise centre, folding the
edges together and tying this double skirt around the little lady’s
waist. Cut a narrow strip of the same blue paper and fasten one end
around each wrist that it may float freely in the air as she gallops
around the ring.
=To Give the Horse Ability to Move,=
pierce four holes through the body with a large needle, as in Fig.
10. Be sure to have the holes in the right places that the horse
may balance perfectly; then when the threads are in position there
will be no difficulty in making the horse stand and walk alone, as a
well-trained steed should.
Use four pieces of strong black thread, all of the same length, about
forty inches, for leading the horse. Tie all four ends of the thread
together, and make a large knot in each strand seventeen inches from
the joined ends. Run each thread through a separate hole in the body
of the horse. Slide the horse against the knots tied in the thread and
then tie a second knot in each thread close up to the other side of the
horse.
Be very particular about these knots; they should rest against the body
of the horse, that the animal may be firmly inserted between eight
knots, four knots tight up against each side of his body. Sew a tag of
black tape on the thread where the ends are tied together and pin the
tag down to the floor in the centre of the circus ring.
=Tie the Ends=
E and F (Fig. 11) together and fasten them to a piece of pasteboard;
do likewise with the ends of the threads G and H, then hold the two
threads which are near the front of the horse, E and F (Fig. 11), in
one hand and the other two threads, G and H, in the other hand while
you walk slowly around the outside of the ring, allowing little Rosebud
to ride demurely around in a circle, as such performers always do when
they first enter a real circus ring.
[Illustration: Fig. 11.—Threads showing how to make the horse dance.]
After the audience has been duly impressed by the novel sight of a
paper horse and rider moving, apparently without aid, around the ring,
the black threads being practically invisible, let the horse stand
alone while you bring out two or three brightly colored tissue-paper
banners, with each end of each scarf pasted on the top of a spool.
Place the banners at various distances around the ring; then again take
up the threads and
=Make the Horse Run and Jump Over Each Banner.=
This done, remove the banners and let the horse with his pretty rider
dance around the ring, sometimes on his hind feet, as in Fig. 12, and
again on his fore feet (Fig. 11), while little Rosebud easily retains
her footing, looking more than ever like a real circus rider.
[Illustration: Fig. 12.—Horse and rider dancing around the ring.]
[Illustration: Fig. 13.—Pattern of Bob the elephant.]
Fig. 13 gives the different parts of
=Bob the Wonderful Elephant.=
Make them all of stiff cardboard and larger if possible than the
diagram; then with pen and ink draw the ears, eyes, and tusks (Fig.
14); waterproof drawing ink is best for this purpose, but common ink
will do. When the ink is dry give all parts, except the tusks, a light
wash of India ink, to turn the animal a natural dull gray color. With
black thread fasten the leg A on the far side of the elephant, running
the thread through the hole A in the elephant and tying the thread
into a large knot on the leg, then making another knot on the near
side of the body; the leg and body are fastened to each other in
this way between two knots of thread. Have the pieces close together,
but loose enough to allow the leg to move easily. Attach the next leg,
B, on the near side of the body at the hole B. The leg C goes on the
far side of the body at the hole C, and the leg D on the near side at
the hole D. The legs A and C are on the far side, and B and D on the
near side of the animal (Fig. 14). Sew one end each of two strands of
black thread to a small piece of black tape. Make a large knot in each
thread, eighteen inches from the tape, run the free end of each thread
through one of the two holes high on the elephant’s body (Fig. 13), and
slide the elephant on the threads close to the knots. Make other knots
on this side of the body, in the same way you managed the Kentucky
charger, then pin the tape to the centre of the ring and
=Start Your Elephant on a Walk=
around the ring.
[Illustration: Fig. 14.—“I’ll walk.”]
[Illustration: Fig. 15.—“Won’t go another step.”]
[Illustration: Fig. 16.—“See me sit up.”]
[Illustration: Fig. 17.—“I can dance.”]
If the horse and rider interfere, take them away and let the
unparalleled animal have the field to himself. When Bob goes around the
ring he always gets tired and draws back, declining to move another
step. Make him do this by gently pulling the back thread backward. Bob
is very comical when assuming this pose (Fig. 15). Raise the front
thread and the little fellow will sit up (Fig. 16). Slowly and
gently raise both threads a trifle and Bob will begin to dance (Fig.
17). Raising the back thread a little, not enough to take his foot from
the ground, and at the same time lowering the front thread, will cause
Bob to crouch and crawl along (Fig. 18). Fig. 19 shows Bob when he is
in a hurry. Make this by lowering the front thread of Fig. 18.
[Illustration: Fig. 18.—“I am coming.”]
[Illustration: Fig. 19.—“Hurry! Get out of the way.”]
[Illustration: Fig. 20.—“Here goes.”]
[Illustration: Fig. 21.—“How is that?”]
[Illustration: Fig. 22.—“Difficult, but I can do it.”]
=Now Stand a Spool in the Ring=
raise the clumsy little fellow up on his feet and walk him over to the
spool, where he will naturally rest one foot on top while he takes a
long breath before climbing up (Fig. 20). Move the threads carefully
and the elephant will climb on the spool (Fig. 21). Lift the back
thread, and Bob will slowly and cumbersomely raise up until he balances
himself on one fore foot on top of the spool (Fig. 22). By cautiously
moving the threads you can make the elephant lower himself and step
down and off (Fig. 23). When the animal is entirely off the spool,
raise up and back the front thread and he will sit down upon the top of
the spool to rest (Fig. 24). Without any trouble Bob can stand erect on
the spool, as in Fig. 25.
[Illustration: Fig. 23.—“I’m coming down.”]
All the poses given were taken direct from those actually assumed by
Bob while he performed to the accompaniment of music, when rehearsing
to a small but appreciative audience, preparatory to appearing before
the public in print. The Kentucky charger also went through all his
acts to the same music.
[Illustration: Fig. 24.—“Must rest.”]
Remember to mark and color the wrong side of each figure as it should
appear, so that the animals and rider may look well from all sides of
the ring.
[Illustration: Fig. 25.—“Just balance like me.”]
The horse can go rapidly, but the elephant, to be lifelike, must move
slowly. When the circus is over roll the threads on their respective
pieces of cardboard and bits of tape to avoid tangling them, and have a
box ready in which the animals may lie flat until again needed.
This little circus will make a fine parlor entertainment, or would
do admirably as a side show at your next fair, when a small extra
admission could be charged and wee glasses of lemonade and tiny popcorn
balls passed around to the audience in true circus style.
CHAPTER III
A NOVEL EASTER PARTY WITH NEW EASTER GAMES
THERE are no end of delightful things to do at an Easter party, and
every game may be in keeping with the season.
The game of
=Egg Tennis=
is particularly pretty. As you play this new Easter game, showers of
color will fill the air, sometimes descending in sparkling bits of
orange, again reds, then greens or blues, yellows or purples, with
all their beautiful tints. Quivering and shimmering, down the colored
rain will fall, lightly covering your hair, clothing, and surrounding
objects, while you stand, racket in hand, watching the result of your
stroke. Your companions, seeing your success, will be eager to try
their skill, also, with one of the pretty magic eggs. These colored
showers do not even look wet, and they will not injure the most
delicate of fabrics, for they are composed of countless bits of bright
tissue paper.
=The Number of Eggs=
needed for the game depends upon the number of players. There should
be three eggs provided for every two players. In case the first player
succeeds in breaking two eggs in succession, the third egg will not be
used during the game, but may do duty at another time in another game.
Should the first player fail in breaking the second egg, then all three
eggs will be required.
[Illustration: Fig. 26.—Carefully bore a hole in each end of the shell.]
[Illustration: Fig. 27.—Fold the paper like this.]
[Illustration: Fig. 28.—Cut the paper in fringe like this.]
=How to Prepare the Eggs=
Select eggs as nearly of a size as possible; take one egg at a time
and with a very coarse needle carefully bore a hole in each end by
pressing the point of the needle against the shell and then turning the
needle around and around until a little hole appears. Be very careful
when boring not to press the needle with too great a force, as there
is danger in so doing of cracking the shell and rendering it useless.
When both holes are made, increase the hole on the large end of the egg
until it is about as large around as the head of a common hat-pin (Fig.
26), then place the small end to your lips and blow out the contents.
[Illustration: Playing the New Easter Game of Egg Tennis]
[Illustration: Fig. 29.—Cut off the ends of the fringe.]
[Illustration: Fig. 30.—Gilt paper disk.]
[Illustration: Fig. 31.—Fold the disk through the centre.]
[Illustration: Fig. 32.—Fold the disk a second time.]
[Illustration: Fig. 33.—Fold once more.]
[Illustration: Fig. 34.—Cut out the point.]
=After the Shells Are Emptied=
leave one white and color all the others, making each shell of a
different color. When this is done, allow the inside of the shells
to become thoroughly dry; then fill them with pieces of tissue paper
cut in small squares a quarter of an inch or less in size. These can
be quickly made by folding the tissue paper like Fig. 27 and cutting
it into strips of fringe (Fig. 28); then cutting off the ends of the
fringe little by little (Fig. 29). Fill the red egg-shell with bits
of red paper, the yellow shell with yellow paper, and so on, making
=The Shower of Paper=
in each egg-shell correspond to the color of the shell. Fill the white
shell with squares of white tissue paper, and when the shell breaks in
mid-air, the shower will resemble the dainty petals of cherry blossoms
as they fall when shaken from the trees by a light breeze. The effect
is very pretty, calling to mind the Feast of Cherry Blossoms in Japan,
when the girls and boys accompany their elders to see the cherry trees
in full bloom.
=Cut Gilt Paper Disks=
two inches in diameter (Fig. 30); fold each disk through the centre
(Fig. 31), then fold again crosswise through the middle of the first
fold (Fig. 32). Fold once more (Fig. 33), and, following the dotted
lines on Fig. 33, cut the points as shown in Fig. 34 and you will have
the eight-pointed star (Fig. 35). While the point is still folded with
a sharp pair of scissors clip off the point (A, Fig. 34). This makes
the hole in the centre of the star (B, Fig. 35). Through the hole in
each star thread the two ends of a strong string. Cover the under side
of the star with paste, separate the two ends of the string and hold
them down on each side of the egg (Fig. 36), then draw the star down
on to the shell over the strings, and press tightly in place until the
paste holds (Fig. 37). Clip off the ends of the string that extend
below the star.
[Illustration: Fig. 35.—The star unfolded.]
[Illustration: Fig. 36.—Hold the two ends of the string down on each
side of the egg.]
[Illustration: Fig. 37.—Draw the star down and press tightly in place.]
When the paste is quite dry and the paper firmly attached to the shell,
=Hang One of the Eggs=
directly in the middle of a wide doorway so that the egg will be about
as high as the shoulders of the players. If there is a curtain pole in
the doorway tie the string to the pole; if not, drive a tack on top
of the door frame and suspend the egg from that. Where the doorway is
quite wide, like the old-fashioned doors between two parlors, two eggs
may be hung and four players take part at one time. In that case you
will need four rackets; ordinarily two rackets are sufficient.
=Make the Rackets=
of flat rattan, taking two pieces, twenty-seven inches long for each
racket. Soak the rattan to make it pliable, then bind the two pieces
together with string as in Fig. 38. Bend the now double rattan to form
a loop, bring the four ends together and wrap them into a straight
piece for the handle (Fig. 39).
[Illustration: Fig. 38.—Bind the two pieces of rattan together.]
[Illustration: Fig. 39.—Bring the four ends together to form a loop.]
Lay the frame you have just made down on a large piece of strong
writing-paper and mark a line on the paper one inch from and entirely
surrounding the outer edge of the frame down to the handle. Draw
another line close to the outer edge of the frame, then cut out the
design along the outside line. Slash the edge up to, but not across,
the remaining pencil line (Fig. 39). Cover one side of the slashed
border with paste or glue, and, again placing the frame on the paper,
turn the flaps, one at a time, over the edge of the frame and attach
them firmly to the frame and to the inside of the paper (Fig. 40). When
the paste is perfectly dry, make another paper cover in the same manner
and paste its slashed edge over the frame on top of the first, putting
one cover directly over the other and so making it double; this will
make the racket quite strong and firm.
[Illustration: Fig. 40.—Turn the flaps of the border over the edge of
the frame.]
[Illustration: Fig. 41.—Finish with a bow of ribbon.]
Wind a strip of paper one-half an inch wide around the handle, pasting
it as you wind, and turn the end of the paper up over the end of the
handle (Fig. 40). Finish with a bow of ribbon, tying it on where the
handle joins the racket. Fig. 41 shows the completed racket right side
up.
=The Game of Egg Tennis=
is played in couples, and the object is to break the egg-shell and send
the paper rain flying in the air. The sport is adapted to all ages,
from the little child scarcely large enough to wield the racket to
grown girls and boys, and even older people will become excited as they
try to strike the fragile toy.
The players must stand facing each other at equal distances from and
on opposite sides of the suspended egg. The distance is decided by
swinging the egg and then placing the players within easy reach of it
before it swings above their heads. This is done by the umpire, who
takes charge of the game and decides any disputes.
Promptly at the signal,
=“Ready,”=
given distinctly by the umpire, the player who has been appointed
starter gently swings the egg outward toward her opponent, and the egg
is then “in play.” The other player immediately tries to strike the
egg with her racket, using sufficient force to break the shell or send
it flying swiftly toward the first player, who in turn promptly hits
or misses the egg. Whether struck or not, the egg will return to the
other player, who will surely be able to strike it the second time it
comes to her, if not the first. And so the egg is kept swinging rapidly
back and forth between the two players until the shell is broken. With
the breaking of the shell comes the beautiful shower of tissue paper
which is sent flying through the room by the stroke, and the player who
releases it wins a point in the game.
=When the First Egg is Broken=
a second one must be put in its place, and the unsuccessful contestant
has another opportunity to make good her record, playing with the same
opponent. If the breaking of the second egg proves a tie—that is, if
it is broken by the player who was at first unsuccessful—a third egg
must be suspended and the same couple continue to play until that,
too, is broken. Then the unsuccessful player drops out of the game, and
the winner of two points to his opponent’s one steps aside to await
his final play after the other couples have had their turn. Should one
player win two points in succession the third is not played, for two
points lost sends a player out of the game.
When all the couples have played, the successful competitors alone
remain in the game. These form new couples and play as before, each
in his order. This time there is but one egg for each couple, and the
player who fails to break the shell must withdraw, giving his place to
the next player, while the successful one holds his place until another
breaks the egg. In this way but one player comes out victorious.
When space allows two eggs to be hung in the doorway and two couples
take part at the same time, there must be two umpires, one for each
couple, for in the excitement of the fray, one person cannot watch all
the play.
RULES OF THE GAME
1. The umpire may not take part in the game while acting as umpire. She
shall keep tally and decide all questions which arise regarding the
game.
2. The egg shall not be struck except with the flat face of the racket.
3. When an egg is broken by striking against the surrounding woodwork,
or in any other manner other than with the face of the racket, it
counts one against the player who made the stroke and scores one for
his opponent.
4. Two points scored during one play declares the successful competitor
the victor.
5. A play consists of any number of trials until the two eggs are
broken.
6. Two eggs shall constitute a play when there is no tie; in case of a
tie there shall be three eggs.
Butterflies as well as eggs are appropriate for Easter and the
=Butterfly Game=
will come in well as second on your programme.
All the girls are butterflies in this game and all the boys are
collectors. The collectors are stationed in different parts of the
room and stand some distance, at least six feet, apart. They may not
move their feet to step in any direction, but, standing in one spot,
may reach out on all sides with their hands as they try to catch the
butterflies flitting past them.
=Each Butterfly=
must lift the skirt of her dress with both hands and move it back and
forth as she flies among, around and between the collectors. This
moving of skirts as mimic wings makes the game appear very pretty
to the onlookers, and the collectors find it difficult to grasp the
fluttering draperies.
=It is the Part of Every Collector=
to catch as many butterflies as possible and as each butterfly is
caught she must stand close behind the collector to whom she belongs.
The second captive stands behind the first with her hands on the
shoulders of number one. The third takes her place behind number two
with her hands on the shoulders of number two and so on to
=The Last Captive=
The game becomes exciting when but one free butterfly is left, darting
about, skilfully evading the outstretched hands of the collectors, each
intent upon capturing this last and greatly valued prize. For in the
count the last butterfly captured is equal to two of the others.
The game ends when all are caught and the winner is he who possesses
the greatest number of butterflies, counting the last one caught as two.
=The Magic Dye Kettle=
will be a unique, amusing and mystifying feature in the entertainment
of your guests. For this some preparation is necessary.
First you must have the tinsmith remove the bottom of a new,
inexpensive, tin kettle, one that has a lid to fit and will hold
several quarts. Then in the bottom of a square wooden box, about as
large as a small table, have a hole cut a trifle smaller than the
bottom of the kettle. Knock out one side of the box, stand it bottom
side up so that the round hole will be on top, place it in the position
it is to occupy, and throw over it some kind of a cover which will
reach to the floor and hide the box completely on all sides. In this
cover you must cut a hole to fit the hole in the box, and place the
hole in the cover directly over the hole in the box. Place the lid on
the kettle and stand the kettle over the hole and it will appear to be
merely sitting on the table, as there will be nothing to indicate the
opening beneath.
=Under the Box,=
ready for use, place a shallow tin pan larger around than the bottom of
the kettle, and cover the bottom of the pan with sawdust; also place
under the box a basket filled with hard boiled eggs of various colors,
three eggs of each color.
In another part of the room have ready another basket containing the
same number of hard boiled eggs but all uncolored.
While the Butterfly game is in progress let some one who is in the
=Secret of the Magic Kettle,=
hide under the improvised table and at a given signal lift the shallow
pan and hold it tightly under the hole in the box.
Explain to your guests that you have for the occasion a magic kettle,
which, while they wait, will color eggs for them without water and
without heat. Pass around the basket of uncolored eggs and invite each
one to take an egg. Tell three members of the party to decide upon a
color they wish their eggs dyed (all three must be the same color)
then, as you raise the lid, to shout the color in unison, and carefully
place their eggs in the kettle.
As soon as the eggs are in quickly replace the lid and wave your hands
back and forth over the kettle. Apparently you will be working a charm,
but in reality you will be keeping the too curious from taking a peep
into the kettle to see what process is going on.
When the uncolored
=Eggs are in the Kettle=
and the lid is on, your assistant underneath must gently and without
the least noise lower the pan she is holding, and in which the eggs
have been deposited, remove the uncolored eggs and substitute three
others of the color she has heard wished for. Then lifting the pan she
must again hold it close under the kettle until
=The Colored Eggs are Taken Out=
and three more put in to be dyed.
Give your assistant several minutes to make the exchange of eggs,
then lift the lid and allow the eggs, so quickly and so marvellously
colored, to be lifted out by their owners.
When all the eggs have been dyed lead your guests from the room without
allowing any investigation of the workings of the magic kettle and
while they are out have box, kettle and eggs taken away so that the
charm of mystery may not be broken.
CHAPTER IV
A DOORWAY PUNCH AND JUDY SHOW
EVERYBODY laughs when he sees Mr. Punch, with his funny long nose, and
his wife Judy in her frilled cap. The show is all fun, every bit of it;
even the little baby seems to understand and appears actually pleased
when Punch and Judy toss him back and forth, as they might a rubber
ball. When the infant happens to fall, he is never hurt; the accident
is but a good joke and part of the sport. One great charm about the
show is, that you can make Punch and his family do exactly as you
please and say exactly what you want them to say, for so long as you
are showman they yield implicit obedience to your will.
The only material necessary for
=The Stage=
will be a piece of plain solid-colored cloth, which must reach across
an open doorway, be tacked upon each side and extend down to the floor,
where it should be again fastened that there may be no danger of its
blowing aside. Put this curtain up high enough in the doorway to reach
a trifle above your head, for you must be completely hidden from the
audience. The full-page illustration shows the back of the stage and
gives the manner in which Punch and his family are made to move about
in the opening between the top of the doorway and the curtain. It is
this opening which constitutes the stage. The illustration also shows
a band of cloth stretched across the extreme top of the doorway, and
short side curtains added to the outside of the stage to improve its
appearance.
[Illustration: Fig. 42.—Draw Punch’s head like this.]
=To Make Punch’s Head,=
cut a piece of unruled white writing-paper eight inches long and five
inches wide, to allow a generous margin, and on it draw Fig. 42, making
the head 6 inches across one way and 4 inches the other. Paste a strip
of thin cloth over the neck which includes the entire space between the
four corners marked A-A-A-A, and over this cloth paste two more cloth
strips in the spaces marked B-B and B-B. The cloth strengthens the neck
and prevents it from tearing while the head is in motion. Carefully
mark the features, copying them also on the right-hand side of the
face (D). Cut out the head, including flaps, and the ears along their
outer edge. Cut the line of the chin into each side of the neck as far
as the second strips of cloth (B-B and B-B). Roll the neck until it
fits loosely on your first finger, then paste it together like a ring.
Paste the tips of each side of the nose together, also those of the
chin.
[Illustration: Behind the Scenes in the Doorway Punch and Judy Show.]
[Illustration: Fig. 43.—The top of his head is open.]
Bend the flaps at the dotted line on the edge of the face and paste the
other side of the face part way over the flaps, covering the spaces
C-C-C-C. If the head seems too narrow, bend the paper out to make it
appear wider. Roll an extra piece of writing-paper and fit it inside
the head. Be sure that the roll lies evenly and is close up against the
inside of the head; then bend out the ears, paste the paper lining in
place and paint the entire head pink except the eyes and teeth. When
the first color is dry, paint the markings on the ears red; the hair
and eyebrows, markings for teeth and the eyes black; the lips, nose,
chin and cheeks a brilliant red.
[Illustration: Fig. 44.—Make the hand in the shape of a mitten.]
The top of Punch’s head is open (Fig. 43), but we will cover it with a
high, pointed cap, and the uncovered space where the chin comes forward
beyond the neck will not be noticed when Punch is dressed, for the
double ruffle around his neck hides all deficiencies. Make each arm of
a roll of writing-paper pasted together along the edge. The roll must
be about four and three-quarter inches long. Flatten and paste together
one end of each arm, and on these flat ends draw the outline of a
mitten, which will serve as a hand; when the paste is dry, cut out the
mitten (Fig. 44). Paint the hands and arms pink.
[Illustration: Fig. 45.—Cut Punch’s dress after this pattern.]
[Illustration: Fig. 46.—Your funny old Punch.]
The arms should fit loosely over the ends of your thumb and forefinger.
Fig. 45 gives the pattern of
=Punch’s Dress=
Make it much larger, according to the dimensions given on patterns, and
let it be of soft material in very bright, gay colors. The front and
back are exactly alike, and the two pieces are sewed together at the
sides, the seams extending to within two inches of the bottom of the
skirt, leaving the sides split up that distance. Slide the paper arms
up in the sleeves and fasten them in place at the top with a drop or
two of glue. Make a wide, white double ruffle, slip it on Punch’s neck
and push it up against the head. Then gather the top of the dress so
that it will fit Punch’s neck, and fasten it on under the ruffle with
strong glue, allowing the bottom of the paper neck to extend down below
the gathered top of the dress. Make a high cap of brilliant red cloth
to fit Punch’s head; trim it with a turned up band of vivid green
edged with white and glue the cap to the head. With a stitch or two
or an elastic band fasten an inked paper lighter in his right hand to
serve as a stick.
[Illustration: Fig. 47.—Judy will look like this.]
Now slip the first finger of your left hand up in Punch’s neck, run
your thumb and second finger of the same hand in the paper arms, and
make Punch turn and twist his head while he gesticulates with both
arms. You will laugh before you know it, and be delighted with your
funny old Punch (Fig. 46).
=Make Judy’s Head=
by the pattern used for the head of Punch, but omit the ears and cut
off the ends of both nose and chin. They should not be so long for
Judy. Strengthen the neck with cloth and fasten the head together as
you did that of Punch. Make blond hair of two pieces of yellow tissue
paper pasted in narrow irregular folds on the inside of the top opening
of the head; then bring over and down on the outside as if combed
loosely over Judy’s ears. Paste the lower ends of the paper hair above
the neck on the back of the head. Paint Judy’s eyes blue. In all other
respects than the details mentioned, make Judy’s head the same as you
did that of Punch. Make her arms and hands the same, the double ruffle
for the neck the same, the dress the same cut but of contrasting
color. Cut Judy’s cap from thin white material, make it circular and
gather it entirely around, about one inch from the edge. Attach strings
of the same material, and tie them under Judy’s chin (Fig. 47).
=The Baby=
must be quite light in weight. Make it of a piece of pink tissue paper
about eight inches square. Draw the paper through your hands several
times to crush it into small folds, then, while it is crushed together,
double at the middle and wind a thread around near the folded end to
form a neck, leaving half an inch above for the head. Gather a piece of
white tissue paper around the baby’s neck to make its dress, and cut a
straight strip of white tissue paper for the baby’s cap. Lay it flat on
top of the head and bring the two ends down straight on each side of
the face. Gather the cap at the back, add strings and fasten it on the
baby’s head. Features may be marked on the face with paint, but be very
careful not to use much water with the colors, for water will melt the
tissue paper face.
=When All is Ready=
slip Judy on one hand, Punch on the other hand, and make them talk and
act to the best of your ability. Assume deep tones of voice when you
talk for Punch, and high, shrill tones for Judy; make the play short,
full of life and action, and as funny as possible. Of course, you will
have to practise with Punch, Judy and the baby in front of a mirror
before giving your show in order to see how they will look as you make
them act, and to learn just how to manage them.
=Drama of Punch and Judy=
PUNCH (_below_): Wait a minute, sha’n’t be long putting on
my new boots (_pops up singing_). Trala-la-la-la-la-la-la.
Hello, there! Watch me dance (_dances, singing a lively tune
to music; music stops and he leans down, calls below_).
JUDY! JUDY! JUDY, come here.
JUDY (_pops up_): Well, Mr. PUNCH; what do you want? I’m
dreadfully busy just now.
PUNCH: Oh! nothing, only want to know if you’d like a box of
French candy, the delicious kind that melts in your mouth;
but never mind, I can get it for you next Christmas (_Punch
turns his back and walks off_).
JUDY (_running after Punch_): Punchy-munchy, I wish I had it
now; do, Punchy, give it to me.
PUNCH (_turning_): You must give me a kiss first (_they hug
each other and have a merry time dancing and singing to
lively music_).
JUDY: Oh! Oh! I forgot the baby. I’ll go and get him
(_disappears_).
PUNCH (_calling after her_): Well, hurry up, and don’t
forget our dog Toby (_calls_). Toby! Old dog Toby—come
and jump over my stick (_bangs his stick about, striking
everything, accidentally strikes his nose_). Oh! Oh! Oh!
my poor nose, my best Sunday nose, my beautiful long nose
(_calls_). JUDY! J-U-D-Y, where’s the baby? (_Enter_ JUDY
_with baby_).
JUDY: Here, PUNCH; catch him (_tosses baby to_ PUNCH, _who
catches him; dances about, then tosses the baby back to_
JUDY, _who fails to catch him_).
JUDY: PUNCH! PUNCH! Where’s the baby?
PUNCH: Gone down-stairs. I’ll fetch him up (_disappears_).
JUDY: Just think! the little dear went down-stairs all alone!
(PUNCH _reappears_.)
PUNCH: Here’s the little darling; pity his nose is not
longer. Do you think it will grow, JUDY? (_baby cries_;
PUNCH _tosses him up in the air singing_). He didn’t dance,
dance, dance; he didn’t dance all day nor yesterday.
(JUDY _tries to catch the baby_.)
PUNCH: Take him! Now we will both sing while I keep time
with my stick. Begin, I say; quick, hurry, quick! (JUDY
_runs away with the baby while_ PUNCH _is talking and not
watching her; turning_, PUNCH _finds himself alone_).
PUNCH (_calls_): Baby! Baby! Come and see your daddy’s
beautiful nose (_baby is tossed up from below_). See! See!
my boy can fly through the air (_knocks with his stick, then
calls_). JUDY! Why don’t you come? (JUDY _appears with baby,
walks back and forth_).
JUDY: I must get this child to sleep.
PUNCH: Nonsense, I’ll amuse him (_grabs child and disappears
with him; baby heard crying, “Mama! I want my Mama!”_).
JUDY: Just listen to that (_waves her arms frantically
around and disappears_.)
PUNCH (_reappearing with a flag in each hand_): We haven’t
given you our flag dance. JUDY! girl, come along.
JUDY (_jumps up with a flag in each hand_): Hush, PUNCH,
you’ll wake the baby.
PUNCH: Now let’s dance. (_The music plays and the two
dance and sing some popular air, then together bow to the
audience, saying_:) Good-by little girls and boys, good-by,
everybody. We’ve had such a good time. Good-by, good-by.
The flags may be of home or store manufacture, but they must be
fastened on paper sticks, made like Punch’s paper-lighter stick. They
can all be American flags, or three other nations may be represented,
or each flag can be of solid color, differing from all the others, as
red, green, yellow and blue.
If a companion will help with the show by taking complete charge of
Judy while you attend to Punch, the management will be much easier, for
then you will have only one doll to make talk and act.
CHAPTER V
HALLOWE’EN MERRYMAKING
=Novel Ways of Telling Fortunes=
THIS year the annual festival of the fairies is to be celebrated with
wilder pranks and madder mysteries than for many a long season, and if
we enter heartily into the spirit of the fun and make preparations for
them, the little folks will surely reveal many secrets the future holds
in store for us.
Ask the fairies, gnomes and elves to your Hallowe’en frolic; they will
be delighted to come, though of course, you cannot invite them in the
usual fashion. Instead of writing notes, you must braid three
=Invitation Rings of Grass—=
fresh grass is best, but the dried will do—and hang the rings on bushes
(Fig. 48), or lay them on the outside window-sill, making a wish on
each grass ring as it is put into place. To insure the fulfilment of
the wish, you must not see the rings again until after Hallowe’en. The
fairy troupe will find the green circles as they come floating along
through the air on gay-colored bubbles from the magic spring waters of
Fairyland. During the last days of October fairies are always looking
for such invitations.
[Illustration: Fig. 48.—Hang the rings on bushes.]
Here are some of the ceremonies and games newly revealed to me by the
old witch who lives in the black clouds that sail southward on the
northwest wind.
=Black Cats,=
the friends and companions of witches, are wonderful creatures to
conjure with, but all cats can work a charm, and it is cats, or
preferably kittens, you must have for the first rite. There must be a
pussy in hiding for each girl and boy present at the Hallowe’en frolic.
With different colored bright ribbons tie a tinkling bell around the
neck of every cat, leaving one end of the ribbon one yard long. Seat
your Hallow-e’en guests in a semicircle around the room. Ask them to
sit quietly for a few moments, and suddenly put out the lights. With
the room in total darkness let absolute stillness ensue for a second;
then say very slowly and distinctly:
[Illustration: Kittens Telling Who Will be the First to Marry.]
“Hold out your right hand and there will come to each one of you
a disguised gnome or fairy. Be very gentle and kind to the little
creature (here pause for a moment); for if by any chance ill befall
the disguised sprite the fairies will be angry and will do nothing for
you until next Hallowe’en.” Again pause; then say: “So I caution you
once more—be kind and gentle.”
Have some one keep the kittens near by, in readiness, so that you
may lead all into the darkened room without a moment’s delay. Hold
the ends of the ribbons in one hand while with the other you take
one ribbon at a time, and as you pass along the line place it in the
outstretched hand of each successive guest, saying as you do so, “Hold
fast this magic clue.” The instant the last ribbon has been given to
a guest, turn on the lights and while the girls and boys are looking
with surprise at the little creature they hold captive and laughingly
exchanging comments, you must pin a piece of white tape on the floor
across one end of the room about four feet from the wall. Request
the guests to kneel, with their funny little gnomes, in a row on the
enclosed space next to the wall, and face the tape. Announce that there
will now take place the race of fate. Each player must hold his or her
pussy with its fore paws directly on the tape, and at a given signal
all the girls and boys must exclaim in unison, “Run!” at the same time
releasing the kittens that they may scamper away in any direction they
choose. The guests should remain stationed back of the tape line and
watch them as they scatter wildly over the room trailing their bright
streamers. No one may touch or in any way molest a kitten after the
signal has been given to let them go. The girl or boy whose pussy first
reaches the centre of the room, which has previously been marked with a
second strip of tape, will be the first to marry.
Do not wait for the other kittens to make the goal, but gather up the
little creatures and lead them away to be seen no more, or the spell
will be broken.
Old shoes possess strange and occult powers as we all know, else why
should we throw them after the coach of a newly wedded couple? So we
must have a
=Pair of Old Slippers=
After the last cat has disappeared, bring out the slippers; any kind
except toy ones will do. Place the slippers on a sheet of white paper
laid on the top of a table where all present may see.
[Illustration: Fig. 49.—Place one slipper on top of the other.]
Explain to the girls and boys that they must take one turn each in
trying their fortunes by putting one slipper crosswise on top of the
other, both right side up (Fig. 49), and while holding them so, repeat
the following verse:
These slippers I toss into the air.
Will my love be dark? Will my love be fair?
What future is mine? I pray you show
By the turning of sole or the pointing of toe!
Lift the paper and give the slippers a slight upward toss to fall on
the floor as they may, and the manner in which they reach the floor
indicates the fortune:
When both slippers land upside down and do not touch, the player will
be a great traveller and have no settled home.
When both slippers land right side up and do not touch, the player will
go on the stage.
When the right slipper is upside down, the future mate will be cross
and selfish.
When the left slipper is upside down, the future mate will be unselfish
and kind.
When the slippers are crossed there will be an early marriage.
[Illustration: Fig. 50.—Decided difference of opinion between husband
and wife.]
[Illustration: Fig. 51.—Very congenial.]
When the toes of the slippers point in opposite directions, there will
be decided difference of opinion between husband and wife (Fig. 50).
When the toes of the slippers point in the same direction, husband and
wife will be very congenial (Fig. 51).
When the soles cross, lying one on top of the other, the player will
own a gold mine.
=Cups and Bowls=
have supernatural power on this night and exercise a peculiar influence
over marbles placed under them; consequently you must get three china
cups and three marbles, a crystal (clear glass marble), a commie
(ordinary brown marble), and a china (a white marble crossed by
different colored lines).
Set three cups in a row (Fig. 52), under one place a “crystal,” under
another a “commie,” and under the last a “china.” Blindfold each player
in turn and let the girl or boy raise one of the cups. If the marble
under the lifted cup is the crystal, the husband or wife will be young
and life will be easy and full of sunshine. If it is the china, the
husband or wife will be middle aged and life will be hard but famous.
If the commie, the husband or wife will be old, and life will be filled
with adventure. The marbles must be changed into different cups after
blindfolding each player.
[Illustration: Fig. 52.—Set three cups in a row.]
As no Hallowe’en ceremonies are complete without
=The Apple,=
there must be a dish of apples and a box of wooden toothpicks.
With the apples and toothpicks you can ascertain for your guests the
nationality of their future mates.
[Illustration: Fig. 53.—You will marry an American.]
[Illustration: Fig. 54.—Your future partner will be English.]
[Illustration: Fig. 55.—Your future mate will come from France.]
Give every one an apple and a wooden toothpick. Each player may
push the toothpick in any part of the apple; the spot occupied by
the toothpick tells the fortune, but the apple must be kept in one
position, and on no account turned after the toothpick is once in. When
all have inserted the toothpicks each boy and girl in turn must hold
up his or her apple that all may see while you read the fortune.
When the toothpick stands straight and erect in the top of the apple,
the life partner will be an American (Fig. 53); if in the left side
of the apple, the mate will be English (Fig. 54); in the right side,
French (Fig. 55), in the back, German; in the front, Italian; sideways
at the top of the apple, the mate will be a West Indian; sideways
in the right side, the mate will be a Japanese; in the left side, a
Russian; in the front, Spanish. When the toothpick breaks the player
will not marry.
[Illustration: Fig. 56.—You must prepare a card like this for the
Wedding Race.]
Now comes the fun of forecasting to learn where the wedding will take
place, so prepare for
=The Wedding Race=
For this you must have a card like Fig. 56; fill in the spaces under
“The way you go” with the following words according to the numbers: (1)
Walk slowly,(2) Walk backward, (3) Walk on toes, (4) Walk on heels, (5)
Run, (6) Walk fast, (7) Skip, (8) Walk without raising feet, (9) Run on
toes, (10) Walk on toes of one foot and the heel of the other, (11) Run
on heels, (12) Walk sideways.
In the spaces under “Wedding” insert: (1) Church, (2) On shipboard,
(3) Boarding house, (4) Hotel, (5) Home, (6) Friend’s home, (7) Top
of mountain, (8) Minister’s house, (9) Tent, (10) Out of Doors, (11)
Courthouse, (12) Cave. Inform the guests that each in turn must go
the length of the room. He or she may walk slowly, walk fast, walk
sideways, walk backward, walk on toes, walk on heels, walk on the toes
of one foot and the heel of the other, etc., etc.
If many guests are present, start two at a time crossing the room,
one from each end. Write the initial of every player on the line of
the card corresponding to the manner in which he or she crosses the
room; for example, if the first player’s name is Barbara Carter, and
she runs across the room, put down her initials B. C. on the line No.
5 on which is written the word “Run.” If the second player’s name is
Jamie Bartlett and he also runs write his initials J. B. on the same
line of the card, but, should Jamie decide to go backward across the
room his initials would then belong on line No. 2. When all the girls
and boys have crossed the room, and quiet again reigns, read to them
the various places where the different players will be married, for
instance, if referring to your card you find the initials of Jessie
Douglass on line No. 12, you should read, “Because Jessie Douglass
walked sideways across the room, she will be married in a cave. Won’t
that be romantic?” Always add some pleasant remark after reading
each record; such remarks make things run easier and add to the fun.
Probably you will be able to think of many delightful little speeches,
but in case you find any difficulty, the following list may be of some
assistance. Remark for line No. 1: There could not be a better place.
No. 2, How charming. No. 3, Better there than not at all. No. 4, I
wonder if that will be a runaway match. No. 5, The dearest spot on
earth. No. 6, A friend in need is a friend indeed. No. 7, I hope we
will all be invited. No. 8, An elopement, you may be certain. No. 9,
Delightful. So gypsy-like. No. 10, I am sure there will be room for us
all at this wedding. No. 11, Many a happy marriage has taken place in a
court-house. No. 12, Won’t that be romantic?
[Illustration: The Vesper Rite.]
The communicative old witch of the northwest wind imparted so many
methods of Hallowe’en fortune telling you can take your choice. Here
are the rest just as she told them.
=The Vesper Rite,=
if observed with due solemnity, will disclose the principal
characteristics of any one submitting to the test.
Take six large potatoes and cut them in half. Shape each half into a
candlestick by scooping out a round hole in the small end, making it
large enough to hold a candle.
Place a half candle in each of the potato candlesticks and pin around
each candle a strip of paper on which is written one word indicating a
trait of character, such as “modesty,” “bashfulness,” “vanity,” etc.
Then form a magic ring of the candles in the centre of a dimly lighted
room. The ring should be about three feet in diameter.
Blindfold one of the players and have the entire party join hands and
run three times around the lighted candles.
Then, leaving the blindfolded player standing two feet from and facing
the ring, let the others fall back while a chair is placed before her,
a fan is handed to her and she is told to make three trials at fanning
out the candles over the back of the chair.
After the third trial she must remove the bandage from her eyes and
examine the papers on the candles that are left burning, reading aloud
the words which reveal her character.
To avoid any danger of skirts catching fire, care must be taken that no
one approaches the candles too closely after they are lighted.
Another game is called the
=Bean Bag Test=
Into a bag that will hold four or five quarts, pour three quarts of
dried beans and in their midst hide a ring, a thimble and a brass
button.
Have ready a bright new tin cup and let each player in turn dip into
the bag and take out a cupful of beans which must be emptied into a
plate.
If either a girl or boy finds the ring in the beans it is a sign of an
early marriage. If a girl gets the thimble she will be an old maid, and
when the thimble falls to the lot of a boy he will marry an old maid.
The brass button in a girl’s cup of beans denotes that she will marry a
widower, but in a boy’s cup it is a bachelor’s button and shows that he
will be a bachelor all his life and will sew on his buttons himself.
Each player can have but one trial, and if only beans fall to her
share, it signifies that her fate is still undecided.
Here is another test called
=The Witch Screen=
[Illustration: Fig. 57.—Through the lengthwise centre of the cloth cut
two slits for each player.]
Across the end or corner of the room fasten a breadth of inexpensive
cloth for the witch screen; old muslin or any material most convenient
will answer the purpose if not too thin. Through the lengthwise centre
of the cloth cut two slits for each player. Fig. 57 has eight slits
and is intended for four players. Seat the company in a row near to
and facing the witch screen, adjust it so that the slits will come
on a level with the hands of the players, then, standing behind the
screen and looking over the top, say, “I have some wonderful treasures
which the witches have loaned us for this evening, but, as the objects
are very valuable and must be returned, I ask that you use the utmost
caution in handling them, and take great care not to drop or break any
of the things while passing them from one to another down the line.
[Illustration: Fig. 58.—The lava from Mt. Pelee.]
[Illustration: Fig. 59.—Slip your hands through openings in the witch
screen.]
“The first charm is
=A Piece of Lava=
brought from Mt. Pelee in a witch’s pocket (Fig. 58). If you will all
kindly slip both of your hands through openings directly opposite you
in the witch screen (Fig. 59), you may have the pleasure of passing the
lava from one to another. Receiving and giving the lava according to
rule means a successful year, but woe to the one who drops it, for to
him will come disappointment.”
After you have made your little speech, sit down and, hidden by the
screen, take from a tray at your side a hot potato (Fig. 58), which has
been in the oven only long enough to become thoroughly heated; place
it in the hand at the head of the line with the words, “I give you the
charmed lava; pass it on.” Though the girls and boys may not see what
they have, they can assuredly feel it, and there comes in the fun, for
each in turn will be sorely tempted to drop the hot potato and yet not
dare to do so, and no hint being given, the next neighbor will in turn
be equally startled. When the lava reaches the last player, some one
back of the screen at that end must receive the precious object and
store it away on a tray.
[Illustration: Fig. 60.—The wonderful Japanese crystal.]
[Illustration: Fig. 61.—The baby porcupine.]
As soon as the hot lava is disposed of, arise and tell the company that
the next charm is a piece of
=Wonderful Japanese Crystal=
(Fig. 60). It will enable them to see and understand everything more
quickly and clearly; it will also gain new friends and delightful
surprises. To drop the crystal brings dulness of comprehension, no
friends and no surprises. Use a piece of ice for this. The third charm
is a rare natural history specimen, called
=The Baby Porcupine=
(Fig. 61). The little creature signifies difficulties successfully
overcome, but if dropped the fortune will be reversed. The porcupine
is in reality a chestnut bur.
=A Harmless Serpent=
forms the fourth charm; it renders all girls and boys proof against
fear of wild animals, and imparts the faculty of taming and making pets
of many inhabitants of the forest, but the charm will be lost with one
failing to pass it on its way. The serpent is a snake made of soft
dough.
One of the best fairy gifts is
=A Treasure from the Great Blue Sea=
It means a joyous ocean voyage to new and beautiful lands, but if
dropped, the player will encounter storms and perils. Hand the first
player a slippery raw oyster.
When all the charms have been tested, announce that before returning
the treasures to the witches you will place them on exhibition; then
turn back the witch screen and let the girls and boys gather around the
tray of queer charms, where they can laugh and exchange comments to
their hearts’ content. The effect of the witch screen may be enhanced
by using a breadth of brilliant-red muslin and pasting on it black
moons, stars, cats, etc. Erect at each end of the screen a comic
pumpkin lantern head, with white paper fastened on the inside over the
features to light them up, instead of a real light placed inside. Slide
each pumpkin head on the end of a pole, and rest the pumpkin firmly on
four long, strong nails driven in around near the top of the pole. The
lower end of each pole may be steadied and supported by being inserted
in a hole bored through the centre of a heavy piece of plank, where it
must form a very tight fit; or you can sink the pole into a deep pail
of stones and earth. If it is possible to have the only light in the
room placed back of the screen, the effect produced will add to the
mystery and enchantment. Make all decorations as funny as you like, but
avoid anything grotesquely unpleasant. Let every item be agreeable,
from the least to the most important arrangement for the evening’s fun.
A very pretty way of telling fortunes is with
=Fairy Airships=
made of feathers. Take as many fluffy feathers as there are girls and
boys in the party and paste on each feather a prophecy written on a bit
of paper, such as:
Yes,
No,
Sometime,
Possibly,
Never,
At twenty-five,
Probably,
Depends on myself,
If I can,
I’ll try,
When the time comes,
Of course,
Three times,
Before you know it,
Not if I can help it,
Certainly,
Doubtful,
Surely.
Put all the fairy airships into a pasteboard box-lid, which you have
previously punched full of holes, and, standing on a stool or chair,
hold the box-lid high in the air while you slowly and impressively say
to the company: “These fairy airships will decide your fate regarding
marriage. Will you marry?” At the word “marry” launch the ships of
fate by fanning vigorously under the box-lid with a large palm-leaf
fan, which will send the ships flying in every direction; as they sail
through the air each player must endeavor to catch one before it falls.
When order has been restored and all have their airships, each girl
and boy in turn must read aloud the prophecy brought by the fairy
vessel.
All the party will enjoy the
=Blarney Stone Game=
Place a large, clean stone on a doily-covered fancy plate which rests
on a table in the centre of the room, and tell your guests that a
certain spell cast on the famous Blarney Stone in Ireland caused
the virtues of that wonderful stone to be transmitted to the stone
in the very room where they stand, and that if a girl or boy, when
blindfolded, can walk up to the table and kiss the Hallowe’en Blarney
Stone, she or he will ever after be jolly and happy and prove a most
agreeable companion. Then tie a handkerchief across the eyes of each of
the players in turn and let them walk up to and try to kiss the stone
before the witches come to take away the magic spell, which they will
do long before the clock strikes twelve at midnight.
During the evening be sure to try fortunes by the
=Fortune Jingle=
On different sheets of paper write one of the following verses:
“One is good fortune,
Two a light heart,
Three is a carriage,
Four is a cart,
Five is a new dress,
Six, a new hat,
Seven is a pet dog,
Eight, a pet cat,
Nine is a letter,
Ten is a pleasure,
Eleven is a great joy,
Twelve is a treasure.”
Place each verse in a separate envelope and hang all on a string
stretched and tied to the backs of two chairs. Distribute squares of
paper each marked with a number beginning at number one. The player
receiving number one has first choice of envelopes from the line. Two
brings second choice, and so on. When all missives have been taken
and the signal given for opening the envelopes, the player receiving
verse one reads aloud, “One is good fortune”; immediately after the
person with number two reads, and the other verses follow in numerical
succession, every envelope bringing its gift to the recipient.
[Illustration: Titania Stands on Her Toes, She Floats, She Drops to the
Floor in a Deep Curtsy.]
CHAPTER VI
DANCE OF TITANIA, QUEEN OF THE FAIRIES
TITANIA is a graceful little fairy, dancing as though she had learned
the art from the bending of the grass in a summer breeze, the swaying
of the trees or the flitting of butterflies from flower to flower.
Light, airy, with gossamer wings and filmy dress, looking as though she
needed nothing more substantial than silvery moonbeams to dance upon,
the little queen leaves her home in the deep, wild woods and comes to
do your bidding.
=Have Titania’s Stage Ready=
that she may not be kept waiting, for queens and fairies will brook no
delay (Fig. 62). Find a wooden box 18½ inches long by 13 inches wide or
larger (Fig. 63). With a heavy hammer or a hatchet pry up and knock off
the top and one of the long sides (Fig. 64). The open side forms the
front of the roofless stage.
[Illustration: Fig. 62.—Titania’s stage.]
[Illustration: Fig. 63.—The wooden box for Titania’s stage.]
[Illustration: Fig. 64.—Knock off the top and one of the long sides.]
The coloring of the stage should be a light sage green. If possible,
procure this color in cartridge wallpaper wider than the stage. With a
string measure the distance across the back wall of stage from top to
bottom (A to B Fig. 64), continue the measurement in the same straight
line across the floor of the stage from back B to front C. After
allowing five extra inches for turning the paper over the top edge of
the back wall A and front edge of floor C, cut the length according
to measurement. To make the strip of green paper the required width
measure the exact distance across the inside back wall from side wall
D to side wall E, then fold the paper evenly along each lengthwise
edge, making it the width needed; unfold and adjust the paper against
the back wall over its top edge and over the floor of the stage. Cut
short slits on each side of the paper where the floor and wall meet,
that the extra width may lie flat up against the side walls. Bend the
top edge of the paper over the top of the back wall, again slashing a
little on each side to make it fit top edge of wall. In the same way
bend the paper over the front edge of the floor; see that the paper
lies perfectly smooth, then fasten it in place with small tacks, using
three tacks on the outside at the back, one at each corner and one in
the middle; two tacks where floor and wall meet, and three underneath
front of floor. Measure the side walls, cut paper to fit and fasten the
paper on the walls with as few tacks as possible.
[Illustration: Fig. 65.—Back wing for stage.]
[Illustration: Fig. 66.—Forward wing for stage.]
[Illustration: Fig. 67.—Fasten the wings to the side wall of the stage
like this.]
When the inside papering is finished, cover the outside of the stage
with pretty cretonne. Make four inside wings, two for each side of the
stage, to represent the foliage of trees. Cut two like Fig. 65, from
paper of a darker green than the walls of the stage and reverse one of
them that they may face each other. Then make two wings, like Fig. 66,
from paper of a lighter green than the walls, and reverse one of these
also. The walls of the stage with the two sets of wings will make
three different tones of green forming the background. Cut the wings
long enough to extend up as high or higher than the side walls of the
stage. Bend each strip lengthwise at dotted line and paste the bent
margin of one wing from Fig. 65 on each side wall, running the wing up
from the floor to the top of the wall about four inches from the back
wall. In the same manner fasten the wings (Fig. 66) on each side wall
three inches in front of the first or back wing (Fig. 67).
[Illustration: Fig. 68.—The arch.]
[Illustration: Fig. 69.—Tack the ends of the arch at the top of the two
side walls.]
[Illustration: Fig. 70.—Pasteboard extension for front of stage.]
Cut the arch (Fig. 68) of stiff pasteboard. The cover of a pasteboard
box will do. Make the arch long enough to span the space across the
front of the stage and let the lower edge of the curve in the centre of
the arch be five and a half inches higher than its two ends (see dotted
line, Fig. 68). Cover both sides of the arch with green paper, gluing
it on only along the edges. Tack the ends of the arch to the top of the
two side walls (Fig. 69).
[Illustration: Fig. 71.—Tack one piece of pasteboard on the front edge
of each side wall of the stage.]
Cut two pieces of pasteboard like Fig. 70, making each six inches wide
and almost as high from floor of stage as is the top of the centre of
the arch. Paper these also with green, both front and back. Tack one
piece of the pasteboard on the front edge of each side wall of the
stage, allowing it to extend out from and beyond the side wall (Fig.
71). Bore a hole with a gimlet through the centre of the back wall of
the stage five inches up from the inside floor, and your stage will be
finished.
[Illustration: Fig. 72.—Titania.]
=Make Titania=
(Fig. 72) of light-weight cardboard. When finished she should be ten
inches in height from her toes to the top of her head. Fig. 73 is the
diagram of the body and arms, measuring three and five-eighths inches
from top of head to lower edge of body. Cut the two upper portions of
the legs (length two and one-half inches, greatest width one inch) from
Fig. 74, and the two lower portions (length three and three-eighths
inches) from Fig. 75. Join the two parts of each leg together,
according to the dots, with a strong thread and needle, and fasten
with a knot on front and back, so that the two pieces will be strung
upon the same thread and sandwiched between two knots of the thread.
Attach the legs to the body in the same manner. The small circles A,
A on the doll’s body (Fig. 73) give the exact spots where the thread
should pass through, and the curved line above each letter shows where
the upper edge of the top part of the leg should reach. Dot B marks
the point on the upper part of the leg (Fig. 74) where the thread goes
through, joining the leg to the body. Have all the joints of the doll
securely fastened and only loose enough to move easily.
[Illustration: Fig. 74.—Two upper portions of legs.]
[Illustration: Fig. 73.—Cut the body and arms of Titania like this.]
[Illustration: Fig. 75.—Lower part of legs.]
Find a pretty head in some old paper or advertisement, cut it out and
gum it on the pasteboard head. Remember, though, that the printed
head must not be of very heavy paper, as the upper part of the doll
should be lighter in weight than the lower, otherwise the figure will
not balance. If you cannot find a head in colors, you must paint the
printed black-and-white one; give the face, neck and arms a flat wash
of light-pink water-color paint; color the lips and cheeks red, the
eyes blue and the hair brown. Make the long stockings a darker pink
than the light flesh tones, and paste slippers of gilt paper on the
feet.
Puncture a hole with a coarse needle through the centre of the
belt-line (C, Fig. 76). For
=Titania’s Costume=
make a skirt of plain white tissue paper. Cut it sixteen inches wide
and three and a half inches long, after creasing the skirt by gathering
up the fulness with your fingers and drawing the skirt lengthwise from
top to bottom through your partially closed hand. Gather the top of the
skirt with thread and needle, and fasten it on the doll, then slit up
each side from the lower edge to allow of the free motion of the doll’s
limbs.
[Illustration: Fig. 76.—String the doll together in this way.]
Make the dress of pink chiffon. Cut the dress skirt three and
three-fourth inches long and one yard wide, press it in knife-blade
plaits, running up and down, then gather and tie it on the doll over
the white tissue-paper skirt. Do not attempt to hem any portion of
the clothing, as the object is to keep it all light and airy. Fashion
the waist of a smooth strip of pink chiffon tied with narrow pink
ribbons at the shoulders and brought down to the belt-line into a
point back and front, and sewed in place. Form a silver girdle of the
tinsel ruching used on Christmas trees; place the tinsel around the
Queen’s waist, allowing the two free ends to hang down over the front
of the dress. Glue a little of the same tinsel around the front of her
dark hair, where it will shine like a crown of diamonds. Make Titania
daintily hold up and out each side of her dress. Do this by stretching
out the sides of the dress skirt and gumming the material to each wrist.
Cut a scarf of pink chiffon four inches wide and sixteen inches long,
fasten one end in each hand of the fairy Queen and let the scarf fall
in a graceful loop.
=Queen Titania’s Wings=
must be of the pink chiffon cut shawl shape, two sides straight and
one bias (Fig. 77). Plait the bias edge (Fig. 78) and gum the wings in
place on the Queen’s shoulders at the back.
[Illustration: Fig. 77.—Cut the wings shawl shape.]
[Illustration: Fig. 78.—Plait the bias edge.]
Take a needle threaded with black thread, two or three yards long; run
the needle through the centre of the belt-line of the dressed fairy
at the point C (Fig. 76); then thread it through the gimlet hole at
the back of the stage and tie a button on the end of the thread which
extends outside of the back wall. Pull the thread on the inside of
the stage until the button lies tight up against the outside of the
back wall. Allow sufficient length of thread to bring the Queen within
about three inches of the front edge of the stage, then make a knot in
the thread immediately back of and another in front of the Queen to
prevent her from slipping either forward or backward. Tie the long,
loose end of the thread on a small empty spool, that it may be wound up
and kept from tangling when not in use.
=Place the Stage on a Chair=
facing the light and, carrying the thread in your hand, take your
station two yards or more away from and in front of the stage; then
practise moving Titania by means of the thread until you can make her
glide, pose and dance in many graceful attitudes. She will lean to the
right and to the left, will stand on her toes, then curtsey, making
her dress touch the floor; she will move gently and slowly, again
faster and faster until her feet seem to fairly twinkle over the stage
floor; she will pass back and forth almost as if floating from side to
side of the stage, or stand in the centre and dance. Titania is ever
fascinating, beautiful and graceful in all her movements. Ask some one
to play on the piano while you make the fairy Queen dance and she will
keep time to the music. When you have learned to make Titania dance her
prettiest invite your friends in to see the little fairy.
CHAPTER VII
THANKSGIVING PARTY
=Apple, Orange and Pumpkin Games=
WE must have six little yellow pumpkins for our new Thanksgiving game,
but we may hunt high and low, far and near, for real ones the required
size, and not find them, because natural pumpkins are much too large.
So we shall have to make oranges and apples into
=Little Pumpkins=
[Illustration: Fig. 79.—Stand an apple on a square of paper.]
Select apples about two inches in diameter, all as near of a size as
possible and preferably somewhat flattened at top and bottom. Cut
a square of orange-colored tissue paper and stand an apple, stem
uppermost, on its centre (Fig. 79). Bring one side of the tissue paper
up to the top of the apple and take a wee plait in the paper, at the
same time smoothing it up from the bottom of the apple (Fig. 80). Make
several more plaits and bring the nearest corner of the paper up to the
apple top. Continue plaiting the tissue paper around the apple (Fig.
81) while constantly smoothing it up from the bottom and over the apple
until the apple is completely covered and all the edges and corners of
the orange-colored paper are folded and brought together at the top
of the apple (Fig. 82). Hold the covered apple in your left hand and
with your right hand twist the ends of the tissue paper around the stem
(Fig. 83).
[Illustration: Fig. 80.—Take a plait in the paper.]
[Illustration: Fig. 81.—Bring the nearest corner of the paper to the
top of apple.]
[Illustration: Playing the Pumpkin Game.]
[Illustration: Fig. 82.—Constantly smooth it up from the bottom until
the apple is covered.]
[Illustration: Fig. 83.—Twist the ends of the paper around the stem.]
[Illustration: Fig. 84.—Wind the long end of the thread tightly around
the apple.]
[Illustration: Fig. 85.—Pinch a square of green tissue paper over the
stem.]
Examine the apple and make sure there are no raised ridges in the paper
and that the entire covering lies flat and smooth. Tie one end of a
piece of brown thread around the base of the stem. Wind the long end of
the thread once tightly around the apple, giving it a twist around the
stem to secure it in place (Fig. 84). The thread must pass across the
exact centre of the blossom end of the apple. As you wind the thread
turn the fruit and watch the thread that it may not swerve either to
this side or that. A second time wind the thread around the apple,
making the first encircling thread band double. Cross this double band
with another double band, marking the apple into quarters, secure the
thread about the stem, and again wind it around the apple, dividing two
opposite quarters each into two pieces.
[Illustration: Fig. 86.—Tie a thread around the base of the stem.]
[Illustration: Fig. 87.—A little yellow pumpkin.]
Divide all the quarters in the same way, then pinch a small square of
bright green tissue paper over the covered stem (Fig. 85), smooth it
down close and tight and tie a thread around the base (Fig. 86). Bend
the extreme end of the stem until it curls, and the result will be a
cunning little yellow pumpkin (Fig. 87). Fig. 88 shows how the cross
threads should meet at the centre of the blossom end of the fruit.
[Illustration: Fig. 88.—Shows how the cross threads should meet.]
An ordinary pastry-board about twenty-six inches long and nineteen
inches wide must do duty for
=The Game Court=
(Fig. 89). Find the centre of the board by running two straight lines
diagonally across from corner to corner, the spot where the two lines
meet and cross marks the centre of the board (Fig. 90). Make a small
circle two inches in diameter around centre spot, surround this circle
with a larger circle seven inches in diameter. Erase the diagonal lines
within the circles and run straight lines radiating outward midway
between the diagonal lines from the edge of the larger circle across
the face of the pastry-board. With four more lines cut off the four
corners of the court, number the divisions as in Fig. 91, and the game
court will be finished.
[Illustration: Fig. 89.—A pastry-board for the Game Court.]
[Illustration: Fig. 90.—Run two straight lines from corner to corner.]
[Illustration: Fig. 91.—The Game Court is finished.]
Stand the little pumpkins, at equal distances apart, on the larger
circle of the court, and on the small circle stand a natural, large,
round apple without tissue paper cover.
=The Game=
may be played by any number. The object of the game is to spin the
apple so that it will hit one or more of the surrounding pumpkins and
roll or shove them on to the highest marked divisions of the game-court.
Each player is allowed only one trial at a time, turns being taken
successively by the different players. The spinning of the apple
must always be started on the small central circle where the apple
is stationed. When the apple rolls off the board the player may have
another trial; if the apple rolls off on the second trial she simply
loses her turn, there being no other penalty. When a pumpkin lands
on one of the dividing lines it counts ten against the player. Often
an apple will strike several pumpkins, sending them off on different
divisions. Every pumpkin then counts the number in the division on
which it stops; sometimes more than one pumpkin will land in the
same division, and each pumpkin so landing counts the number in that
division. When the apple sends but one pumpkin, the player scores
merely the number of that one division on which it lands. After each
play the pumpkins must be replaced in the circle ready for the next
player.
Five rounds constitute a game and the highest record scored wins. When
played by sides there must be an equal number of players on each side.
The side making the highest score wins the game.
For the next game let all the players sit on the floor in a ring and by
the light of only wee pumpkin lanterns tell a
=Rapid-Transit Thanksgiving Story=
The leader must begin the tale, which may or may not be original. He
must speak for only a few minutes, then stop, when his right-hand
neighbor, without hesitation, must take up the story and carry it
on for a few moments. In this way the story goes the round, each
right-hand player in turn telling his part. Every player has the
privilege of making his portion of the tale original, even though the
preceding part may not be so. It is also the privilege of every one
to change the story to a dream, or a fairy tale. Quotations may be
introduced, verses recited, or snatches of song sung; in fact, the
oftener the story is twisted and turned the greater the interest; but
there must always be some connection between the part being told and
that which has gone before. The entire romance must be finished before
the light in the wee pumpkins burns out. If a player should fail to
continue the story when his turn comes, he must pay a forfeit, and when
the story is finished, redeeming the forfeits adds to the fun.
If many guests are present, divide them into small groups for the
rapid-transit story.
Make a miniature
=Pumpkin Lantern=
for each girl and boy present. Take a symmetrical apple which stands
firm and steady on the blossom end. Select the best side for the face,
and with the small blade of a penknife cut on it a crescent with ends
turned upward for the mouth. Cut a triangle for the nose, two small
squares for eyes, and two short crescents, points turned upward, for
eyebrows (Fig. 92).
Turn the apple over and cut an opening in the back as shown at Fig.
93. Be extremely cautious not to break or tear the edges of the apple
skin while cutting the features and back opening. With the small blade
of the penknife inserted at the back opening cut away the inside of
the apple little by little, taking great care not to drive the knife
far enough into the apple to puncture the skin. When you reach the
core, screw the large blade of the knife around until the core is
sufficiently broken to allow of being cut away without danger of
injuring the apple skin by accidental stabs.
[Illustration: Fig. 92.—Cut features in the miniature pumpkin.]
[Illustration: Fig. 93.—Cut an opening at the back.]
After most of the inside has been removed turn the apple around and
look at the features; if you cannot yet see daylight through them,
insert the small blade from the outside of the apple, through each
feature in turn, and by degrees cut away the meat, without enlarging
the openings of the different features. Should this prove ineffectual,
again turn to the back of the apple and work from the inside, removing
more of the contents and making the layer of apple thinner next to
the skin. Then once more try through the features from the outside.
This time the result should be distinctly clear openings for all the
features. You cannot help smiling when you look at the apple now, for
you see such a comical little face.
[Illustration: Fig. 94.—Cut a section from a candle.]
[Illustration: Fig. 95.—Make the bottom larger than the top.]
Cut a short section from an ordinary wax candle (Fig. 94), shave down
the sides, making the bottom heavier and larger than the top (Fig.
95). Run a pin through the centre of the candle from bottom to top;
then pull it out. Fit the candle inside on the centre of the bottom of
the apple, hold it in place while you run the pin up from the outside
of the apple, through the skin and into the pinhole in the centre of
the little candle. The pin should hold the candle firmly in place;
if it does not do so, pull the pin out and see what is the matter;
possibly the candle needs hollowing out a trifle at the base in order
to fit the slight rise in the apple on which the candle stands. Put
on your thinking cap, examine and _make_ the candle stand absolutely
straight and firm.
[Illustration: Fig. 96.]
[Illustration: Fig. 97. Orange Lanterns.]
Manufacture all the other individual pumpkin lanterns in the same way,
and when story-telling time arrives set a lantern in front of every
girl and boy in the circle and light the candle in each little pumpkin.
The effect will be charming and inspiring for the story-tellers.
Oranges with all the pulp extracted also makes very pumpkin-like
lanterns when cut in a similar way to the apple lanterns (Figs. 96 and
97).
Anything may be given as
=A Forfeit=
and the forfeits are redeemed in the good old way. The leader is
blindfolded and seated. A girl or boy stands back of the leader, and,
taking one of the forfeits, holds it over her head, while repeating
these words, “Heavy, heavy hangs over your head.” The leader replies
with the question: “Fine or superfine?” If the forfeit belongs to a
girl, the answer is “superfine,” if to a boy, “fine.” The same player
adds, “What shall the owner do to redeem it?” The leader names a
penalty, such as, kneel to the prettiest, bow to the wittiest, or, look
angry, then smile your sweetest. The leader may inflict one of these,
or any other, making the penalty as funny as she desires, but it must
never cause a player to feel in the least uncomfortable, for every girl
and boy should be given just as good a time as possible, that all may
return to their homes from the Thanksgiving games happy and pleased
with their evening’s fun.
CHAPTER VIII
IMPROMPTU MOVING PICTURES FOR THANKSGIVING
THIS entertainment is one that girls can get up themselves, though of
course boys may take part. It is very funny if well carried out and
will give every one a hearty laugh, which we all know is a good thing
after the Thanksgiving dinner.
First make the poster, to be hung in a conspicuous place in hall or
parlor. Print it in large black letters on a good-sized sheet of
wrapping paper:
There Will be To-night
An Exhibition of
The World-Renowned
Moving Pictures
Taken by Madam Moselle at Great Risk of Life and Property.
No Expense or Effort Being Spared to Obtain the
Real Characters and Settings
of a
Puritan Thanksgiving
And Other Scenes from the Life
of Our Forefathers.
Make the picture screen by stretching a large white sheet on the back
wall of the room where the performance is to be held, as you would for
a magic lantern exhibition. Then get your costumes ready. These may be
made up very quickly from materials at hand.
[Illustration: Fig. 98.—This is the way to cut the Puritan’s collar.]
[Illustration: Fig. 99.—Cut the wide cuff like this.]
[Illustration: Puritan Costumes for the Moving Pictures.]
=The Puritan Woman’s Dress=
as well as that of the man must be entirely of black and white, and to
carry out the effect of black and white pictures their faces and hands
should be made perfectly white with chalk, their eyebrows blackened
and black wigs made of fringed tissue paper. Only a little of the
woman’s hair will show but the man’s should be long and hang down to
his shoulders. A tight black waist and skirt nearly to her ankles; a
long white apron, white kerchief and cuffs (cut from old muslin) and a
tightly fitting little black cap with a turned over edge of white form
the costume of the woman. With these should be worn low black shoes and
white stockings. For the
=Puritan Man’s Costume=
have short, full, black trousers, long black or white coat with wide
white collar and cuffs, a high-crowned, broad-brimmed black hat and low
shoes with black stockings. A black leather trunk strap buckled across
one shoulder may be added, also a long black cloak and staff. Cut the
man’s collar and cuffs like Figs. 98 and 99, and the woman’s cuffs
like Fig. 99. Fig. 100 shows how the Puritan hat is made of stiff brown
paper over an ordinary straw hat. Fig. 101 is the brim, Fig. 102 the
crown, which must be pinned together along its straight edges.
[Illustration: Fig. 100.—Put the Puritan’s hat together in this way.]
[Illustration: Fig. 101.—This is the hat brim.]
=The Properties=
for the Thanksgiving dinner scene are a long, narrow table spread for
dinners, and chairs enough for the actors, six or eight taking part.
[Illustration: Fig. 102.—This is the crown of the Puritan’s hat.]
Before showing her pictures Madam Moselle should stand in front of
the screen and say a few words extolling the pictures she is about to
present.
The girl who represents Madam Moselle should deliver an amusing little
speech, giving a foreigner’s idea of our first Thanksgiving, and it can
be made absurdly funny with its many ludicrous mistakes.
At the close of her address the lights must be put out and the scene
quickly arranged close to the screen, all the actors except two being
seated at the table. Thus remain two empty chairs.
As quickly as possible the light should be turned on and at the same
time the actors must begin
=A Pantomime=
of eating, drinking and talking.
They should express anxiety for the safety of the tardy guests, some of
them leaving the table to appear to look out of a door or window.
All the while (this is the great point) the actors must shake and
quiver in imitation of the queer trembling and quivering always seen in
the moving pictures; and their movements must be very rapid.
Soon the missing couple should appear, coming in hurriedly and by
gestures telling of an encounter with the Indians.
Their clothes should be pierced with arrows, and the Puritan’s hat must
be bristling with them.
All this will be very laughable if the acting is good, and absurd
little by-plays introduced; but the whole thing will be spoiled unless
the constant quivering and shaking is kept up by all of the actors.
The picture can be “flashed off” the screen by simply turning out the
light, and others may be shown giving various incidents in Puritan life
or the early history of our country.
CHAPTER IX
A VALENTINE ENTERTAINMENT WITH ORIGINAL VALENTINES
THE fun of the Valentine party begins with the invitations, which are
in the shape of a heart. The message on the outside (Fig. 103) leads to
the opening of the invitation (Fig. 104), and on the inside are found
the time and place where the frolic is to take place and the names of
those who are to give the party.
[Illustration: Fig. 103.—The invitation closed.]
[Illustration: Fig. 104.—Invitation opened.]
To make the design, fold through the centre a square piece of paper
measuring five and one-half inches along each edge. Fold this oblong
crosswise through its centre, and you will make a small square of four
layers of paper. On one side of this square mark the outline of a
heart, allowing the corner of the small four-folded square, which is
also the centre of the large square of paper before it is folded, to
form the point of the heart (Fig. 105). Cut out the top of the heart
through all four layers of paper, also the curves of the sides of the
heart; cut these only part way down as shown by A and A (Fig. 105). The
dotted lines in Fig. 104 represent creases.
[Illustration: Fig. 105.—Cut out the top of the heart through all four
layers.]
Answers to the invitations might read:
“My dear Miss Darling and Miss Love, too,
I’ve opened your heart and will come to you
On the day you’ve appointed, the pleasure is mine,
And I hope you’ll accept me as your Valentine.”
Make as many valentines as there are guests, that all may be sure of
receiving at least one. Address each of the girls’ valentines “To My
Sweetheart,” and each of the boys’ valentines, “To My Valentine.”
Let either a girl or a boy be selected to run
=The Post-Office=
which you can make of a clothes-horse draped with sheets. Place a table
inside across the opening, and on the table, resting on a pile of large
books, stand an empty wooden box minus top and bottom. Set it up on one
end to serve as the post-office window. The table and space on each
side of the window should be screened with sheets. Across the outside
top of the window fasten a pasteboard sign marked in large letters:
ST. VALENTINE’S POST-OFFICE
and decorate the white sheets covering the clothes-horse with red paper
hearts of various sizes fastened on singly, doubly and in festoons.
On the table at the right-hand side of the window place the girls’
valentines and on the left-hand side of the window the boys’ valentines.
[Illustration: Sending Her Valentine.]
Ask all the girls to form in line and march around the room to the
post-office, while some one plays a suitable lively air on the piano.
Each girl in turn must stop at the post-office window, where a box
of St. Valentine’s stamps is set before her with one of the boys’
valentines. She must close her eyes and take one stamp from the box,
then open her eyes, read the stamp and on it sign her name at the
right-hand corner, then fasten the stamp on the valentine with paste
given her by the postmaster, and move onward to give place to the next
girl in line.
When all the boys’ valentines have been stamped, the girls take their
seats and the boys form in line and stamp the girls’ valentines in the
same manner.
=The Valentine Stamps=
should be previously prepared. They are made uniform in size of small
squares of white writing paper, on which is written any kind of a wish
which may add to the fun, such as:
I wish you would smile at me.
I wish you would sing me a song.
I wish you would tell me a funny story.
I wish you would sit by my side now.
I wish you would walk around the room with me.
I wish you would recite poetry to me.
When entering the room each guest is given a card. On one card is
written,
=“When the Bell Rings=
once go to the post-office”; on another, “When the bell rings twice
go to the post-office,” and so on, each card designating a specified
number of rings. The postmaster sounds the bell at intervals, giving
a different number of taps at each ring, until every girl and boy is
supplied with a valentine; then each boy seeks the girl who has signed
the stamp on his valentine and she asks that the wish be fulfilled.
The request is, of course, laughingly and courteously granted. The
valentines being sealed with St. Valentine’s stamps, the mystery of the
sentiment enclosed cannot be revealed until the wish on the stamp is
granted, and neither the girls nor the boys are aware of the contents
of the valentines they stamp. Later in the evening the girls find the
boys who have signed their stamps, and then, entering into the spirit
of the fun, they grant the boys’ wishes as written on their stamps.
The guests may bring extra valentines made especially for and directed
to either hostess or guests. These are not sent through St. Valentine’s
post-office. The hostess keeps one door of the parlor closed for the
benefit of those desiring to send special valentines. A sign posted
upon it reads:
CUPID’S DOOR
and quantities of paper flowers with gilded pasteboard hearts, bows and
arrows adorn it, giving it a very festive appearance. Each guest is at
liberty at any time during the evening to slip from the company, make
her way through the hall to Cupid’s door, slide her valentine under the
door, give a quick knock and scamper off before she is caught. Only the
hostess has the privilege of opening Cupid’s door, and to her belongs
the pleasure of delivering these valentines to the various guests for
whom they are intended.
There are many styles of valentines which you can make. Fig. 106 is
effective and requires only a few moments to manufacture. For
=The Heart Valentine=
use a plain white card about four and one-half inches long and three
and one-half inches wide for the foundation. Make four hearts graduated
in size, the largest of red paper, the next gold, then green, and the
smallest of blue paper. Cut a small slit in each heart a short distance
from the top centre (Fig. 106). String the hearts on a narrow ribbon
and tie one end of the ribbon through two slits cut in the lower
left-hand corner of the card, and run the other end of the ribbon
through two slits in the upper right-hand corner, then tie. Write
across the top of the card, “Make your choice.”
[Illustration: Fig. 106.—Which heart will you take?]
Beneath it write this verse:
“The Red Hearts take without return,
The Green with envy always burn,
The Blue are cold and hard and small,
The Gold ask nothing but give all.”
[Illustration: Fig. 107.—Shade a little to suggest roundness.]
=The World Valentine=
is another design. For this use a circular piece of white paper about
four inches in diameter. Shade it around the edge a little to give
an idea of roundness (Fig. 107), then with ink draw on the disk the
outlines of North and South America to represent the world (Fig. 108).
Paint the continent a light yellow. Put the lettering on in bright
colors, placing an awl drawn in outline (Fig. 109) and a figure 2 in
the position shown in Fig. 110. Paint the awl red.
[Illustration: Fig. 108.—North and South America.]
[Illustration: Fig. 109.—The awl.]
[Illustration: Fig. 110.—You are all the world to your valentine.]
[Illustration: Fig. 111.—The daisy valentine.]
This message is a rebus and reads: “You are all the world to your
Valentine.”
=Next Comes the Daisy Valentine=
(Fig. 111). On a piece of paper six inches long and three and a half
inches wide draw a circle near the top, making it not quite three
inches in diameter. Paint the circle bright green as a background for
the white daisy. Make the daisy of three or four layers of white tissue
paper folded like Fig. 112 and cut along the scalloped outline shown
in Fig. 112. Unfold the petals and they will be like Fig. 113; but as
the number should be odd, you must cut off one of the petals. Sew the
centre of the daisy to the centre of the green circle, then paste a
small yellow paper disk (Fig. 114) over the stitches. Paint a small red
heart at each upper corner of the valentine and paint a narrow blue
ribbon tied to each heart and looped between, as in Fig. 111. If the
valentine is intended for a girl write under the green circle in red
letters:
“Pluck the daisy petals off, saying first: ‘He loves me.’
With the next: ‘He loves me not.’
Then again: ‘He loves me.’
With the fourth: ‘He loves me not.’
Going on: ‘He loves me,’
Till the last when torn away
Tells you this: ‘He loves you.’”
[Illustration: Fig. 112.—Paper folded ready for making daisy.]
[Illustration: Fig. 113.—Petals of daisy.]
[Illustration: Fig. 114.—Yellow center for daisy.]
When the valentine is for a boy substitute the pronoun She in place of
He.
=Love’s Palette,=
the last valentine (Fig. 115), is to be made of light cardboard cut in
the shape of a palette. The palette should be about six inches high
and four and one-half inches wide at the broadest part. Beginning near
the top, cut short slits in pairs in the palette, placing the pairs
one inch and a half apart (Fig. 116). Get a quarter of a yard each of
narrow blue, red, white, yellow, pink and green ribbon, and slipping
the ends through the slits in the palette tie them in bows as shown in
Fig. 115. In the centre write in red ink, “Love’s Palette,” and on the
back the following lines:
“This ribbon blue means I am true.
The knot of red says, ‘Will you wed?’
The bow of white, ‘You’re pure as light.’
The yellow, too, means thoughts of you.
The tie of pink is love’s own link.
The loops of green say, ‘Youth so keen
Must conquer all and win his queen.’”
[Illustration: Fig. 115.—Love’s palette.]
[Illustration: Fig. 116.—Slits cut in palette.]
CHAPTER X
THE WILD WEST SHOW ON A TABLE
CITY people, country people, young people, old people, busy people,
idle people, all come flocking to the Wild West Show when it posts its
gay pictures and spreads its fascinating white tents for the benefit of
the public.
But did it ever occur to you that the show could come to you—that
is, you might organize a show of your own and arrange things to suit
yourself? If you want the Wild West Show first and a circus after you
can have them. Should you prefer both shows at the same time they are
yours, for you can make the entire affair—horses, riders, Indians, wild
animals and tent. You may do even more—you can cause all the performers
actually to move, and that by the mere turn of your wrist, because your
show will be in reality the moving pictures of
=A Panorama=
[Illustration: Fig. 117.—An old broom for rollers.]
Get a common old house-broom (Fig. 117) and saw the broom part off
evenly from the handle at the dotted line A; then saw two pieces of
equal length from the handle at dotted lines B and C, making each
piece fourteen inches long. These we will call the rollers.
[Illustration: Fig. 118.—Box for show with holes in top and bottom.]
[Illustration: Fig. 119.—Broom stick rollers fitted in box.]
[Illustration: Fig. 120.—Blocks of wood across each end of bottom of
box.]
Find or make a wooden box about twelve inches high, eighteen inches
wide and eight inches deep; carefully pry off one of the eighteen-inch
sides and cut two round holes through the top of the box, one at each
end, two inches from the front and one and one-fourth inch from the
end; then turn the box over and cut corresponding holes through the
bottom; reverse the box again, bringing the right side up (Fig. 118).
The holes on the bottom must be exactly under those on the top and all
four holes must be only large enough to allow the roller to slip in,
and while in, to turn easily (see Fig. 119). Remove the rollers and
nail a strip of wood two inches thick across each end of the bottom of
the box (Fig. 120). Then hammer two strong staple-tacks on each roller
two and one-half inches from the top, or smaller end, and on opposite
sides of the stick; guide the tacks so they will incline very
slightly upward while being hammered in (Fig. 121).
[Illustration: The Wild West Show Performance.]
[Illustration: Fig. 121.—Tacks in roller.]
[Illustration: Fig. 122.—Spool on strip of wood for crank.]
Fit an empty spool on one end of a piece of wood, one inch wide, three
inches long and not less than one-fourth of an inch thick. Slide a
large-headed screw in the hole of the spool until the screw rests
on the block of wood; then screw it down tight, fastening the spool
securely on the wood (Fig. 122); screw a second spool on another piece
of wood of the same size as the first (Fig. 123, D and E). Fit the free
end of the block of wood over the top of the roller and mark off the
space on the block occupied by the end of the roller; with a gimlet
bore a hole through the centre of this space, and also in the centre
of the top of the roller; place the block of wood over the top of the
roller, bringing one hole on top of the other, and fasten the roller
and block together with a screw. In like manner screw the other block
to the top of the second roller; these blocks and spools form the
crank-handles for turning the rollers (Fig. 124).
[Illustration: Fig. 123.—Top of box and the crank ready to be fastened
on box.]
Unscrew the blocks from the rollers and carefully remove the
staple-tacks, in order that
=A Strip of Cloth=
may be tacked to the rollers and the rollers replaced in the box.
[Illustration: Fig. 124.—Box ready for tent front.]
[Illustration: Fig. 125.—Lapped ends of strips of cloth sewed.]
Purchase two yards of low-priced white cambric dress skirt lining;
fold the cambric lengthwise into three equal divisions; then cut the
folds apart, making three lengths each two yards long and about eight
and one-fourth inches wide; sew the pieces together along the end
edges, lapping one over the other that the seam may be as thin and flat
as possible (Fig. 125). This will give you a strip almost six yards
long for the panorama. Do not hem either the top or bottom. Allow a
blank space of white cloth, sixteen and one-half inches long, at the
beginning of the panorama; then commence
=Pasting Pictures=
on the strip. Colored newspaper pictures are best, because the paper is
thin and easily pasted on the cambric. Almost all leading newspapers
publish in their issues from time to time colored pictures of wild
animals, rough riders, Indians and circus performers.
When you have a collection of the pictures you want, cut each one out
neatly. When all are ready, sort them over, selecting the one you wish
to come first on the panorama; then the second picture and so on. Have
them all in order so you need waste no time hunting for a print while
pasting the pictures on the cambric.
Make a good paste of flour and water, allowing it to boil well before
using. A drop or two of oil of cloves mixed with the paste after it has
cooked will keep it fresh a long time.
Select an attractive, comical picture for the first design on the
panorama; but save the best and most startling picture for the very
last.
You should arrange
=The Performers=
in your panorama in much the same way as a story is written or a play
put on the stage. Always begin with something which will cause the
audience to want to see more; then paste on various pictures, but
toward the last lead up to the best and most exciting design; the last
picture stands for the climax in a story or a play.
When placing the pictures on the strip of cambric, remember not to
have them close together; keep them apart, allowing a little blank
space between each successive object, so your audience will have an
opportunity of enjoying every one of the performers and wild animals as
it first appears peeping from behind the roll at one side of the tent,
showing only its head, then coming in full view and passing slowly
before them until it finally disappears around the roll at the other
side (Fig. 123).
=When the Pictures Are All Pasted=
on the strip, turn over and crease down half an inch of cambric along
the edge of the first end of the panorama; tack this end on one of the
rollers. If the thickness of the top of your box is one-half an inch,
tack the end of your panorama fully four and one-half inches below the
top or smaller end of the stick. Should the thickness of the lid be one
inch, the cambric strip must be tacked on still lower—about five inches
from the top.
You cannot be too particular about having the edge of the cambric
perfectly even and straight on the roller, so the strip will lie at a
true right angle to the roller when laid out flat (Fig. 126).
[Illustration: Fig. 126.—Cloth fastened on roller.]
Having tacked the cambric on, gradually roll it around the stick,
keeping the strip running over, not under the stick, so the roller
will stand behind the cambric; have the cloth perfectly even as it
winds around and around. When the end of the cloth is reached, turn in
one-half an inch of the end edge and tack the cambric to the second
roller as you tacked the beginning on the first roller (Fig. 127).
Use the same precaution and wind in the same manner but in an opposite
direction when rolling the cambric on the second stick. With a strong
hammer strike the top or lid of the box along the edges from underneath
until it loosens and can be removed; take it off and slide the rollers
with the attached panorama into the holes on the bottom of the box
(Fig. 123).
[Illustration: Fig. 127.—Method of rolling cloth on the broom-stick
rollers.]
Replace the lid of the box, passing the top ends of the rollers through
the holes, and nail the lid down to the sides of the box; then refit
the staple-tacks in their respective places and see that they are in
tight; restore the crank-handles on top of the rollers and rescrew them
in position (Fig. 124). Now the panorama is ready to go into
=A Tent=
[Illustration: Fig. 128.—Pasteboard tent front for box.]
[Illustration: Fig. 129.—Manner of covering tent front with white
cloth.]
Cut a stiff piece of pasteboard box like the tent design (Fig. 128)
with an opening to fit the strip of muslin, spanning the space between
the two rollers; the edges of the opening must cover both top and
bottom edges of the cambric. Cover the pasteboard with white muslin
cut into four pieces—one piece for the top, one for the bottom and
one for each side. Cut the bottom piece into a strip to fit, slashed
on all edges (Fig. 129, A). Paste this on the tent (Fig. 128) first,
turning the slashed portion over and fastening it on the back of the
pasteboard; then fasten a curtain on each side (Fig. 130) and paste
the top piece of the tent on last; scallop this along the bottom edge
and paste it only along the two slanting slashed top lines; turn the
slashes over on the wrong side of the pasteboard and paste. When dry,
fit the tent over the front of the box and tack it firmly in place.
Make three little flags of gay paper, paste on sticks and glue the
sticks to the top peak and sides of the tent (Fig. 130); paste strips
of paper over and across the flag handle to the pasteboard to hold the
flag more securely on the tent (Fig. 131). Your show will then appear
to be moving inside of a white circus tent.
[Illustration: Fig. 130.—The Wild West Show with side curtains
attached.]
Set the box upon a table with the entire panorama wound on the second
roller, leaving only the blank portion of the cloth visible, and while
the audience is seated in front, begin slowly turning the crank-handle
of the first roller; at the same time telling in clear, well enunciated
words all about your Wild West Show. Do not try to have your remarks
sound as though learned from a book; that would be stiff and unnatural.
Talk in an every-day way, exactly as though you were speaking only to
your most intimate friend, and wanted to tell her all about the strange
sights and queer people, and the funny bears who are not afraid of any
man woman or child.
If you have been to a real Wild West Show, that will give you ideas, or
if you have traveled way out West and seen the actual Wild West life it
will be an inspiration for your show. Even to have read about the life
with its daring riders, wild horses, buffaloes, hazardous stage coach
drives, Indians and their war dances will be an immense help in aiding
you to enter into the spirit of the show.
[Illustration: Fig. 131.—Method of fastening flagpoles on tent.]
[Illustration: A Picnic on the Roof.]
CHAPTER XI
ROOF PICNIC WITH BROOK TO CROSS AND FLOWERS TO PICK
INVITE your friends to an afternoon picnic, and in the morning prepare
the grounds for the frolic. Have a lot of growing flowers and growing
fruit to give the place an attractive and festive appearance. The fruit
must be real, not make-believe; it must be ripe and ready to pick; but
the flowers may be of tissue paper, cheerfully bright and large in
size. The aim should be more for general effect than detail in making
these outdoor decorations.
[Illustration: Fig. 132.—Cut the sunflower petals this way.]
[Illustration: Fig. 133.—Fold each petal through centre.]
=Sunflowers=
can be fashioned rapidly by cutting orange-colored tissue paper into
strips twenty-five inches long and six inches wide, pointing the
strips into petals three inches deep and two and a half inches wide
at the base (Fig. 132), ten petals to each strip; then creasing each
petal lengthwise through its centre to give stiffness (Fig. 133), and
gathering each strip separately along its straight edge with needle and
thread (Fig. 134); in this way forming the two strips into two pointed
circles (Fig. 135). These circles, together with a brown centre, make
one sunflower.
[Illustration: Fig. 134.—Gather the strip of petals.]
[Illustration: Fig. 135.—One gathered circle of sunflower petals.]
[Illustration: Fig. 136.—Sunflower centre.]
[Illustration: Fig. 137.—Paper sunflower growing on broom-stick.]
Cut a strip of brown tissue paper nine inches long and two inches wide
for the centre, gather the paper tightly along one lengthwise edge and
tie it close up under and against the head of a slender nail (Fig.
136). Around the nail under the brown centre, slide on first one,
then the other, circle of gathered yellow petals, taking care to have
the petal points of the lower circle lie between and not over those
of the top circle. Finish by driving the nail which runs through the
sunflower, into one side of a stick or broom-handle, with the lower
end sharpened (Fig. 137).
[Illustration: Fig. 138.—Paper hollyhock tied on stick.]
[Illustration: Fig. 139.—Paper crimped for pinks.]
[Illustration: Fig. 140.—Paper disk for making poppy.]
[Illustration: Fig. 141.—Paper poppy.]
=Hollyhocks=
of every color can be made of circles of tissue paper five and a half
inches in diameter, held at the centre, two circles one inside of
the other, and the centre pushed and squeezed together, causing the
edges to fold and turn until they resemble the real flower (Fig. 138).
Smaller circles, crimped by drawing the paper through the partially
closed hand (Fig. 139), can be made into pinks, and you may have
brilliant, nodding poppies in the same way, only these are of smooth,
uncrimped circles (Fig. 140), placed one inside the other, with a small
circle of dark-green paper for the centre, and all three layers pinched
together at the extreme centre (Fig. 141). Large peonies are similar
in construction to some of the flowers you have made, so try to work
these out yourself.
A simple way to make
=Roses=
is to cut tissue paper into strips two and a half inches deep; cut the
square-cornered slashes two inches wide, then with knife or scissors
blade curl the sharp corners of each separate division, making the
slashes into rose petals. Curl the corners of the petals along half of
the strip inward, and those along the other half, outward. Fold two or
three plaits in the straight bottom edge of each petal; then begin with
the half where the petals curl inward and wind the strip around the end
of a slender stick. The first petals form the central group and are
curled inward; the remainder, curled outward, form the outward circle
of petals (Fig. 142). Make a generous supply of blossoms and tie them
on bushes. Let each bush bear but one kind, that the flowers may appear
natural and as if actually growing.
[Illustration: Fig. 142—Paper rose.]
=Get a Variety of Fruit, Peaches, Plums, Apples=
or any other sort you may prefer. Tie the fruit to those bushes which
have no blossoms, allowing each fruit bush to bear only one kind of
fruit.
In case there are no bushes, or if the bushes are too few in number,
use branches or sticks with natural foliage, or leaves made of green
tissue paper; make the latter of paper in several layers, that a number
may be cut at a time like the pattern (Fig. 143). Crimp through the
centre by folding lengthwise over a hat-pin and pushing the folded
centre together (Fig. 144). The method is quick and gives satisfactory
leaves (Fig. 145). Cut leaves in different sizes as you will need some
larger than others.
The sticks used as bushes should be of varying heights sharpened at the
lower end and driven into the ground.
Pretend the sticks are fruit trees and flower bushes and plant them
where they will appear to best advantage.
[Illustration: Fig. 143—Pattern for green leaf.]
If your yard happens to be
=On the Roof=
of the house, as often occurs in large cities, there will probably be
no earth in which to plant things; then you must fill flower pots and
deep boxes with earth, sand, or gravel, and plant your make-believe
trees and shrubs in them; such a garden will be entirely different from
all others.
[Illustration: Fig. 144.—Crimping green leaf.]
[Illustration: Fig. 145.—Green paper leaf.]
Build a wooden fence over which the girls and boys climb to enter
the picnic grounds; even though the improvised fence may not closely
resemble the real article, it will help to render the feeling of being
in the open country more realistic.
Make the fence by sinking the legs of two strong kitchen chairs
partially but firmly into the earth. Place the two chairs facing each
other and a short distance apart; then run a large, strong pole or
narrow board for a rail, across the chair seats, allowing the rail to
extend out beyond the back of the chairs. Lash the rail securely to the
chairs with the heaviest twine or slender rope, and place very heavy
weights on the seat to keep the chair steady, and avoid all possibility
of the rail slipping or chairs tipping.
If possible get either a swing, a teeter or a jogging board; all these
will afford a lively time for your guests, as will also a wheelbarrow
in which the girls and boys may take turns in riding and pushing or
wheeling each other.
If you want to make the affair seem just like a regular
=Country Picnic=
let each guest bring his or her own little basket of lunch.
As your guests arrive, usher them into the house and do not let them
even see the yard if it can be avoided; keep the grounds for a pleasant
surprise a little later.
Form the girls and boys into a single file and lead them marching
around the room while they join in singing some lively air. After
winding in and out among the chairs and tables, open the door, let them
look out into the pretty garden, and, while still singing,
=Climb Over the Fence=
and march among the flowers and fruit trees; end the procession by
circling around the spot chosen for your dinner table, where all must
deposit their lunch baskets. Of course you will not have an actual
table, as the tablecloth must be spread on the ground and the girls and
boys sit around it.
Mark the four corners of the space reserved as a table with sticks
about forty-six inches high, decorated with bright flowers (Fig. 146),
and the sharpened ends planted in the earth, or in flower pots.
=Spread the Tablecloth,=
bringing each corner to meet a garland pole; then let the guests take
from their baskets the different articles. Reserve some space at the
centre of the table for fruit, and let each boy and girl in turn walk
about the grounds and select one piece of fruit, pick it, bring it to
the table, and lay the chosen piece on the centre of the tablecloth.
No person may pick more than one piece of fruit during one turn.
Each player is privileged to place his fruit in any way he desires,
remembering always that each piece goes to form the centre-piece, which
should always be made as decorative as possible.
[Illustration: Fig. 146.—The decorated pole.]
=Crossing the Brook=
is a lively game and great fun. Get a number of flat stones that will
lie steady, and are large enough to step upon; arrange them about
eighteen or twenty inches apart, in an irregular line, over a stretch
of ground twenty or more feet across. Let the players in turn tip-toe
on the stones just as though they were crossing a brook of running
water, each girl and boy being obliged to pay a forfeit for every
misstep into the make-believe water. If stones are not to be had, use
blocks of wood, or, if need be, pieces of paper in place of stones. As
each player crosses the brook, the rest of the party must call to her
to be careful, not to fall, that she is going too fast, that she is
going too slow, or make similar comments. They can cheer her, and in
many harmless ways try to confuse the player with their calls, but it
is against the rules to touch or even go nearer to her than two yards.
After all the girls and boys have taken their turn at crossing the
brook, try
=Japanese Tag=
Each player must keep her hand on the spot where she was last tagged,
making the game present a most laughable appearance, with all the young
people dancing about in strange attitudes, holding a hand on the top of
the head, on the knee, chest, back, or foot, as it happens. The players
are not allowed to remove the hand until tagged in another spot. When
tagged in the middle of the back or any spot difficult to reach, the
player may hold a stick in his hand with one end resting on the spot
where he was tagged.
In starting
=The Game=
any person who first shouts, “Pick her up and stone holder,” may hold
both hands in front of her, each doubled up tight and one clasping a
small stone, immediately some one calls out “First knock,” another
player cries “Second knock,” another “Third knock,” and so on,
according as they are able to get the call in after the preceding cry.
The player calling
=“First Knock”=
taps one hand of the girl or boy holding the stone; if the hand touched
contains the stone, the player knocking is “it,” and the game begins,
but if the hand is empty, the player is free and the stone-holder puts
her hand back of her while she does or does not change the stone to the
other hand; again stretching her clinched hands forward, she allows the
player calling “Second knock” to try her luck by tapping one of the
outstretched hands. The trials are continued until a player taps the
hand holding the stone and becomes “it,” then
=The Others Scatter=
and “it” endeavors to tag some one, who in turn becomes “it,” and so
the game goes on.
After the players have grown tired of this game, there are many others
which will suggest themselves to the young people, and it will be found
a good plan to alternate the livelier kind with those of a more quiet
nature.
When the picnic is over give each guest one of the pretty paper flowers
to carry home, and your roof or back-yard picnic will have been an
event long to be remembered.
[Illustration: The Magic Peep Show.]
CHAPTER XII
THE MAGIC PEEP SHOW
FIND or make a simple pasteboard box, twelve inches long, ten inches
wide and nine inches high, or you can have it a little smaller if you
like, for your Magic Peep Show.
[Illustration: Fig. 147.—Back end of box opening.]
[Illustration: Fig. 148.—Slit cut in side of box.]
Cut a large square opening in the end of the box, leaving a margin
one-half inch wide at the top and sides (Fig. 147). Make a small round
hole in the centre of the front of the box, only large enough for one
eye to look through, and cut a slit a quarter of an inch wide on each
side of the box half an inch from the open end and half an inch from
the top; extend the slit to the bottom of the box (Fig. 148). Fig. 149
shows the box with the front, sides, and back cut.
[Illustration: Fig. 149.—Peep-hole cut in front of box.]
[Illustration: Fig. 150.—Peep show ready for slides.]
If the bent-down edges of the box-lid are wide, cut them off within
half an inch of the top; then put the lid on the box and it will be
ready for the slides (Fig. 150).
=The Slides=
must be stiff and perfectly opaque, so they will appear black when held
up to the light. Make them of pieces of pasteboard boxes cut to fit in
the side slits and long enough to extend a trifle beyond on each side
of the box (Fig. 151).
[Illustration: Fig. 151.—Slide in box.]
Draw the different designs given here on separate slides, and with a
sharp penknife cut them out, leaving holes in the slides exactly the
shape of the designs. The holes should appear with clean-cut edges.
Of course, the complete designs on the slides must be drawn much larger
than in these printed diagrams, but you can enlarge the drawings by the
system of squares. Explained in Chapter XIV.
[Illustration: Fig. 152.—Cow jumps over the moon.—Front side of slide.]
[Illustration: Fig. 153.—Wrong side of slide.]
After the designs are cut out, paste colored tissue paper over the
openings, and when you look through the little hole you will see
wonderfully bright and gay scenes all in transparent colors. An
ambitious red cow will be found jumping over a yellow moon, and instead
of being accompanied by the usual dish running away with a spoon, you
will find an energetic wood sprite dressed all in Lincoln-green. The
sprite has tied a rope of wild grape-vine to the cow, and, clinging to
the rope, is sailing through the air and over the moon with his queer
steed. Fig. 152 shows
=“The Cow Jumped Over the Moon”=
Cut out the group and paste a piece of dark-red tissue paper over the
entire cow with the exception of the horns. Across these paste white
tissue paper. Cover the moon with one piece of yellow tissue paper and
the sprite with green, all except his face; have that pink. Cut out a
thin line for the rope and paste a bit of brown tissue paper over it.
Fig. 153 shows the wrong side of the slide and explains how the work
is done; dotted lines designate the openings, which are covered with
tissue paper, in the manner described.
The tissue-paper coverings may be cut in any shape, but each piece must
cover well the opening of the figure or portion of figure intended to
be the color of the paper. Have the white paper across the horns lap
less than one-eighth inch over the red paper of the cow (Fig. 154), and
manage the pink paper of the sprite’s face in the same way where it
meets the green of his cap and clothing.
[Illustration: Fig. 154.—White paper over horns.]
[Illustration: Fig. 155.—The jumping cow.]
In making the other slides, follow this method throughout whenever two
pieces of tissue paper come in contact on the figure, and when pasting
paper over designs on the remaining slides always use one large piece
of paper in preference to several small pieces for covering different
parts of the design, which are the same in color. Figs. 155, 156 and
157 give the cow, sprite and moon for you to copy or trace.
[Illustration: Fig. 156.—The green sprite.]
[Illustration: Fig. 157.—The moon.]
=Life in Fairy Waters=
Fig. 158 shows how dark the slides appear when seen in the peep show
and gives an idea of the decided contrast of the light design against
the dark background, only the black and white print cannot give the
charm of the clear, bright, transparent coloring of the mermaid feeding
her many-hued pets as she rides her sea-horse in the fairy waters.
[Illustration: Fig. 158.—Life in fairy waters.]
The different parts of the composition are Figs. 159, 160, 161 and 162,
and the food merely little oval-shaped holes covered with white tissue
paper. Make the mermaid’s hair and ribbon brown; her face, arms and
body to the waist line, pink; the remaining portion of the mermaid’s
figure orange-color. The fish, scarlet, purple and white. Paste wee
round pieces of black paper on the fish for the eyes.
[Illustration: Fig. 159.—Mermaid on sea-horse.]
[Illustration: Fig. 160.—Fairy fish.]
[Illustration: Fig. 161.—Fairy fish.]
[Illustration: Fig. 162.—Fairy fish.]
As soon as you finish the slide, fit it in the peep show box, turn your
face to the light, then peep through the hole and find how pretty the
bright group looks with all the eager fish gathering around the little
mermaid as she calls them to breakfast.
Next comes Fig. 163, the
=Easter Chicks=
Make Fig. 164 light yellow; Fig. 165, blue; Fig. 166, orange chick,
white shell; Fig. 167 A, green, B, purple; Fig. 168, white chick,
scarlet shell; the broken shells (Fig. 169) red, blue and white. The
poor little chicks are glad to escape from the shells even though the
shells have been gayly painted.
[Illustration: Fig. 163.—Easter chicks.]
[Illustration: Fig. 164.—Light yellow chick.]
[Illustration: Fig. 165.—Blue shell.]
[Illustration: Fig. 166.—Orange colored chick—White shell.]
[Illustration: Fig. 167.—Green egg.—Purple egg.]
[Illustration: Fig. 168.—Scarlet shell.]
[Illustration: Fig. 169.—Pieces of red, blue and white shell.]
=In the Three Blind Mice=
(Fig. 170), which are pursued by the knife belonging to the farmer’s
wife, the first mouse can be orange-color; the second, white, and last
one brown. The blade of the knife, scarlet, and its handle green, or
any other colors which may please your fancy. Remember, this is a magic
peep show, and often the natural color of animals is changed to more
brilliant hues in order to secure a more vivid effect.
[Illustration: Fig. 170.—Three blind mice.]
[Illustration: Fig. 171.—One of the three blind mice.]
You can make all three mice from one outline (Fig. 171) and the knife
from Fig. 172. Set the slide of mice in place in the box, peep through
the hole and “see how they run!”
[Illustration: Fig. 172.—The butcher knife.]
The next illustration will undoubtedly prove to be the most amusing of
all, and will bring forth gales of laughter from your little brothers,
sisters or friends. It is the
=Dance of the Dolls (Fig. 173)=
On Fig. 174 paste orange-colored hair, a scarlet dress and green shoes;
then over all paste one large piece of white tissue paper which will
make the doll’s face, neck, arms and stockings white. The layer of
white paper placed over these colors does not affect them in the least.
[Illustration: Fig. 173.—Dancing toys.]
Cut a circular hole for the ball and cover it with brown tissue paper.
Dress Fig. 175 in the same manner as the doll just described, but in
other colors. For instance, make her hair brown, her dress light
purple, her shoes yellow, and her face, arms and stockings white. If
you want features on the faces, use a very soft lead-pencil and draw
eyes, nose and mouth, though features are not really necessary, and, as
a matter of fact, the dolls look very well without.
[Illustration: Fig. 174.—Girl to dance on ball.]
[Illustration: Fig. 175.—Dancing doll.]
Let Jumping Jack (Fig. 176) be all in blue, except his face—make that
white. Joints on all the toys, as seen in the illustrations, are
indicated by pasting thread lines of black paper and pin-head dots of
black paper over the places where joints should be, according to the
outlines and dots at the elbows of the girl dolls and the shoulders and
hips of dancing Jack.
=The Bouquet=
(Fig. 177) consists of a red tulip (Fig. 178); a deep-yellow ox-eye
daisy with a brown centre pasted over the yellow—in this case it can be
done (Fig. 179)—a bluebell (Fig. 180); and a white daisy with yellow
centre (Fig. 181). You will find that this piece, with all its bright
colors, will be one of the prettiest of your designs. Fig. 182 is a
branch of green leaves.
[Illustration: Fig. 176.—Jumping Jack.]
Cover each blossom with its respective color, and then paste one piece
of green tissue paper over all the leaves and stems and the effect will
be very natural.
[Illustration: Fig. 177.—Floral slide.]
[Illustration: Fig. 178.—The red tulip.]
[Illustration: Fig. 179.—Ox-eyed daisy.]
[Illustration: Fig. 180.—Bluebell.]
[Illustration: Fig. 181.—White daisy.]
[Illustration: Fig. 182.—Green leaves.]
=The Little Sun-bonnet Girl=
(Fig. 183), playing with a lot of bright-colored balloons, forms the
last slide. Make the little girl’s dress blue, her sun-bonnet white
and her hands, feet and ankles pink (Fig. 184). Let the strings of
the balloons be of white tissue paper and each balloon of a different
color from all the others; one may be dark red, the others green, pink,
purple, light yellow, blue, scarlet, orange, brown, light green, white
and vivid yellow. The slide will be very brilliant.
[Illustration: Fig. 183.—Little sun-bonnet girl.]
Invent other designs yourself. Think of something you would like to
see and try it on a new slide; when you succeed with one, you will want
to make another and another. The more slides you have for your magic
peep show the longer the fun will last, and you will be able to give no
end of pleasure to your little friends.
[Illustration: Fig. 184.—Sun-bonnet girl.]
When exhibiting the peep show set the box on top of a table where the
light will shine through the slides and let the party take turns facing
the window and peeping through the little hole at the novel, brilliant
scenes beyond.
[Illustration: Champion of the New Outdoor Game]
CHAPTER XIII
PLANT YOUR GARDEN IF YOU CAN
=A New Flower Game=
BRIGHT summer days are the time to be out of doors in the sweet, fresh
air, with the birds and flowers, where there is plenty of space to run
and have a good time. What a lot of games can be played in the open.
There is Hide-and-Go-Seek, Catcher, Tag, Hop-Scotch and many more. You
will be able to add a number to the list. Probably, though, you have
played all of them over and over again, so we will try and think of
something new. We must have a game that will be lively, interesting,
and at the same time require a certain degree of skill, and the game
must be one where we can enjoy the making of things requisite for the
sport; but the material must not cost more than a few cents.
I have it! A game of flowers with roses that will not wilt or fade but
last for a long time fresh and bright. We will call it “Plant Your
Garden if You Can,” because one cannot always be absolutely sure of
planting the flowers, and that is part of the fun.
=Two Dozen Roses=
will be needed for this garden game, half a dozen white, half a dozen
red, half a dozen yellow and half a dozen pink. The flowers are of
tissue paper and very pretty.
Cut squares measuring twelve inches along each of the four sides, from
white, pink, yellow and red tissue paper; the dotted lines on the
diagrams indicate where the paper must be folded (Fig. 185). Fold each
square across the centre (Fig. 186). Fold again crosswise through the
centre, forming a small square of four layers (Fig. 187). Again fold,
this time diagonally (A to B, Fig. 187), and you will have a triangle
(Fig. 188). Fold once more diagonally (Fig. 188) A to C; this will give
Fig. 189. Cut straight across from E to dot D (Fig. 189), then cut a
slash an inch and three-quarters deep in the centre of the edges as
shown by the line F in Fig. 190. Open out the paper (Fig. 191). The
slashed edges will form the petals of the rose. Curl each corner edge
of every petal with a blade of a pair of scissors according to dotted
lines on the petal (Fig. 192).
[Illustration: Fig. 185.—Square 12 inches each side.]
[Illustration: Fig. 186.—Square folded once across centre.]
[Illustration: Fig. 187.—Square folded twice.]
[Illustration: Fig. 188.—Four layer square folded diagonally.]
[Illustration: Fig. 189.—Triangle folded diagonally through centre.]
[Illustration: Fig. 190.—Second triangle slashed on edges.]
[Illustration: Fig. 191.—Unfolded triangle with slashed edges for rose
petals.]
[Illustration: Fig. 192.—Section of paper for rose showing one curled
petal.]
Begin by holding one corner of one petal between the thumb of your
right hand and one blade of the scissors; gently pull your thumb
and the scissors blade outward, sliding them along each side of the
petal, while you hold the remainder of the paper steady with your left
hand. The thumb rubs over the petal; at the same time the edge of the
scissors blade scrapes the under side of the petal, which causes the
paper to curl. Fig. 192 shows one petal with both of the side corners
curled. When you have curled around the first half of the circle, turn
the paper over and curl the petals around the other half of the circle
in an opposite direction. Fig. 193 gives two petals curled forward and
two backward, representing two petals on each half of the tissue-paper
rose. After all the petals are curled lay the centre of the tissue
paper out flat and place on it three level teaspoonfuls of flour; then
gather up the edges of the rose and wind a strong thread several times
around below the petals and above the flour-bag formed by the centre of
the paper (Fig. 194). Tie the string, adjust the petals and the rose
will be finished (Fig. 195).
[Illustration: Fig. 193.—Two curled petals on each half of rose.]
[Illustration: Fig. 194.—Flour in centre of paper and string around
below rose petals.]
[Illustration: Fig. 195.—Finished rose and flour bag.]
=Mark Out Two Flower Beds=
where the roses are to be planted. Each bed must measure three yards in
length and one yard in width. The beds must run parallel to each other
and be separated by a space of three yards. Each of the two flower beds
must then be divided crosswise through the centre, making four flower
beds in all, two on each side—one for every player. Fig. 196 shows the
plan with flower beds divided. The circles denote the station points
or places where the players stand, and the dotted line the direction
the roses should take when played by the girl or boy stationed at the
position marked “Barbara.” The other players send their roses in like
manner over the intervening space to the flower bed diagonally across
from their position.
[Illustration: Fig. 196.—Plan of flower bed for game.]
That there may be no mistake regarding each particular enclosure where
the different-colored roses should be planted,
=Use Flags=
to designate the color of the various flower beds. From inexpensive
cotton cloth of a solid red color cut a flag eighteen inches long and
twelve inches wide; hem the raw edges; then tack one end of the flag
on a slender stick one yard or more in length; sharpen the free end of
the stick and push it down into the earth at the outer back corner of
the flower bed intended for the red roses. Have the flag stand straight
and firm. Make a white, a yellow and a pink flag in the same way. Erect
each in the outer back corner of its own bed, which will be the bed
where roses of corresponding color are to be planted. All the flags
must be of equal height.
[Illustration: Fig. 197.—Tape in clothespin for pegging to ground.]
If the game is played at the seashore on a smooth, hard beach, mark out
the flower beds by running the end of a stick along in the sand. If the
game takes place on a level lawn, use white tape for marking the beds;
peg the tape down to the earth with common wooden clothespins (Fig.
197), first sliding the tape in the clothespin (Fig. 198).
[Illustration: Fig. 198.—White tape outlining flower bed.]
=The Four Rackets for the Game=
are ordinary flat palm-leaf fans, one fan to each player.
The game is played by sides, and calls for four players, two on each
side.
=The Game=
is that each player in turn shall plant as many roses in her own garden
as she can. Every player has six roses of one color; the two holding
respectively the white and the red roses are on one side, while the two
with the yellow and the pink roses take the opposite side. When all is
ready and the players are at their stations, a signal is given and the
game begins.
The first player holds one of her roses out with the left hand, strikes
it with the fan-racket held in the right hand, and endeavors to send
the rose flying and land it in her own garden. If she succeeds, the
rose is said to be “planted,” and scores her one point, but should
the rose go beyond the boundary line of her flower bed, fall short of
it, or the flour-bag of the rose be broken, the play is a “failure”
and scores one point for the opposite side. When a rose falls on the
boundary line of its own flower bed, the play is a “fault,” and the
player may try again with the same flower. After the first player has
had her turn, a player on the opposite side tries her skill, for the
turns must alternate from side to side. The game ends with the playing
of the last rose, and the side scoring the greatest number of points
wins the game. All roses when played must remain where they fall until
the close of the game, with the exception of those falling on the
boundary line of their own beds.
=A Tally Card=
will be required for keeping a record of the game. Make one of white
pasteboard (Fig. 199). The initials can be changed to those taking
part in the sport. Every point scored must be written under the color
and initial or name of the person who scores it. When, because of the
failure of one player, the opposite side scores a point, the score
must be recorded in the third column belonging to that side on the
tally card under the word “Won.”
[Illustration: Fig. 199.—Tally card.]
=To Determine the Choice of Sides,=
which shall be first, and the distribution of colors, draw straws for
the colors and toss for position of sides. To draw straws, take four
straws of varying lengths, and grasp them in your hand in such a way
that the extending ends of the straws seen by the other players are the
same in length, while the uneven ends are closed within the hand; allow
each player to draw a straw. The girl or boy taking the longest straw
has first choice of colors; the player holding the straw next in length
has second choice, and so on.
To toss for position of sides means that a player from each side shall
toss a small stone toward a stick laid on the ground two yards distant
from the spot where the players stand. A twig placed on the spot may
mark the point from which the stones are to be tossed. The stones must
be tossed in turn, not at the same time, and the player whose stone
comes nearest to the mark wins the right for his side to the choice of
position on the grounds, also the right of first play.
One charm of this game is that the roses when volleyed by the players
invariably land on the ground blossom uppermost, and these twenty-four
bright blossoms scattered over the green lawn or sandy beach, with gay,
colored flags outlining the four corners of the garden court, and, best
of all, the group of merry boys and girls, make a very attractive and
pretty scene.
The game, though intended for four players, may also be played by
either two or eight players. When only two take part, each must play
the twelve roses belonging to his side; in other respects the rules are
the same as in a four-handed game. When there are eight players, four
must stand on each side and each player have three roses, two players
necessarily playing the same color, but not in the same bed, as the
garden on both sides must be divided into four beds that every player
may plant roses in a separate flower bed; otherwise the original rules
hold good.
“Plant Your Garden if You Can” may be adapted to the house when chill
Autumn days appear and the weather grows cold and rainy. When played
indoors the beds may be marked out by white tape as on the green lawn,
only in this case wooden clothespins would be of no use, and thumb
tacks, such as are used by artists, must take their place to fasten the
tape down on a bare wooden floor, and safety-pins when the floor is
carpeted.
[Illustration: Fig. 200.—Home-made Santa Claus as He will Appear on
Your Hearth Christmas Morning.]
CHAPTER XIV
JOLLY LITTLE SANTA CLAUS WITH HIS REINDEER AND SLEIGH
DO you want to see—actually see!—Santa Claus seated in his sleigh
filled with toys, and driving his famous reindeer? You may do so and
have him come to your home. Even if there is no chimney and open
fireplace for Santa Claus to climb through, the blithe little fellow
can be induced to appear, sleigh and all, and he will keep his turnout
standing perfectly still that all the family may have a good, long look
at him. But you must carefully follow directions and help Santa Claus
get ready for your Christmas (Fig. 200).
It would be difficult to say positively how long Santa Claus has lived,
or when he first made his appearance, but we all know just how he looks,
“His eyes twinkle, his dimples are merry,
His cheeks are like roses, his nose like a cherry.”
We know that he is sure to come every Christmas, and the girls and
boys look forward gladly to his visit. The little Hollanders name
our Christmas Saint Santa Claus, the same as we do, though sometimes
we call him Kris Kringle. In England he is both Santa Claus and St.
Nicholas, in Switzerland Samiklaus, in Russia he is St. Nicholas. But
no matter by what name he may be called, he is always the same, always
the jolly little fellow bringing good cheer to every one. Santa Claus
takes great delight in driving his tiny reindeer and sleigh full of
toys over roofs of houses for the special benefit of the girls and boys
he knows, and that includes all of them.
[Illustration: Fig. 201.—Ordinary sled.]
Possibly Santa Claus will drive only two reindeer in his sleigh this
year. He is willing, however, to bring them all if you wish.
[Illustration: Fig. 202.—Box for top of sled.]
[Illustration: Fig. 203.—Santa Claus sleigh ready for fur robe.]
An ordinary sled (Fig. 201) will do for the foundation of
=The Sleigh,=
and a box for the body of the sleigh (Fig. 202) to set on the sled
(Fig. 203). Find some furs to use as robes to hang over the sides and
back of the sleigh; any kind will do—boas, collars, circulars or rugs.
Fit them in and over the sides of the box. If you have no furs, try
plush or colored blankets. Tack gay-colored paper over those portions
of the box which are not concealed by the robes, and lay a small,
light board over the top front of the box, resting the ends of the
board on the sides of the box to make the seat on the sleigh. Cover the
board with the same paper as that tacked on the box.
[Illustration: Fig. 204.—Extensions on each hoof.]
Make two
=Reindeer=
of stiff pasteboard like Fig. 204. Now, do not think you cannot make
the deer because you may not be skilled in drawing, for you can do
so easily. Take a large sheet of paper and draw on it an oblong
forty-eight inches wide and thirty-six inches high; divide the oblong
into squares measuring six inches on each of the four sides, which
will give eight squares in width and six squares in height. With the
aid of these squares it will be fun to copy the reindeer. Number the
side lines of your oblong and letter the top and bottom lines as in
Fig. 205. Examine the lower corner space of Fig. 205 enclosed by the
lines A-5, and you will find the hind hoof and part of the hind leg
stretching diagonally across the space. Use a soft lead-pencil and
begin copying the deer by drawing a slanting fine from the extreme
outward lower corner upward about one-third of the distance from the
bottom to the top of the space A-5. This short slanting line forms the
bottom of the hoof, the little space, enclosed between the hoof and the
long toe above it reaches very nearly to the centre of the lower part
of the square A-5. Make yours so. Draw the upper edge of the long toe;
then run a slanting line up to the top line of the square space A-5,
and make it touch the top line 5 less than one-quarter the distance
from the side line A to the opposite line of the same square. Return
to the lower part of the hoof already begun and draw the inside line of
the hoof and portion of the leg in the same space, A-5.
[Illustration: Fig. 205.—Reindeer enlarged enclosed in squares.]
In the space 4-5, immediately above the space A-5, you will perceive
that only a lower corner is drawn in and that all the four squares
above the square 4-5 are vacant, so continue your drawing on the bottom
space A-B. The extreme upper corner of this is cut off by a short
straight line; then a shallow scallop extends entirely across the upper
part and runs into the third lower space B-C. If you notice closely
the space enclosed by the lines 4-5, A-B, immediately over the one you
have been working on, you will see that the corner on the line 4-A is
vacant, while all three of the other corners are occupied by portions
of the hind leg, and that the empty space extending from the vacant
corner 4-A forms almost a square with two lines slightly curved and the
corner diagonally across from the vacant corner 4-A, on the line 4, cut
off by a short line bent bow-shaped. Draw it in the same way over the
corresponding space on your paper. Look at Fig. 206, following the line
on the space 4-5, A-B, and you will discover that it is the same as in
Fig. 205, only smaller, and by carefully comparing the two diagrams,
Fig. 205 and Fig. 206, you will find the lines are formed alike in
each, differing only in size; thus you will understand how you can make
your deer very much larger simply by drawing it on larger squares.
Continue as you have begun, taking one square space at a time, and copy
on your large squares the outline of the entire deer as given on the
squares of Fig. 206.
[Illustration: Fig. 206.—Reindeer enclosed ready to be enlarged].
When the drawing is finished, go over all the pencil lines which form
the deer with black paint or ink, making the lines heavy and plain,
that they may be seen from across the room. As soon as the paint is
absolutely dry erase the pencil-lined squares.
To make sure that the deer will stand firmly, extend downward a
slanting line from the top of each hoof and draw another level line out
from the bottom of each hoof to meet it, according to dotted lines in
Fig. 204.
Cut out your deer and with pins or thumb-tacks fasten him out flat
on another large sheet of paper; then with the soft lead-pencil run a
line on the paper around the deer, which will give you the second deer;
outline the markings on this like those on the first deer; then cut it
out. If you want six deer for Santa Claus’ sleigh make them as you did
the second deer. Back each deer with very heavy, stiff pasteboard and
nail a thin strip of wood on each of them. Let the wood reach from the
middle of the head to the edge of the hind leg (Fig. 207). Fasten the
two animals together with three narrow flat sticks tacked across from
deer to deer, one stick at the centre and one on each of the two ends
of the slanting strips of wood fastened on each deer. The framework
will then rudely resemble an inclined ladder. Stand the reindeer in
front of Santa Claus’ sleigh and see how fine they look.
[Illustration: Fig. 207.—Reindeer re-enforced by strip of wood.]
[Illustration: Fig. 208.—Santa Claus’ boot.]
[Illustration: Fig. 209.—Santa Claus’ trousers.]
[Illustration: Fig. 210.—Santa Claus’ coat.]
[Illustration: Fig. 211.—Santa Claus’ cap.]
[Illustration: Fig. 212.—Cap trimmed with ermine.]
[Illustration: Fig. 213.—Santa Claus’ wig.]
[Illustration: Fig. 214.—Santa Claus’ whiskers and eyebrows.]
To represent
=Santa Claus,=
make a large rag doll stuffed with straw or excelsior. It is not
necessary to spend much time on making the doll, as it will be used
only once, and will then be almost entirely covered, showing only the
upper portion of the face for which you can mark easily with features.
Make the boots (Fig. 208) like stockings of black muslin; have them
long and loose enough at the ankle to form wrinkles. The trousers (Fig.
209) should be of scarlet cotton flannel, fleece side out; the coat
(Fig. 210) cut of the same material; the cap (Fig. 211) of the red
cloth cut melon shape, and sewed together. Santa Claus’ costume must
be trimmed with bands of fur. Ermine will look best, and it is easiest
to make. Cut strips of white cotton flannel and mark them with black
ink to represent the little black elongated spots on real ermine. Trim
the tops of the boots (Fig. 208), the neck, sleeves and edge of the
coat (Fig. 210) and edge of the cap (Fig. 212) with fur. Make the wig
of raw white cotton, and fasten it on the doll’s head (Fig. 213), then
the beard, moustache and eyebrows also of raw cotton (Fig. 214), and
glue them on the face. Paint Santa Claus’ face pink, his cheeks and
the end of his nose bright red, and his eyes blue. When dressing him,
bring the fur-topped boots up over the trousers (Fig. 200).
With tacks and string fasten Santa Claus in an upright sitting position
on the seat of the sleigh. Tie a long, narrow red ribbon around the
neck of each reindeer and pin or tie the ends of these ribbon reins on
to the mitten-covered ends of the arms which form his hands. He will
then seem to be gayly driving his reindeer.
Fill the box of the sleigh with
=Christmas Gifts=
wrapped in bright colored tissue paper. Any article liable to break
should receive special attention. A cup and saucer (Fig. 215) is one
of the most difficult articles to manage, and if you can wrap this up,
properly, the wrapping of all other gifts will be easy.
[Illustration: Fig. 215.—Christmas cup and saucer.]
Take the saucer first, place it on the centre of a piece of tissue
paper (Fig. 216), fold the paper up around it, bringing the ends
together at the centre (Fig. 217). Do the same with the cup (Fig.
218); then crush down the top of the paper over the saucer and set the
paper-covered cup on it (Fig. 219). Now place the two on more paper and
wrap up both together (Fig. 220).
[Illustration: Fig. 216.—Saucer in centre of tissue paper.]
If there are not enough gifts to fill the box of the sleigh, open
newspapers and crush them into the bottom of the box to fill up the
extra space; spread white paper over the top of the newspapers, and
fill in with the prettily wrapped gifts. Each parcel should be tied
with a ribbon and decorated with holly, mistletoe or evergreen (Fig.
220). Cover the top of the paper parcels with various toys (Fig. 200),
and Santa Claus with sleigh and reindeer will be ready to surprise the
family early Christmas morning.
[Illustration: Fig. 217.—Tissue paper over saucer.]
[Illustration: Fig. 218.—Cup in tissue paper.]
[Illustration: Fig. 219.—Wrapped cup and saucer together.]
[Illustration: Fig. 220.—Cup and saucer ready for the sleigh.]
Try to have as many home-made gifts in the sleigh as possible.
=Your Christmas Cards=
can be plain white pieces of cardboard decorated with the head of Santa
Claus made of an almond on which is inked a face; the long hair and
beard of refined white cotton being glued on the nut and a red peaked
cap fastened on the top of the head; this makes a fine Santa Claus. The
head should be glued on the left side of the card, and on the blank
portion should be inscribed the greeting, “Merry Christmas.”
CHAPTER XV
A LIVING CHRISTMAS TREE
THIS Christmas tree is not planted in a tub or fastened to a stand;
it does not remain just where it is put, neither is it attached to a
mechanical device that makes it whirl and spin around dizzily as they
sometimes do in the shops. It is a living Christmas tree, a green
Christmas tree all covered with glittering ornaments and bright colored
toys, with little bells at the bottom that tinkle musically as it
moves, and on the topmost point a brilliant star that sends out tinsel
rays from every point. Then, a little distance below the star, a face—a
laughing face with shining eyes that reveal the guardian angel of the
tree.
You can keep the preparation of the living tree absolutely secret and
make it a complete surprise, for it does not have to be set up where
all may see in order to be decorated, and no hint of its existence
need be given until the time arrives, the door is thrown open and the
beautiful, sparkling Christmas tree glides slowly into the room.
=How to Prepare the Living Christmas Tree.=
Choose quite a tall girl for the angel of the tree and from dark green,
undressed cambric cut a long, plain cloak that will fit smoothly over
her shoulders and hang like an inverted cornucopia from neck to feet.
=Make the Peaked Hat=
out of stiff brown paper, cutting it like Fig. 221, and pasting it
together like Fig. 222. Cover the hat with some of the green cambric,
allowing a cape of the material to fall from hat to shoulders at the
back (Fig. 223). Get three or four quires of moss-green tissue paper,
cut it into strips six inches wide and cut each strip into rather
coarse fringe, leaving a solid strip for heading at the top, two inches
wide. Beginning at the bottom sew the fringe around the cloak, allowing
it to reach just to the edge of the cloth.
[Illustration: Fig. 221.—Cut the hat after this pattern.]
Above the first row of fringe, and overlapping it, sew the second row,
bringing its lower edge within three inches of the bottom edge of the
first row.
In this way put on row after row of fringe, always overlapping it,
until the cloak is entirely covered, then cover the hat and its cape in
the same manner.
[Illustration: Fig. 222.—Paste it together like this.]
Take a light wooden hoop—one of the kind the children roll on the
pavements in “hoop time,” and, turning the edge of the cloak up once,
fit the hoop in the fold and hem the edge over it. This will hold the
cloak out firmly at the bottom and it should hang smooth and straight
from the shoulders with a generous lap where it closes in front.
[Illustration: The Living Christmas Tree.]
Pin the fronts together, leaving an opening only large enough to slip
over the head.
Now suspend the cloak on a waisthanger in such a way that you can reach
it from all sides, and proceed
=To Decorate=
Around the bottom sew a row of small bells, and here and there all over
the cloak, sew large dress hooks, on which to hang the fragile glass
ornaments and small presents. Pin on the tinsel decorations and strings
of popcorn with safety pins and leave the finishing touches until the
angel has entered her tree.
The tall hat, tipped by its bright star, may be completely trimmed and
put safely away until needed. All decorations and presents must be
light in weight.
[Illustration: Fig. 223.—Cover the hat and leave a cape of the
material.]
On the eventful night let the Christmas tree angel slip into the tree,
and, after it is nicely adjusted, hang around her neck strings of
colored glass balls, and suspend from the hooks the glass ornaments and
presents. Put the peaked hat on her head, and the living Christmas tree
will be ready for her triumphant entry. To avoid the danger of accident
do not allow the tree in a room where there are unprotected gas lights,
candles or open fire, and let the cloak be put on the angel in a room
adjoining the one in which she is to appear, for going up or down
stairs incased in the cloak is not to be thought of.
[Illustration: One of the Booths at the Girls’ and Boys’ Fair with
Articles Made by Themselves.]
CHAPTER XVI
HOW TO GET UP A GIRLS’ FAIR
LET two or three young friends help you get up the fair. Tell them
that this is not to be an ordinary fair, it will be more interesting
and unique; that buyers will find things which cannot be purchased
elsewhere for any amount of money, as all articles for sale and even
the decorations will be made by the girls and boys themselves, and
duplicates are not to be found in the stores. Inform the young people
that a prize will be given to the girl and to the boy whose work is the
best.
=Form a Managing Committee=
and talk over arrangements with them.
If the fair is to be large, you will need either one large room or
several small ones.
When the question of place has been settled to the satisfaction of
all, make out a list of the various girls and boys who will help with
the entertainment, and divide the list into as many parts as there
are young people on your managing committee, including yourself. Give
each member of the committee his or her portion of the list, with
instructions to see every person whose name is on the paper and find
out what each particular one will promise to make for the fair. Do not
confine the soliciting to young people of your own little circle, ask
for contributions from all the girls and boys your managing committee
are able to reach. Some may want to make several articles each, others
may wish to do the decorating, and so on. Space must be provided on the
list of names for writing down under each name the articles promised
(Fig. 224).
[Illustration: Fig. 224.—List of promised articles.]
Let each contributor understand that every article sent in must have
the name, age, and address of the sender written in ink and fastened
securely on each separate article, that every girl and boy may receive
full credit for what she or he has made (Fig. 225).
[Illustration: Fig. 225.—Card ready to attach to one article.]
In addition to the attractive booths you should have the ever popular
grab-bag and the
“Four and twenty blackbirds
Baked in a pie”
will be just the thing.
[Illustration: Fig. 226.—A tub like this for the blackbird grab-bag.]
Take an ordinary wooden tub (Fig. 226), cover the outside with gay
tissue paper laid on in flat plaits from top to bottom. Paste the
paper along the inside of the top edge, carry it over on the outside
down under the bottom edge. Cover the handles with the same paper, and
fasten ribbon bows on the outside of the handles (Fig. 227). If the tub
is covered with pink tissue paper, tack pink ribbons on the handles; if
red paper is used fasten green on the handles.
[Illustration: Fig. 227.—The grab-bag tub covered with colored paper.]
[Illustration: Fig. 228.—Package ready for grab-bag.]
Fill the bottom of the tub with large, lightly crushed pieces of
newspaper, cover these with a double layer of smooth paper, leaving
sufficient space at the top for a layer of sawdust, bran or sand, deep
enough to cover the different sized articles intended for the grab-bag.
Each separate article must be wrapped in paper and tied with a string
(Fig. 228).
Make as many
=Blackbirds=
as you can place conveniently, without too much crowding, on top of the
pie.
[Illustration: Fig. 229.—Pattern of blackbird.]
Use medium stiff cardboard or smooth water color paper, not too
limber, for the birds. Cut them from an enlarged pattern of Fig. 229,
as the birds must be life-size. Paint or ink the bird black on both
sides and, when it is dry, bend up the tail in a curve. Bend up the
neck at dotted line of Fig. 229. Pinch together the beak and bend it
downward, bringing the head forward at dotted line of Fig. 229. Turn up
the wings according to dotted lines on Fig. 229, and curve them over
and outward at the top (Fig. 230). Puncture two holes in the back of
the bird at the dots A and B (Fig. 229).
[Illustration: Fig. 230.—Blackbird bent in shape.]
[Illustration: Fig. 231.—Bend one end of a hairpin into a square hook.]
[Illustration: Fig. 232.—Top of hook bent into handle.]
There must be a handle for lifting the blackbirds; make it of a
hairpin. Bend one end of a wire hairpin into a square hook (Fig. 231)
and slide the longer end up through the foremost hole on the underside
of the bird; tie the centre of a string, nine inches long, on the
horizontal bend of the hooked end of the hairpin; then push the short
end of the hook up through the other hole in the bird, bringing the
string up close against the bird’s breast. Bend the short end of the
hairpin down on the bird’s back and flatten it with a hammer. Curve
the top of the hairpin into a handle (Fig. 232) and fasten the hooked
end of the hairpin more securely to the breast and back of the bird by
pasting a piece of paper over the short portion of the hairpin lying
over the back (Fig. 233). Push the paper up tight around the edge of
the wire. Paste another piece of paper over the short length of hairpin
on the bird’s breast in the same manner (Fig. 234).
[Illustration: Fig. 233.—Hairpin fastened to back of bird.]
[Illustration: Fig. 234.—Hairpin fastened to breast of bird.]
Set the blackbird away until next day, when it will be perfectly dry,
and you will find the hairpin secure in its place, standing straight
and steady.
Tie the two ends of the string together into a hard knot; then bend
one half of another wire hairpin into a hook (Fig. 235) and fasten it
securely on the string at the end of the loop; twist the long handle
of the hairpin hook (Fig. 235) around and over the string, as shown in
Fig. 236.
[Illustration: Fig. 235.—Make a hook of another hairpin.]
[Illustration: Fig. 236.—Fasten the hook to the string.]
Instead of making one complete blackbird at a time, it will be much
quicker and easier to make a pattern and cut out all your blackbirds
first; then ink or paint them all, and continue working on them in this
way until all are finished about the same time. It will not take long
when once you have the pattern enlarged, and you can make the pattern
the proper size by the system of squares, large and small, as explained
in Chapter XIV.
When the birds are made and ready for the pie, hook
=A Package on Each Blackbird=
(Fig. 237), and hide the parcel and string down under the sawdust,
resting the bird on top of the pie; then when any one wants to purchase
a “grab” let him lift any bird he chooses from the pie by means of the
hairpin in the bird’s back.
[Illustration: Fig. 237.—Blackbird with package ready for pie.]
The girl or boy in charge must take the parcel from the hook, give it
to the purchaser, quickly slide another package on the hook and sink it
down in the pie in place of the first one. While the purchaser is left
entirely free to choose, she should take care not to disarrange the
packages in the pie.
[Illustration: The Blackbird Pie.]
Extra packages must be kept in a covered box or basket at one side,
back of the “Blackbird Pie.”
Another original idea for your fair will be
=The Express Office=
At this table each article must be daintily tied up in white paper
and the package labelled with the Christian name of one of the young
people. Wrap up a number of articles that your friends may find parcels
waiting for them when they call at the express office. The packages
should also bear the name of the city from which they are supposed to
have been sent. For instance, if you have a friend named Mary, and Mary
happens to be acquainted with some young people in Cincinnati, mark the
parcel for her with the name Mary and the place Cincinnati, Ohio. The
addition of the name of some city will add greatly to the interest and
excitement when the package is received.
Though a package may be intended for a certain person, any one with the
same Christian name may purchase the article, but it cannot be sold to
a buyer bearing another Christian name, and should some one come for
an express package and the express agent be unable to find a parcel
labelled with the purchaser’s name, the would-be buyer must leave the
office empty-handed.
The uncertainty of finding a package at the express office lends a
certain charm to this table, for every one will feel some curiosity to
ascertain for a surety whether he or she is included with the fortunate
ones whose names appear upon packages.
Arrange all your articles for the express office in alphabetical order,
those on one side of the table for girls, and on the other side for
boys; then the parcel bearing the name called for may be quickly handed
out to the inquiring purchaser.
=Letters to Girls=
and letters to boys are easy to write. Ask as many friends as possible
to write one or more letters to any companions they choose whom they
think will attend the fair. The letters must be signed by fictitious
names, never the writer’s own name or the name of any real person; then
those receiving the missives will have the sport of trying to find out
which of their friends actually wrote the letters.
Several days before the fair opens all the mail, after being addressed
and sealed, should be sent under additional cover to you personally.
=The Post-office=
must be made very attractive, though it need not occupy much space.
A mere corner of the room screened off with dividing drapery of
turkey-red cotton cloth or any gay material will answer the purpose.
Open the drapery at the centre division and make a three-cornered
tent-like window in front between the two curtains with the aid of a
chair. Place a box on the chair reaching to the top of the chair-back,
set the chair between the two curtains, turn its back toward the people
and cover it with the same material used for the curtains; then pin
this drapery to the curtains on each side.
=The Decorations=
must be very simple and inexpensive; something which can be made easily
and quickly, and when finished they should be bright and effective.
Have your decorating committee cut a number of flags from different
colored tissue paper or low priced muslin varying in length, anywhere
from ten to fifteen inches, and in width from five to nine inches
(Fig. 238 and Fig. 239). If the ceiling is very high the flags may be
larger.
[Illustration: Fig. 238.—Pattern of flag.]
[Illustration: Fig. 239.—Pattern of pennant.]
Paste the straight dotted edge of each flag over a strong string long
enough to extend in a graceful loop from the centre of the ceiling to
the side wall (Fig. 240). Place the flags about twelve inches apart on
the string and make four strings to reach to the four corners if the
room is small, if large, a dozen or more flag-strings, according to the
size of the room. Have a generous supply.
[Illustration: Fig. 240.—Flags for decoration.]
Tie one end of each of the flag-strings close to the ceiling on the
chandelier or lamp hook. Wind an extra string tight around and over
the string-knots on the chandelier to hold the strings in place and
keep them from slipping down. Tie the free ends of the flag-strings to
picture-hooks and fasten the hooks on the picture-moulding. In this way
you can obtain good results without the slightest injury to the walls.
Should there be no picture-moulding, fasten the strings to large,
strong tacks or small wire nails driven in on the top ledge of the
window and door frames where they will do no harm.
[Illustration: Fig. 241.—Fringe cut for tassel.]
[Illustration: Fig. 242.—Winding top of fringe into tassel head.]
[Illustration: Fig. 243.—Tassel ready for decoration.]
Fasten extra strings from top of window and door frames, and draw them
taut along the walls, then tie the intervening flag-strings on these
and the effect will be much the same as with picture-moulding, almost
like a tent of small flags.
Hang a long, gay tassel on the wall at the end of each flag-string.
Make the tassels of bright tissue paper. Take the once folded sheets
of the variously-colored tissue paper as they come from the store, and
cut them into long fringe, lengthwise of the folded sheets (Fig. 241),
making each separate strand of fringe not less than one inch wide.
Pinch the twenty-inch-length fringe together at the top, wind and tie
it with a string (Fig. 242), allowing one end of the string to extend
out at the top; wind farther down and tie again to form the head of the
tassel four and one-half inches from the extreme top (Fig. 243).
These large tassels tied to picture-hooks by eight or twelve
inch lengths of string wound with gay paper and attached to the
picture-moulding at the end of each line of flags make a fine finish
and form a decoration for the walls.
Let your tables be of different sizes, and cover them with white cotton
sheets folded in such a way that the sheet will fall within one inch of
the floor at the front and at the two sides.
Decorate the white covering in various ways, making the tables gay with
inexpensive colored cambric, or crimped tissue paper. The plain tissue
paper will not be strong enough to use for this purpose.
The first covering of white gives value to the colors, causing
them to appear even more brilliant than they are in reality, and
it also renders it possible to use much less colored material than
would otherwise be required, in this way lessening the outlay for
decorations. But in order not to tear the muslin sheets while fastening
on the decorations, paste must be used in place of tacks or pins.
Make the colored material into wide strips cut into points or fanciful
designs and paste the strips at their upper edges along the top of
front and sides of the white covered tables, allowing the lower edge to
hang entirely free, except where pendant portions are inclined to stand
out; these may be fastened in place with a little paste.
[Illustration: Fig. 244.—Red paper folded for cutting design.]
[Illustration: Fig. 245.—Unfolded red paper ready for decorating fair
booth.]
[Illustration: Fig. 246.—Folded paper for green decoration.]
[Illustration: Fig. 247.—Green decoration cut and opened.]
Cut some of the strips about fourteen inches wide; others wider, a few
narrower; and make each strip long enough to reach around the front
and two sides of one table. Lay a brilliant red strip eighteen inches
wide down on a flat surface and fold crosswise through the centre; fold
again and again until the piece is of the desired width, about two and
one-half inches; then cut according to dotted lines (Fig. 244). Open
out and cut off every other lower ornament and you will have Fig. 245.
Attached to a table this decoration gives the effect seen in the first
illustration.
Fold and cut a green strip fourteen inches wide like Fig. 246. Open and
it will be Fig. 247. Another design of orange color is given in Fig.
248 and Fig. 249.
[Illustration: Fig. 248.—Orange design ready to cut.]
[Illustration: Fig. 249.—Orange design open.]
You can devise many other decorative designs fully as attractive as
these, and it is well to experiment with pieces of old newspaper,
cutting them into various designs until you find just what you think
will make good patterns. In this way your originality is brought out
and in a measure your artistic sense developed.
Select a cheery, happy girl for
=Postmaster=
—one who cannot help giving a bright smile with every letter, and try
to induce her to make some pleasant appropriate remark when handing out
the mail, as this will add much to the enjoyment of the occasion.
More important though than anything else will be the large, the small,
the useful, the beautiful and the odd articles for sale made by the
girls and boys. There should be a lot of original valentines, May
baskets, Easter-egg novelties, paper fireworks, Hallowe’en games,
funny and instructive toys, tiny log cabins, scenes from Japan, Russia,
the Philippines, and many other interesting things, not forgetting the
Punch and Judy shows, the circus, the seven wonders of the world, and
the home-made rugs, candles and candlesticks.
The post-office entails little or no extra expense and money taken in
for letters will be almost clear gain. Expense incurred by the entire
fair need be but slight and all the proceeds might be devoted to some
charitable purpose.
One of the best of objects for the money obtained by your fair is the
“Fresh Air Fund,” which helps the poor little suffering city children
to a breath of pure fresh air and saves the lives of many frail girls
and boys. Think how glad you can make some of these young people; then,
of all the enjoyment your own companions will have in getting up the
fair, and how proud and happy your parents and teachers will feel when
they see the result of your work. If a “Fresh Air Fund” does not exist
in your locality there are other methods of using your profits to good
ends. Really there is no telling how much good your fair may accomplish
in many ways.
CHAPTER XVII
CAMPING OUT IN YOUR BACK YARD
WHO is ready to go out on a camping expedition to Make-Believe Land?
It is a wild land, full of wild creatures if you choose to believe in
them. Cats you will probably meet on the trail, and they are wild ones
if you will. Wolves, too, may prowl around, for what else are Tramp and
Nipper, your own dearly loved dogs, but descendants of the wild wolf.
There will be plenty of sailing, fishing and outdoor sports. Guides can
be secured at headquarters and you will not have to travel far, for the
camping ground is your own back yard.
You must have your
=Camping Outfit,=
as all campers do, and it is the proper thing to think, plan and talk
much about this same outfit. As the trip is to be made overland and you
will have no camping wagon, use bags for carrying the various articles
needed in camp. Old flour bags are just the thing. Into these you can
put all your things except perhaps the camp kettle. The camping party
should be supplied with a tent, a hatchet, a camp kettle, coffee pot,
tin plates and cups, old knives, fork and spoons, a tin pail and dipper
and a tin wash-basin; all these, as well as provisions must be taken on
the journey in true campers’ fashion, for there should be no running
back from Make-Believe Land to get forgotten articles. Shawls and
blankets to spread on the ground if it seem too damp will be a welcome
addition to the outfit, and the party should be provided with sharp
pocket knives for whittling stakes and for other needs.
[Illustration: Camping in Make-believe Land.]
[Illustration: Fig. 250.—Tie the corners of the sheet with tape.]
[Illustration: Fig. 251.—The sheet is ready to put up for the tent.]
Select the site of your camp and pitch your tent with reference to the
clothes line, for the line is to support the tent and act as a ridge
pole.
=Make the Tent=
of two muslin sheets sewed together along two of the edges, one edge
on each sheet, which run from the wide hem at the head to the narrow
hem at the foot of the sheet. Tie a tape on each of the four corners
(Fig. 250) and tie a tape at the centre of the ends of the tent
sheet-covering. This will give three tapes on each side of the tent—six
tapes in all (Fig. 251).
[Illustration: Fig. 252.—This is the wooden tent peg.]
Make six wooden pegs resembling Fig. 252. You can have them either
round, square, three-cornered or irregular; the only essentials are
that the pegs be strong and large enough to hold the tent securely.
Have a notch cut near the top for the tape and a point whittled at the
bottom that the peg may be easily driven into the ground.
Look about carefully and decide exactly where you want the tent
placed on the clothesline; then hang the crosswise centre of the
covering evenly over the line. Hold the top ridge centre in place with
clothespins while you stretch one side out away from the clothesline,
and peg it to the ground by tying the tapes around the pegs and pushing
the pegs slantingly into the ground, with the peg head running from and
the point directed toward the tent (Fig. 253). Remove the clothespins
and peg down the other side of the tent in the same way.
[Illustration: Fig. 253.—This is the way to peg your tent to the
ground.]
[Illustration: Fig. 254.—The sticks are laid across the table legs
ready for the board.]
[Illustration: Fig. 255.—Your little camp-table.]
[Illustration: Fig. 256.—Nail the cleats inside the box for the
shelves.]
[Illustration: Fig. 257.—This is your camp-cupboard made of a box.]
Find the best place near the tent for
=A Table,=
and make the table in true woodsman fashion. Take four strong forked
sticks, sharpened on the lower end, and drive two of them into the
ground in a straight line about one foot or more apart, and the
remaining two in a line with, and two feet from the first sticks (Fig.
254). Have the sticks stand above the ground about two feet, or the
height you want the table, and keep the crotch, or angle where the two
forks separate, on all the sticks at an equal height from the ground.
Lay a stick across each pair of forked sticks. Get a piece of board,
rest one end on each of the supports you have just made, and you will
have a rustic table, strong and suitable for any camp (Fig. 255). Use
wooden boxes for seats. Select one box for your
=Safe or Cupboard=
in which to keep supplies and camping utensils. Fit one or two shelves,
made from a side of another wooden box, in the cupboard. Do this by
first nailing strips of wood, for cleats, on the inside of each side of
the cupboard at equal distances from the bottom (Fig. 256). Slide in
the shelves, resting each on two pieces of wood (Fig. 257). Set a lot
of lids of tin cans in the cupboard to serve as camping plates, also a
few tin spoons, an old table knife, a kitchen fork or two, three tin
cups, and a smooth, clean, folded piece of white paper for a tablecloth.
[Illustration: Fig. 258.—Sink the pail part way into the ground.]
[Illustration: Fig. 259.—Bank the earth up around the pail for the
spring.]
Now for
=The Spring=
Ask your mother to let you have a large,
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