RECREATIONS FOR GIRLS

Indoor
and
Outdoor
RECREATIONS FOR GIRLS

BY

Lina Beard
and
Adelia B. Beard

Copyright, 1904, 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.

EXPLANATORY NOTE TO NEW EDITION

Since the publication of this volume two years ago as "Handicraft and Recreation for Girls," it has occurred to us that "Recreations" alone much more accurately defines the contents, for the handicrafts represented are only those that in effect are recreations. Therefore we have thought it best to drop the word Handicraft and issue the new edition under the more appropriate title, "Recreations for Girls."

Lina Beard
Adelia B. Beard.

September, 1906.

PREFACE

This book, like a girl's life, is divided into two parts: occupation and amusement, or handicraft and recreation.

It is not equally divided, for handicraft is so much more like play than work, and is so entertaining in itself, we find difficulty in drawing a distinct line between that and recreation. The one insists upon blending with the other and the book, after all, is a book of entertainment.

With the old handicrafts coming back into favor and new ones constantly being brought forward, a girl's life may be full of delightful employment. To work with joyous enthusiasm and self-reliant energy, as well as to play with light-hearted enjoyment, cannot fail to make her sensible, wholesome, and happy, and it is with this end in view that we have written and illustrated the book. Our wish is to help our girl friends to make the most of their girlhood and to enjoy it to its fullest extent.

We have had practical experience in the actual working out of all the various handicrafts and recreations, and therefore give only that which we know can be well and easily done by the average girl.

Thanks are due to the Delineator, Harper's Bazar, Woman's Home Companion, and Good Housekeeping, for their courtesy in promptly returning for this work the original drawings and material used in their respective magazines.

The Author.

Flushing, August 2, 1904.

CONTENTS

PART I
HANDICRAFT

The spinning-wheel shall buzz and whirr.

CHAPTER I

SPINNING

THERE is so much poetry, romance, and history associated with the distaff and spindle, and later with the old spinning-wheel, that we have looked upon them with a feeling almost of awe, certainly with a reverence for the gentle hands that spun so industriously generations ago. But it has now occurred to us that we too may set the wheel a-humming, taking up with enthusiastic eagerness the work laid down by our great-grandmothers so many years ago. The song of even the athletic girl will soon be like Martha's when she sings in the market-place:

"I can spin, sir,"

and the wheel will no longer be set aside as a relic of an industry past and gone.

All the old handicrafts are coming back again, and ere long we shall be as proud as the maids in Revolutionary times of our hand-spun and hand-woven fabrics. To be able to spin and weave is to be accomplished in the newest as well as the oldest of household arts.

Fig. [1].—The slender rod tied at the lower end.

Fig. [2].—The looped upper end of the rod.

Is the old spinning-wheel in the attic, neglected and covered with dust, or in the parlor, decked in all its bravery of blue ribbons and snowy flax? Bring it out, wherever it may be, and for the first time in many years it shall buzz and whirr, while a girl's slender fingers part the flax and a girl's light foot rests upon the treadle. Look well to

The Wheel

and see that none of its parts are missing. There must be the bench, of course, with its treadle and wheel, then the slender rod which is tied loosely at the lower end to the cross-piece of the treadle ([Fig. 1]), and caught at the looped upper end to the little, curved-metal crank that extends at right angles from one end of the wheel's axle ([Fig. 2]).

Fig. [3].—A little peg slipped through two holes.

Fig. [4].—The leather rings.

The two slanting uprights which hold the wheel in place are slotted at the upper ends, and in these slots rests the axle. A little peg, slipped through two holes in one of the uprights, keeps the axle from slipping out of place ([Fig. 3]).

The frame that holds

The Spindle

belongs in the position shown in the illustration of the spinning-wheel. By turning the handle that extends out from the upper end of the bench this frame may be moved slightly forward or backward when it is necessary to loosen or tighten the band on the wheel.

Fig. [5].—One ring in each upright.

Fig. [6].—The spindle.

In the two uprights of the spindle-frame there must be leather rings like [Fig. 4], one ring in each upright. The narrow strip extending outward from the ring is pushed through the hole in the upright, and the edge of the ring fitted into the little grooves just above and below one of the holes ([Fig. 5]). These two leather rings hold the ends of the spindle, which can be easily taken out and put in by bending one of the rings backward or slightly turning one of the uprights. [Fig. 6] shows the spindle with the spool, or bobbin, and the small, double-grooved wheel. The spindle proper is simply the metal rod and horseshoe-shaped piece of wood with its two rows of little hooks or teeth. Besides the wheel and spindle there must be

The Distaff

and the arm that holds it. The arm is an upright with a rod extending out at right angles from the upper end. The lower end of the upright is slipped into a hole at one corner of the highest part of the bench.

Fig. [7].—The tip of your Christmas tree for a distaff.

Fig. [8].—Bring the four branches up and tie at the top.

The distaff, which the mountaineers of Kentucky call the "rock," is a thing you can make for yourself if your wheel happens to have lost its own. Many are cut from the top points of pine-trees which grow like [Fig. 7], and dogwood also is sometimes used. The tip of your Christmas tree will be just the thing. Strip off the bark, bring the four branches up, and tie at the top to the middle stem ([Fig. 8]). Let the lower end of the stem extend about four inches below the branches and whittle it down to fit in the hole in the distaff-arm.

These are all the parts of the spinning-wheel, but before you can "see the wheels go round" every piece of metal must be

Thoroughly Cleaned

and freed from rust. Rub first with kerosene oil and then with the finest emery paper. Be very careful in polishing the teeth that you do not bend or break them, as it will not be easy to have them replaced. In fact, it is difficult to replace any part of the wheel, and though it has lasted several generations, careless handling may put it past repair.

Fig. [9].—Proper size of cord for wheel band.

When the cleaning is finished, grease with lard the parts where there is any friction. The slots that hold the axle, the spindle-stem, and the metal arm, where the treadle-rod rests upon it, all need lubricating.

The best

Band for the Wheel

is hand spun, but at present it is possible to obtain them only of old-fashioned spinners who make their own bands. You can, however, make a band of cotton cord, such as is used for cording dresses. [Fig. 9] gives the exact size. The length of cord for a wheel measuring eighteen and a half inches in diameter is about ten feet five inches. This allows for a lap of one inch at the joint. Sew together with silk, wrapping and sewing until the joint is almost invisible.

Fig. [10].—Make a double loop.

Fig. [11].—The band will cross at the bottom.

To Adjust the Band

loop it together, making it double ([Fig. 10]), lift the wheel from the sockets, and slip the band over it. Fit one part of the band into one of the grooves of the wheel, the other part into the other groove, allowing it to cross at the bottom (Letter B, [Fig. 11]). Take the spindle from its frame and fit the bands into the groove in the end of the bobbin (Letter C, [Fig. 6]) and into the first groove in the small wheel (Letter D, [Fig. 6]).

The Flax

may be obtained from any linen-thread factory and can be bought by the pound or half-pound. It is graded by color, the darkest being the cheapest and the whitest the most expensive. For practice-work the cheapest is as good as the more expensive. When you have learned to spin a fine, even thread you may choose the color in reference to the article you intend to make.

The spinning-wheel.

Open your hank of flax, take part of it, and spread thinly over the distaff, wrapping it around and around. Put on several layers, each almost as thin as a spider-web, extending it out widely and smoothly each time.

You may think the ribbon tied on the distaff of your parlor wheel is merely for ornament, but it is not. The bands hold the flax in place while it is being spun, and a crisp, dainty, pretty-colored ribbon is just as useful for the purpose as one that is old and faded, and it is far prettier to look upon. Wrap the ribbon around the flax on the distaff, beginning at the bottom, cross it, and tie as shown in illustration of the spinning-wheel.

Though everything is ready, before attempting to spin,

Practice,

simply working the treadle until you can manage that part of the work mechanically and give your whole attention to your hands.

It seems a simple thing to work the treadle, but you will find that without previous practice you will forget to make your foot go in the absorbing interest of getting the flax ready to run on the spindle. Curb your impatience a little while therefore, and resolutely turn the distaff, with its pretty load, away from you. Place one foot on the treadle, give the large wheel a turn to the right, or away from the spindle, and try to keep a steady, even motion with your foot. The jerks caused by uneven pedalling will always break the thread, so you must learn to make the wheel turn smoothly and easily, without hurry and without stopping. Some spinners place only the toe of the foot on the treadle, others rest on it the heel also; it matters little which method you adopt so long as the wheel turns evenly. When you are quite satisfied that you can keep the wheel going without giving it a thought you may begin

To Spin.

From the lowest ends of the flax draw down several strands and twist them with your fingers into a thread long enough to reach easily the bobbin on the spindle. Pass the end of the thread through the hole in the end of the spindle nearest to you (Letter A, [Fig. 6]), carry it across and over the upper row of teeth and tie to the bobbin ([Fig. 6]). Start your wheel going, and, forgetting the action of your foot, give your undivided attention to drawing out the flax. Hold the strands lightly with your left hand and with your right keep constantly pulling them down and at the same time twisting them slightly. See illustration on first page. All this time you must keep the flax from matting and tangling and the twist from running up into the mass of flax on the distaff. Only practice will make perfect in this work, though the knack may come suddenly and you will wonder at your first clumsy attempts. The little fluster and excitement one feels in beginning and the hurry to get the flax into shape for the spindle is a drawback that practice will also overcome.

When the Thread Breaks,

as it will again and again at first, thread your spindle as before, tie the new thread to the broken end and begin once more. A better way to mend the thread when you are really doing good work is to unwind a little from the bobbin, thread it backward through the spindle, bring the end up to meet the end from the distaff, and let the two lap three or four inches; then moisten your fingers and twist the threads together, making one thread again.

Moistening the Fingers

occasionally is a good thing while twisting, as it makes a smoother thread. In the old days the spinner kept a cocoa-nut-shell, filled with water, tied to the lower part of the spindle-frame, into which she daintily dipped the tips of her fingers when necessary. A finger-bowl or cup of water near by will answer the same purpose.

The little girl and the little loom.

CHAPTER II

WEAVING ON A HOME-MADE LOOM

IT is easier than sewing or knitting or crocheting, and comes so natural to many of us that one would almost think we should know how to weave without being taught. Why, even some of the birds do a kind of weaving in their pretty, irregular fashion, and it was probably from the birds and other small, wild creatures that the earliest human mothers took their lessons in weaving, and learned to make the mats for their babies to sleep on and baskets for carrying their food. No one knows how long ago these first baskets and mats were woven, but in the beginning weaving was done without looms. Afterward rude frames were tied together and hung from the limbs of trees, then softer and more flexible material was used and finer fabrics were woven. To this day almost the same kind of looms are used by the Indians in our far Western country, many miles away from the roar and clatter of machinery, and on them are woven the wonderfully beautiful Navajo blankets for which Eastern people are willing to pay such large sums.

Fig. [12].—The frame for the loom.

If it is natural to weave, it should also be natural to make one's own loom, and

The Pin Loom

is simple in both the making and the working, with material usually close at hand. The necessary wood you will find at the nearest carpenter-shop, if not in your own home, and for the rest, a paper of strong, large-size pins, a yard of colored cord, and one ordinary carpet-tack are all that is needed.

Make the frame for the loom of a smooth piece of soft pine-board, fifteen inches long by nine inches wide ([Fig. 12]). Make the heddles of two flat sticks, nine inches long, half an inch wide, and one-eighth of an inch thick (Figs. 13 and 14). From another flat stick of the same thickness, nine inches long by one inch wide, make the shuttle ([Fig. 15]).

Fig. [13].—Heddle.

Fig. [14].—Heddle.

With a pencil and ruler draw two straight lines across the board, the first one inch and a half from the top edge, the other two inches and a half from the bottom edge. This will make the lines just eleven inches apart. On these lines, beginning one inch from the side edge of the board, make a row of dots exactly one-quarter of an inch apart, twenty-nine dots on each line, as in [Fig. 12]. At each corner of the board, one inch above the upper line and one inch below the lower line, draw a short line, and on each short line, three-quarters of an inch from the side edge, make one dot.

Fig. [15].—The shuttle.

With a small tack-hammer drive a pin in each of the twenty-nine dots on each long line, and in each single dot on the four short lines ([Fig. 12]). When driving in the pins let them all slant evenly outward, the ones on the top lines slanting toward the upper edge of the board, those on the lower lines slanting toward the bottom edge, as in [Fig. 16]. Now lay your board aside where nothing will be placed on top of it, and make your heddles.

Fig. [16].—Let the pins slant outward.

The Heddles

are for lifting the threads of the warp so that the shuttle may be passed through. One heddle is left perfectly plain, like [Fig. 13]. The other is cut in notches on one edge like [Fig. 14].

Fig. [17].—The marked-off notches in heddle.

Along the entire length of one of the sticks rule a line dividing it exactly in the middle ([Fig. 17]). On this line, beginning three-quarters of an inch from the end of the stick, mark off spaces one-quarter of an inch apart, making thirty-one dots. At the upper edge of the stick mark off the same number of spaces exactly opposite those on the line. Then draw straight lines connecting the upper and lower dots, extending the first and last lines entirely across the stick ([Fig. 17].) At a point on the upper edge, exactly in the middle between the first two lines, start a slanting line and bring it down to meet the second line where it touches the long line. Between the second and third lines draw another slanting line to meet the first at the bottom, forming a V. Leave the third line, and make another V at the fourth, and so go the length of the heddle, drawing a V at every other short line. At the top between the V's make smaller V's, as in [Fig. 17]. With a sharp knife cut out these notches, bringing the large ones quite down to the middle line ([Fig. 17]). On the end lines just below the middle line bore a hole with a small gimlet or a hat-pin heated red-hot at Letter A in [Fig. 17]. Indeed the notches, too, may be made with a hat-pin by laying the red-hot end across the edge of the stick at the top of the line, and pressing it down while rubbing it back and forth. If you are unused to handling a knife, burning the notches will be the easier way. You can shape and trim them off afterward with the knife.

The complete pin loom.

Of the third flat stick make

The Shuttle.

Curve the corners at each end as in [Fig. 15]. Sharpen one end down to a thin edge and in the other end cut an eye two inches long and one-quarter of an inch wide ([Fig. 15]). Cut your yard of colored cord in half, pass the end of one piece through one of the holes in the notched heddle, the end of the other piece through the hole in the opposite end of the heddle, and tie each end of the cords to one of the pins at the four corners of the board, drawing the cords taut. This will fasten the heddle in its place across the loom ([Fig. 12]).

Near the bottom of the board, directly below the last pin at the right on the long line, drive the carpet-tack to serve as a cleat for fastening the end of the warp. All that now remains to be done is

To Adjust the Warp,

and your loom will be ready for weaving. The threads which extend up and down, or from the top to the bottom of the loom, are called the warp. Soft, rather coarse knitting-cotton makes a good warp for almost anything woven on a small loom.

Fig. [18].—Adjusting the warp.

Tie the end of the warp securely to the first pin on the long line at the upper left-hand corner of the loom ([Fig. 18]). Bring the string down and around the first two pins on the lower line, up again and around the second and third pins on the upper line, and then down and around the third and fourth pins on the lower line. Up again, down again, crossing two pins each time, back and forth until the last pin on the lower line has been reached. Wrap the warp around this pin several times, and then around the tack, tying it here so that it cannot slip. The warp must lie flat on the board where it passes around the pins, and in stringing up it must be drawn rather tight, though not with sufficient force to pull the pins out of place.

Fig. [19].—Putting in the second heddle.

Turn the heddle on edge, the notches up, and slip the threads of the warp into the notches, one thread in each notch. This, you will see, divides the warp into upper and lower threads, and forms what is called the shed. While the threads are separated take the other heddle and darn it in and out above the first heddle, taking up the lower threads and bringing the heddle over the upper ones as in [Fig. 19].

The Woof

is the thread which crosses the warp and usually covers it entirely. The material to use for woof will depend upon what you are going to make. Germantown wool is used for the woof of the miniature Navajo blanket shown in the illustration. The warp is knitting-cotton.

A Miniature Navajo Blanket.

This is

The Way to Weave a Navajo

blanket; simpler things you can easily make after this first lesson: Of Germantown wool you will need three colors, which are the colors most frequently used by the Indians—red (scarlet), white, and black, about half a hank of each. Take five yards of white wool, fold one end over a two-yard length, fold again, and push the double end through the eye of the shuttle ([Fig. 20]).

Fig. [20].—The threaded shuttle.

Tie the long end of the wool to the first pin at the lower left-hand corner of the loom, on the long line, making a tight knot and pushing it down close to the board ([Fig. 21]).

Fig. [21].—Starting the woof.

With the notched heddle on edge push the shuttle through the shed—that is, between the upper and lower threads of the warp. Draw it out on the other side, then turn the heddle down, notched edge toward you, and stand the plain heddle on edge. This will lift the lower threads of the warp above the others and make them the upper ones. Push the shuttle back through the shed, lay the plain heddle flat, and stand up the notched heddle. Weaving from the left, the notched heddle always stands, while the plain one lies flat. Weaving from the right, the plain heddle stands, and the notched one is turned down.

Do not draw the woof tight across the warp. When you have passed the shuttle through, leave the thread like [Fig. 21], and then push it down firmly with your finger-tips until it lies close to the pins.

A Coarse Comb

with no fine teeth is very good to use for packing the woof, and takes the place of what is called the lay. While the woof is looped out like [Fig. 21], comb it down toward you with the comb, and it will fit in evenly between the threads of the warp. As the woof of the Navajo blanket must be very tightly packed, use first the comb and then your fingers to push it down and make it compact.

Weave back and forth until all the wool in the shuttle is used. If the end of the woof extends beyond the last thread of the warp on either side, turn it back and weave it under and over several threads, and start a new piece with the end just lapping the old. The ends of the woof must never be allowed to extend beyond the warp at the sides. It is not necessary to tie the new piece of woof; the tight packing will hold it in place.

In this case the new woof must be of the red wool. Weave it across twice, or once over and back, making a very narrow red stripe, then cut it off and thread the shuttle with white. Weave the white twice across, then change to black and weave a stripe one-quarter of an inch wide. Above the black weave another narrow white stripe and another narrow red one. Put a long thread of white wool in the shuttle, and weave a white stripe one inch wide. You will have to thread the shuttle twice for this, as too long a thread will make so large a bunch that it will be difficult to pass it through the shed. After the white stripe weave another black, white, and red stripe like the first, then another inch-wide white stripe. Once more weave a black, a white, and a red stripe. Begin with the narrow black, follow with the narrow white, and then weave a wider red stripe, taking the thread four times across. After the red the narrow white, and then the narrow black stripe.

This last stripe is the lower border of

The Central Pattern

of the blanket, where your weaving will become more difficult, and at the same time more interesting.

Figs. 22 and 23.—Weaving the centre stripe.

Thread the shuttle with a long piece of red wool and weave it once across from the left, turn back and weave through five threads of the warp, draw the shuttle out and weave back again to the edge; again weave through the five threads, then back as shown at B in [Fig. 22]. Turn here and do not take up the last thread of the warp; pass the shuttle under three threads, turn on the next thread, and bring it back under four threads (C, [Fig. 22]), once more under the three threads, turning on the next as before, but passing back under two threads only. Turn on the next thread (D), and pass under three. Back under two threads (E), turn as before on the next thread under two, turn, back under two (F), turn, under one, turn on the next, under two (G), turn, under one, turn on the next, back under two, and unthread the shuttle, leaving the woof hanging.

Begin with a new piece of red wool, follow the same direction, and weave another red point on the next five threads, then a third one which will take in the last warp-thread on the left. You will notice in the diagram that the woof always turns twice on the same thread of warp.

When the three red points are finished fill in the spaces between with black ([Fig. 23]), then continue to weave the black up into points as you did the red, making two whole and two half black diamonds. Leave the woof quite loose when you make a turn in weaving, and the space left between the red and black will fill up in packing.

Take up the end of the red wool left at the top of the first red point, and weave in the space between the half and first black diamond, then break off. Take the next red end and fill in between the two whole diamonds, then the next, and fill in between the whole and the last half diamond. This will give you a pattern of black diamonds on a red ground. Weave the last of the red woof once across, then break off and weave a black, white, and red stripe like the one forming the lower border of the pattern. Finish the blanket with the wide white stripes and narrow colored ones like those first woven.

To take the work from the loom, cut the threads between the pins at the top of the loom, and with quick but gentle jerks pull it off the lower row of pins. Tie together the first and third loose ends of the warp close to the edge of the blanket, then the second and fourth threads, and so on across, then cut the ends off rather close to the knots.

The little Navajo blanket woven in this way will closely resemble the real Indian blanket in texture, pattern, and colors.

Blankets for Dolls' Beds

may also be woven of fine white wool and finished with a pretty pink or blue border at each end. A wash-cloth, soft and pleasant to the touch, you can weave in half an hour with candle-wick for woof. This should not be packed tightly, but woven with rather a loose mesh. Then there are cunning little rag rugs to be made for the dolls' house, with colored rags for the woof. But so many materials may be woven on your home-made loom, that it will be a pleasure for you to discover them for yourself.

CHAPTER III

A BALL OF TWINE AND WHAT MAY BE MADE OF IT

Fig. 24.—The hammock you can make.

RUN to the kitchen and ask the cook to lend you her pastry-board for a day or two, to use as a support for holding string from which to make a toy hammock ([Fig. 24]).

Drive twelve large tacks in a straight line across the top edge of the board; place the tacks one inch and a half apart ([Fig. 25]), and with a pencil draw lightly a line across the board from side to side, one inch and a half below the tacks. This will guide you in keeping the knots even. Be sure that the line is perfectly straight; then draw another line one inch and a half below the first and continue making lines until the board is covered with them, at equal distances apart and running across from side to side. Over each tack on the top of the board hang a piece of string about two yards long ([Fig. 26]). Being doubled, each string makes two lengths of one yard each.

Fig. [25].—Tacks in top of board.

Fig. [26].—Over each tack hang a piece of string.

Bring the two ends of each strand down evenly together that all the strings may hang exactly the same in length. [Fig. 26] is intended only to show how to hang the strings and gives but a section of the work.

Fig. [27].—With strong pins fasten the first and fourth strings to the board.

With strong pins fasten the first and fourth strings down tight to the board (see B and E, [Fig. 27]); then tie the second and third strings together (C, D, [Fig. 27]), making the knot H ([Fig. 27]).

To Tie the Knot,

Fig. [28].—When knot H is secure stick pin in string G.

bring the two strings C and D ([Fig. 27]) together; hold the upper portions with the thumb and first finger of the left hand and the lower parts in the right hand, bring the lower parts up above the left hand—across and over the portion of string held in the left hand—and turn them down a trifle, running them under the strings in the left hand just above the thumb and first finger; pull the lower portion of the strings through the loop out over the first finger of the left hand as shown in [Fig. 29], O. Tighten the knot with the right hand while holding it in place on the line with the left. The secret of tying the knot properly is to hold the two strings together and tie them exactly as one would tie a knot in a single string.

Fig. [29].—Tying the knot.

When the first knot (H, [Fig. 27]) is tied, take the pin out of the string E and stick it in the string G, according to [Fig. 28]. Fasten down the knot H with another pin, and you will have the knot H and the string G firm and tight to the board while you tie the two loose strings F and E together, forming the knot K. Pin this down to the board and remove the pin from the string G and place it in the string N, leaving M and G free to be knotted together.

Continue tying the strings in this way until you have made the first row of knots across the board, always using pins to hold the boundary-strings securely to the board on each side of the two you are tying. As each knot is formed, pin it to the board and allow the pins to remain in the first row until the second row of knots has been made.

[Fig. 29] shows the beginning of the third row of knots in the knot P, the pin being taken from the first knot, H, ready to be placed in the knot P. Form row after row of meshes by knotting the strings until the netting comes too near the bottom of the board to work comfortably, then slip the top loops off from the tacks and hang a portion of the net over the top of the board, allowing a lower row of meshes to hang on the tacks.

Fasten the last row of the knots carefully, binding with strong strings the short loose ends of the strands securely to the string forming the mesh each side of the knot. Remove the net from the board and make

A Fringe

of string on each side of the hammock. In [Fig. 30], T shows how to place a strand for the fringe under one side of the mesh on the edge of the net: and S gives the manner of bringing the ends of the strand down over the string forming the mesh and under the loop made by the centre of the fringe-strand. Pull the two ends of the strand down evenly, and bring the knot up close and tight to the hammock-mesh as shown in the finished fringe in [Fig. 30].

Fig. [30].—Making the fringe.

Fig. [31].—Heavy cord through loops on end of hammock.

When you have made the fringe, thread a separate heavy cord through the loops on each side of the hammock ([Fig. 31]). Tie the loops together ([Fig. 32]) and fasten together the two ends of each cord, making these two extra last loops long enough to allow of a free swing for the little hammock, or you can thread a cord of the same as that used in the hammock through every loop, tying the ends of each piece together through a brass ring, and instead of one long loop a number will support the hammock.

Fig. [32].—Tie loops together.

Making a sash-curtain for her room.

[Fig. 33] shows a strong, serviceable little

School-Bag

which is easier to make than the hammock. Take a piece of heavy cord twenty inches long, lap one end to the distance of an inch over the other and sew the two lapped ends firmly together; then bind them neatly around and around with string. Bring the two edges or sides of the circle together, forming two ends (V V, [Fig. 34]). Tie a strong string on each end ([Fig. 34]) and fasten each of the strings to the back of a chair; you will then have a circle of heavy cord securely suspended in mid-air. Cut twenty-four lengths of twine, each twenty-five inches long; double each piece and fasten all the strands on the circle of heavy cord in the same way you made the fringe on the hammock (X X, [Fig. 34]), except that this time the strands must be quite a distance apart. Let all the spaces between the strands be equal. Having fastened the lengths of twine on the circle, net them together exactly as you netted the hammock, but you must depend upon your eye to keep the meshes even and of the same size, as there will be no board with lines to guide you ([Fig. 34]). Tie the knots in circular rows, going around on both sides of the circle for each row. Continue the meshes until within three and a half inches of the bottom, then tie the two sides together, closing the bottom of the bag and forming the fringe shown in [Fig. 33].

Fig. [33]—Your school-bag made of string.

Having finished the bag, untie the strings attached to the two ends and make two handles of heavy cord or slender rope. Fasten the handles on their respective sides of the bag. Loop the ends of the handles under the cord forming the top of the bag, and bring each end up against its own side of the handle. Sew each of the two ends of the two handles securely to the handle proper; then bind the sewed portions neatly together with fine cord as in [Fig. 33].

Fig. [34]—Making the school-bag.

With some firm straws and more string we will make

A Sash-Curtain

for the window of your own room, as the little girl is doing in the illustration. Loop about thirty strands on the same number of tacks, in the manner in which you hung those for the hammock ([Fig. 26]). Make one row of knots, and before forming the next row slide a piece of straw one inch long over the two strings which are to be knotted together; the ends of the string must be moistened and brought together in a point in order that they may more easily be threaded through the straw. The letter R in [Fig. 35] shows the straw with the ends of the string run through it, and U gives a straw higher up on the strings. After each straw is put into place, knot the strings immediately underneath to prevent the straw from sliding out of position.

[Fig. 35] shows how to manage the work. It is almost exactly like that of the hammock, the only difference being the threading on of the straws which hold the strings in place without a knot at the top (see W in [Fig. 35]). Let the bottom of the net end in a fringe. Take the loops off from the tacks when the curtain is finished, and slide them on a straight, slender stick, which you can fasten to the window by resting the ends of the stick through loops of tape tacked on the sides of the window-frame at the right distance up from the ledge of the window.

Fig. [35].—Sliding straws on strings for curtain.

If possible, let all the net-work be made of pliable, soft material; it is easier to handle, and the results are much prettier.

Make the curtains of any color you may fancy.

CHAPTER IV

AN ARMFUL OF SHAVINGS AND WHAT TO DO WITH THEM

DO you love to go into a carpenter-shop, with its sweet-smelling woods and fascinating tangle of white and rose-tinted shavings, and to watch the carpenter guide his plane along the edge of a board, shaving off so evenly and smoothly the long curls which look almost as natural as the ringlets of a little girl? I am sure that many times you have tucked the ends of the shavings under your hat and scampered off with the curls streaming out behind or bobbing up and down delightfully at the sides.

It is great fun, yet there is still more entertainment to be found in these pretty shavings.

Gather an armful, then, choosing the most perfect ones, not too thin, with firm, smooth edges, and you shall weave them into

A Pretty, Soft Little Basket

like the illustration.

The soft little basket made of shavings.

Fig. [36]—Directly across the centre draw a straight line.

Fig. [37]—So that the upper edge of B will touch the dividing line of A.

Pine-shavings are the best to use, as they are less brittle than those of harder woods. Select a number and put them to soak in cold water to make them soft and pliable. Then, lifting out those of an even width, place them before you on a lap-board or table, and after passing them between your fingers several times to take the curl out, cut eight pieces eleven inches long. Directly across the centre of two of the strips draw a straight line, as in [Fig. 36]. Place one of these strips, A, flat on the table and lay the other, B, across it so that the upper edge of B will touch the dividing line of A and the mark on B will be on a line with right-hand edge of A, [Fig. 37]. Under A slide another strip, C, [Fig. 38]. Over B and under C slide the strip D, [Fig. 39]. Over D and under A pass the strip E, [Fig. 40]. Under E, over B and under C weave the strip F, [Fig. 41]. Under E, over B, and under C weave the strip G, [Fig. 42]. Over F, under D, over A, and under G weave the strip H, [Fig. 43]. This forms a square for the bottom of the basket.

Fig. [38].—Under A slide the strip C.

Fig. [39].—Over B and under C slip the strip D.

Fig. [40].—Over D and under A pass E.

Fig. [41].—Under E, over B and under C weave F.

Bend up the ends and

Weave the Sides

with longer, narrower shavings which you can make by cutting lengthwise through the middle of several wide shavings.

Fig. [42].—Under E, over B and under C weave G.

Fig. [43].—This forms the bottom of the basket.

If you find any difficulty in keeping in place the part you have woven, pin it to the board or table with several pins, as in [Fig. 44]. Bring the sides up close to the edges of the bottom, then start your weaver at D, on the inside of the basket ([Fig. 44]).

Fig. [44].—Bend up the ends now and weave the sides.

Weave all the way around, turning the corners sharply, until the weaver meets the first end; lap it over this, cut it off and tuck the last end under H. Start the next weaver at C, weave it around and tuck under E. Weave five weavers around the sides of the basket, beginning each time in a new place that the joints may not all come together, then bend the upright shavings over the edge of the top weaver, tucking the ends of each under the third weaver, one inside, the next outside, as they may come inside or outside the basket ([Fig. 45]).

Fig. [45]—Bend the upright shavings over the top edge.

Bind the Edge

with two binders the width of the side weavers. Hold one inside, one outside, and whip them on over and over, taking the stitches with a narrow strip of shaving as shown in [Fig. 46].

Fig. [46].—Bind the edge with two binders.

Cut two strips the width of your side weavers for

The Handle,

making one twelve inches and the other eleven inches long. One inch from each end cut notches, as in [Fig. 47]. Slide the end of the short strip under the second weaver on one side of the basket and pull it up until the points catch on the weaver, then tuck the end under the lower weaver (see illustrations).

Fig. 47.—Notch the ends like this.

Loop the handle diagonally over the basket and fasten the other end on the second weaver on the side. Secure the ends of the long strip on the third weaver, allowing it to cross the other side of the handle at the top, then bind the two pieces together at the middle by wrapping with a shaving of the same width over and over. Split this wrapper at the last end and tuck the two ends in at the sides. [Fig. 48] shows the under part of the handle with one end of the wrapper tucked in.

Fig. [48].—Tuck the two ends in at the sides.

You can make table-mats, charming little handkerchief-cases, and a number of other things of the dainty shavings, all on the same principle as that of the basket.

To make

The Handkerchief-Case,

weave a square, measuring eight inches, of the narrow shavings, just as you did for the bottom of the basket. These shavings must be twelve inches long and you will probably need about thirty-two pieces. When the square is finished tuck in the ends, as around the edge of the basket, then bend in three of the corners to meet at the middle and catch with needle and thread. Sew a quarter of a yard of bright ribbon where the corners join and another quarter of a yard on the loose corner. (See illustration.) Put your handkerchiefs in the little pocket, bring up the loose point, and tie the ribbon in a pretty bow.

The handkerchief case.

CHAPTER V

PRIMITIVE REED CURTAINS

THESE pretty rustic hangings can be made very easily and quickly. They are light in weight and the general tone of coloring, when the reeds have been carefully dried at home, is a pleasing soft gray green, with suggestions here and there of gray browns, reds, and yellows. The curtains may be either of these reeds or fresh green cat-tails, and even of the silvered gray stalks left standing from last season. The cost in actual outlay of money for several curtains need be only a few cents for cord, staple-tacks or nails, and screw-eyes, but, like the early savage whose method of work you are imitating, you must collect the

Raw Material

out in the open. So away to the spot where the finest cat-tails grow, gather a lot of them, cutting the stalks off clean and smooth at the base, that the cat-tails may not be bent or split, for as reeds in your curtain they must be as near perfect as possible. Cut the velvety brown head off from each one, making all of the stalks the same in length; then, with several long leaves twisted together for string, tie the stalks into a bundle and march home with the treasure.

Fig. [49].—Beginning a primitive curtain.

Fig. [50].—Centre of twine tied on long stick.

An old bamboo fishing-rod, a length of handle from a long-handled dusting or window brush, or any kind of a long, slender, smooth, round stick will do for the top curtain-pole from which to hang the reeds. Lay the pole across a table in front of and parallel to you; then tie the centres of four pieces of cord of even lengths on it at equal distances from each other ([Fig. 49]). Detail of the work is given in [Fig. 50]. Place a cat-tail reed up against the four ties, allowing one string from each tie to come over and the other under the cat-tail ([Fig. 51]). Cross the two lengths of each cord over the last cat-tail, bringing the lower string up and the upper string down ([Fig. 52]); then lay another reed up against the crossed strings, carrying the strings in turn over this reed ([Fig. 53]). Again bring the lower strings up and the upper down before placing in another cat-tail, and always alternate the large and small ends of the reeds as in [Fig. 54], in order to have them equally balanced and to avoid bringing all the small ends on one side and the large ones on the other side of the curtain.

Fig. [51].—Allow one string to come over and the other under the cat-tail.

Fig. [52].—Cross the two lengths of twine.

Fig. [53].—Lay another cat-tail up against the crossed strings.

Fig. [54].—Alternate large and small ends of reeds.

Fig. [55]—Primitive curtain of reeds and twine stitch.

Fig. [56].—Staple nail in top pole of curtain.

Fig. [57].—Cord fastened on top pole for rolling up curtain.

Continue Crossing the Cord

and adding cat-tails until the curtain is of the desired length. Tie the ends of the string on each line securely together and tuck them under the weave, hiding the ends on the wrong side of the curtain ([Fig. 55]). At equal short distances from the tips of the head-pole fasten in a screw-eye large enough to pass readily over the two hooks immediately above the window where the curtain is to hang ([Fig. 55], A, A). On the centre of the space along the upper side of the top pole, between the first and second cord and the third and fourth cord, drive in a staple-nail ([Fig. 49], B, B), shown more plainly in [Fig. 56]. These staple-nails are for holding in place the long cord used in rolling up the curtain ([Fig. 57], B, B, and [Fig. 58], B, B). Thread one end of a long piece of cord from the back of the curtain through one staple-nail and the other end through the other staple-nail. Bring both ends of the cord down over the front of the curtain around the bottom and up over the back; then tie the ends on the pole ([Fig. 57], C, C). Dotted lines show how the cord runs along the back of the curtain. Have the cord sufficiently long to allow of the stretch between the two staple-nails B and B (Figs. 57 and 58), to hang down over the back and extend in a loop below the bottom edge of the curtain ([Fig. 57], D). When you wish to raise the curtain, pull the bottom loop and up will go the curtain ([Fig. 58]). These primitive hangings are just the thing for outing cottages on the sea-shore or log-houses in the mountains. You can have fun weaving them while at your summer home and in place of the old-fashioned quilting-bee you might give a

Curtain-Bee Frolic.

The girls and boys could readily make a number of hangings in one afternoon, and while weaving the reeds together they would weave into the work all sorts of bright speeches and gay laughter, so that ever after the curtains would be filled with delightful associations of the charming summer afternoon. Reed curtains can be fashioned in any width. If very narrow hangings are in demand, cut your reeds to measure the length needed for the curtain-width and weave them together with the same twine cross-weave used in [Fig. 55].

Fig. [58].—Cat-tail curtain raised by loop from bottom.

Fig. [59].—Small end of one cat-tail.

Fig. [60].—Large end of another.

Fig. [61].—Wide curtain, each reed of two cat-tails joined.

Doorway-Screens

hung on a swinging, armlike rod extending, when open, at right angles with the doorway, and easily moved forward or backward, are attractive when of woven reeds, especially if dull, green-colored cord is used in the manufacture in place of ordinary twine. For very wide out-of-door veranda-shades, select the strongest cat-tails and dig out about two inches of pith from the large end of one cat-tail very cautiously to avoid breaking the sides; then push the small end of another cat-tail into the opening (Figs. 59, 60, 61); weave these long pieces together as you wove the single reeds in the first curtain, using extra lines of weave. If you cannot obtain cat-tails, take other reeds; or cut some straight, slender poles from shrubs or trees, and weave them into curtains with colored cord of reds or browns. Such pole-hangings would be excellent for the open front of your mountain shack or lean-to, and they could do service in screening the sunlight, when too strong, from the central open way of your saddle-bag log-house.

Sitting in the orchard

CHAPTER VI

THINGS TO MAKE OF COMMON GRASSES

A Grasshopper-House

MAMMY, make me a grasshopper-house."

"Go 'long, chile, I done got 'nough to do 'thout makin' no hoppergrass-houses."

"Please, mammy, only one, and then I can make them for myself. I'll watch you just as close. Won't you, mammy?"

"Pick me some grasses, then; I 'low I has to, but don't yo' come pesterin' me no more after this time.

"Seed-top grasses, honey, seed-top grasses; don't git me none of them blade kind. Ketch hol' near the top and pull 'em up slow like, then they'll come out nice and smooth, an' leave they ole rough skins behind, just like a eel does when you skins him. That's it, you got 'nough now; bring 'em 'long here an' we'll make the hoppergrass-house.

"Hol' your own hand, honey, you'll learn best that-a-way. Can't forgit the feelin' of it once you build it on yo' fingers.

Fig. [66].—Bend back the second grass ends like the first.

"Take one piece o' grass an' put it round yo' middle finger with the ends inside like this ([Fig. 62]). Now lay the next piece right across the first ([Fig. 63]), an' bend back the ends of the first grass over the tother an' tuck 'em 'tween yo' fingers just like that ([Fig. 64]). Put the next grass across yo' hand ([Fig. 65]), an' take up the second grass-ends, bendin' 'em back to keep company with first grass-ends. That makes another bar ([Fig. 66]). Now yo' do it an' let mammy see how yo' git along. That's right, lay the grass across an' put the under ends back ev'ry time. How many bars has yo' got now? Six? That's 'nough fo' any hoppergrass, an' is as many as yo' little hand can hol' anyway.

"Now slip it offen yo' fingers, bring the ends together an' tie with a blade o' grass just above these here blossom ends (see illustration). There now, yo' done made a hoppergrass-house, an' don' yo' come askin' yo' ole mammy to stop her work no more."

That is the way the little girls and boys in the South are taught to make the grasshopper-houses, by the old colored "mammies." They are funny little cages, and, of course, will not hold a grasshopper or any other insect, but we like to imagine they will.

The grasshopper-house

There are other things to make of grasses, any one of them requiring only a few moments' work, and it is a pretty, quiet occupation for restless little fingers. Sitting in the orchard, nestling like little partridges amid the tall grasses, all your materials are close at hand. Reach out and gather some of the long-bladed grass, and we will make

A Doll's Hammock.

The grass hammock.

Some of this grass measures twenty-five inches in length. It does not grow on stalks, but the blade appears to spring directly from the root, and it is smooth and pliable. You may find orchard-grass almost any where, generally in neglected corners and close to fences where the scythe does not reach.

Take eight or ten of the blades of this grass and tie them together at the root-ends as in [Fig. 67], drawing the knot tight as in [Fig. 68]. Stick a pin through just below the knot and fasten to your knee; then lift two of the grasses at the right-hand side, and tie them together about one inch below the pin ([Fig. 68]). Tie the next two grasses together in the same manner, the next, and the next, until you have tied them all in pairs ([Fig. 69]). Make the second row by separating the pairs of the first and tying one grass of one pair to the neighboring grass of the next pair, making the knots one inch below the first row. This leaves the first and last grasses hanging loose ([Fig. 70]). On the third row the first and last grasses are tied in once more ([Fig. 70]). On the fourth they are left again, and so they alternate until the hammock is finished. Keep the rows of knots at even distances apart, and make the hammock as long as the length of the grass will allow. Leave about three inches of the grass below the last row of knots, and then tie the ends together as in the illustration. Swing the little hammock between the low-hanging branches of a tree; put your dolly in it and let the summer breezes rock her to sleep while you sing:

Rock-a-by baby in the tree-top.

A very pretty

Bouquet-Holder

can be made of seed-grasses and one long blade of grass. In this you may carry the most delicate wild flowers and ferns without wilting them by the warmth of your hand.

Bunch together seven fine, strong seed-grass stalks and tie just below the blossoms, with the root-end of your long-blade grass ([Fig. 71]). The stems of the seed-grasses are the spokes, the long grass the weaver. Turn the blossom-ends down, the stem-ends up, and close to where it is tied, begin to weave the long grass in and out, under one spoke, over the next, under the third, over the fourth, going around and around spirally until the end of the weaver is reached, then tie it to one of the spokes. Keep forcing the spokes farther and farther apart as you weave until the holder is shaped like a cone. As you see in the illustration, the weaver never passes over one of the spokes twice in succession. In one row it goes over a spoke, in the next row under it, in the third over again, and so on. In order that it may always come this way you must have an uneven number of spokes. Four will not do, nor six, nor eight, but five, seven, or nine spokes will bring the weave out all right.

A Grass Napkin-Ring

is another thing that can be made by weaving or braiding the grasses.

Grass napkin-ring.

Select ten fine long blades of grass, divide them into two bunches of five each, put the root-ends together, and tie them as when making the hammock. Pin these two bunches to your knee about two inches apart, and taking one blade from each bunch, cross them as in [Fig. 72], the right-hand grass A on top of the left-hand grass B. Now bring the left-hand grass C over A, and the right-hand grass D under B and over C ([Fig. 73]). Next weave the left-hand grass E under A and over D, then the right-hand grass F over B, under C, and over E. Weave the remaining four grasses in the same way, taking first from one side, then from the other. When your work has reached the stage shown in [Fig. 74], take the grass A, turn it under and weave it in and out as in [Fig. 76], then the grass B, turn it over and weave until it crosses A ([Fig. 76]). D comes next, to be woven until it crosses B, then C, which will cross D. On the left hand always turn the grasses under before beginning to weave, on the right hand turn them over before beginning to weave.

When You Have Woven

or braided a strip about five inches long, untie the two knots at the top, form the braid into a ring and tie the opposite ends together in two knots. The groups G and G in [Fig. 77] form one knot, the groups H and H the other knot. Trim the ends off neatly and the napkin-ring will look like the one in the illustration.

Fig. [77].—Tie the opposite ends together.

Do not use rough or saw-edged grasses for any of this work, for they sometimes cut the hands, and the seed-top grasses must not be old enough to shed their seeds into your eyes. When dry most grass is quite brittle and will break if you attempt to bend it. The fresh, green, soft and pliable grasses are the kind you need and these you may always find in season.

CHAPTER VII

THE POSSIBILITIES OF A CLOTHES-LINE

YOU can form it into graceful patterns of curves and coils, loops and rings; you can weave it basket-fashion or net it together with brass curtain-rings, and you can fray it out into soft, pretty tassels. You can make it into a decorative wood-basket, a grille for an open doorway, fringe for curtains and portières, or decoration for the top of a wooden chest. One use will suggest another and you will probably find some way of adapting the rope that has never yet been thought of.

Hemp rope and cotton, large rope and small, down to the ordinary heavy twine, all lend themselves to this work.

It requires a rather heavy clothes-line, one considerably lighter, called by some rope-cord, and a piece of strong twine for the

Wood-Basket

shown in the illustration.

The wood-basket.

Make the bottom of a board two feet long and sixteen inches wide, and on each end of the board nail securely one-half of a barrel-hoop ([Fig. 78]). From an old broom-stick cut four rounds one inch thick for the feet ([Fig. 79]), and fasten one round to each corner underneath the board with strong screws or wire nails ([Fig. 78], Z Z). This is all the wood you will need for the basket, the rest is to be made entirely of rope.

Fig. [78]—On each end nail one-half of a barrel-hoop.

Fig. [79]—For the feet.

Take your small rope and nail one end of it to the edge of the bottom, close to one end of one of the barrel-hoops ([Fig. 80]), then wrap the hoop with the rope, one row close to another until it is completely covered. Cut off the rope when it reaches the end of the hoop and nail it down as you did the first end of the rope in beginning. Fasten a piece of the heavy rope entirely around the edge of the board, nailing it at intervals along each side, but leaving loose that at the end edges until later. Make the

Fig. [80].—Nail one end of the small rope to the edge of the bottom.

End Pieces

of the basket by looping and twisting the heavy rope into the pattern shown in [Fig. 81], forming as many loops as are required to reach across the end of the bottom. Wrap and tie one row of the loops to the rope on the end edge of the board and the side loops to the hoops, using the twine for this purpose.

Eight inches from the end of the bottom, underneath but near the side edge, nail one end of your heavy rope; bring it up slantingly and wrap and tie it to the hoop just above and touching the top edge of the loops, stretch the rope tightly across the hoop and tie at the other side, then carry the end down and fasten underneath the bottom eight inches from the end of the board (see illustration). Wrap and tie the top loops of the end piece to the top rope as shown in illustration. Finish the other end of the basket in the same manner, not forgetting to nail in place the rope left loose at the end edges. Give the completed wood-basket several coats of dark varnish. The varnish not only produces a nice finish, smoothing down both wood and rope, but also stiffens and helps to hold the rope in place.

Fig. [81].—Make the end pieces like this.

A Rope Netting

at once simple and effective is made like [Fig. 82].

This netting may be made of heavy rope for a grille in an open doorway, or of lighter rope for fringe. In either case the method is the same.

In a board, at regular distances apart, along a straight line, drive a row of wire nails. It depends upon the size of the rope how far apart the nails should be placed. For a heavy rope there must be at least four inches between, and this distance should lessen as the rope decreases in size.

Fig. [82].—A Rope netting.

Cut your rope into pieces four feet in length if it is heavy, not so long if it is light rope. Loop one piece of rope over each nail and let it hang down evenly, then bring the first and fourth strands together and slip on them a small brass curtain or embroidery ring (Letter A, [Fig. 83]). Push the ring up to within four inches of the line of nails if the nails are four inches apart. If the distance between the nails is three inches the ring must be three inches below the line. Catch the ring to each strand of rope with needle and thread to hold it in place. Bring the third and sixth strands together and slip on a ring (Letter B, [Fig. 83]). Then the fifth and seventh, and so across the board.

Fig. [83].—Slip on a small brass curtain ring.

Begin the next row by slipping a ring on the first and second strands, placing it the same distance below the first row of rings that the first row of rings is below the line of nails (Letter C, [Fig. 83]). Bring the third and fourth strands together with a ring, the fifth and sixth, continuing the original pairing of the strands until the row is complete. The third row of rings brings together again the second and fourth strands, the third and sixth, as in the first row, and the fourth row of rings goes back to pairing the first and second, third and fourth strands.

The Tassels

Below the last row of rings wrap and tie the strands together, then untwist the ends of the rope up to where it is tied and fray it out until it becomes fluffy. Make the head of the tassel by wrapping closely with twine a short distance below the ring, or you may slip on several of the brass rings as a finish.

The board on which you make your netting need not be any longer than is convenient to handle, for when one part of the netting is finished it can be taken off the nails and new strands added to carry on the work.

[Fig. 84] is an ornamental design suitable for decorating a wooden chest or, if sewed on cloth, for a hanging. By studying the design you can easily reproduce it without the aid of description or other diagram.

Fig. [84].—Ornamental design.

CHAPTER VIII

HOW TO WEAVE A SPLINT BASKET

YOUR enthusiasm will begin when you find how easily the splint can be cut and shaped after it has soaked for a while in water. It is delightful to work with, almost as soft and pliable as ribbon, while having more substance. Although there is apparently such diversity in the material shown in the illustration, it all comes from one roll of splint, which is uniform in width and thickness.

A basket measuring about six inches in diameter and three inches in height is a convenient size on which to learn.

Open Your Roll of Splint,

put two pieces to soak in a bowlful of cold water, and let them remain twenty minutes. Have ready a clean lap-board, a pair of large scissors, and an old towel. The lap-board not only serves for a work-table, but also keeps the water out of your lap.

Weaving the sides of basket with long weaver.

Wipe the dripping water from the splint, and cut off six pieces nineteen inches long; then cut these into sixteen strips one-half inch wide, for the spokes of the basket. Do not attempt to tear the splint, for it will not tear evenly. From the other piece of splint cut four strips for weavers, making the first one-half of an inch wide, the next one-fourth of an inch wide, another one-eighth of an inch wide, and the last one-sixteenth of an inch wide. Place all the weavers in the water and leave them until you are ready to begin weaving.

Fig. [85].—The first four spokes.

Take Up the Spokes,

Fig. [86].—Eight spokes in place.

one at a time, and pass them between your fingers until they are perfectly straight and flat; then number them all by writing the number with a pencil on each end of every spoke; see diagram ([Fig. 85]). Lay the spokes in front of you on the lap-board crossing the first four at the centre ([Fig. 85]). Place the next four spokes in the spaces between the ones you have just arranged in the order shown in [Fig. 86], then the remaining eight in the spaces left between these.

For instance, the ninth spoke should come between No. 1 and No. 5, the tenth spoke between No. 5 and No. 3, the eleventh spoke between No. 3 and No. 6, and so on around the circle ([Fig. 87]). Be sure the lower end of a spoke fits between the same numbers as the upper end. When all the spokes are placed hammer a strong pin directly through the centre where they are crossed, to hold them together while you begin.

The Weaving

Fig. [87].—All of the spokes in place.

With the spokes lying in the position shown in diagram ([Fig. 87]), take the eighth-inch weaver, and begin to weave it in and out of the spokes. Start it under spoke No. 1 about two and one-half inches from the centre, bring it over No. 9, under No. 5, over No. 10, under No. 3, over, under, over, under, until it has crossed spoke No. 16; then skip No. 1, bring the weaver under No. 9, and weave another row. You will find it necessary to skip one spoke at the beginning of each row, in order to make a continuous under-and-over weave. Weave five rows with the eighth-inch weaver, then slide the end under the last row, lapping it an inch or so and running it under several spokes, to hide the joint. Slip the first end under a spoke also. During this part of the work your main endeavor must be to weave in a perfect circle. The illustration shows the bottom of the basket completed.

Before bending the spokes for the sides of the basket, let them soak in the water a few minutes, then place the work on the lap-board, the same side up as when started, and carefully bend the spokes up at right-angles with the bottom ([Fig. 88]). Start a half-inch weaver inside the basket, close to the bottom, and weave under and over until the row is complete; then, allowing for a lap of about three inches, cut the weaver off and slide the end under the first end of the weaver, making the invisible joint by tucking each end under a spoke. Start the next row a little beyond the joint of the first row, that the joining may not all come in one place. Weave five rows of the half-inch weaver, then two rows of the fourth-inch weaver and then bind off ([Fig. 89]).

Fig. [88].—Bend the spokes up.

Binding Off

Cut the spokes off evenly, leaving about two inches extending above the top of the basket, then put the basket in the water, spokes down, and soak until pliable. Bend each spoke down snugly over the top weaver, and slip the end through the next weaver, pushing it down until its end is hidden under one of the weavers. Bend one spoke inside, the next outside the basket, according as they come inside or outside of the top weaver ([Fig. 89]).

Fig. [89].—Binding off.

This binding off holds the top weaver in place and makes the basket very firm; but the spokes must be protected from wear where they are bent, and it is necessary to put a double band around the edge. For this band cut two pieces of the fourth-inch weaver which will go around the basket and lap about an inch. Place one piece along the inside edge, the other along the outside edge of the basket, and with the sixteenth-inch weaver bind them to the top weaver, as shown in Diagram 90. Fasten the end by taking several cross-stitches with the narrow weaver, passing it under the inside band only, and tucking the end under the same band.

Fig. [90].—Putting on the band.

The Trimming

Many splint baskets are trimmed with twisted loops of the same material. For this trimming take one of the half-inch weavers and cut a thread's width off its edge, making it just a trifle narrower than the other weaver. Insert the end of this weaver under a spoke at the top of the basket (letter A, Diagram 91), give a twist to the left, and pass it beneath the next spoke, as shown in Diagram 91, letter B. Pull the loop down and flatten it a little with your thumb, then twist the weaver again, this time to the right, and slip the end under the next spoke, letter C. Continue this around the basket, and make the joint of the trimming as you did the other joints, by lapping the ends and slipping them under the spokes, which makes the last loop of double thickness.

Fig. [91].—Making the trimming.

The small basket shown in the illustration has two rows of trimming, and between them is run a weaver of another color pulled out into loops at the sides.

The illustration on the first page of this chapter shows a large basket with four rows of trimming and handles. The handles are made of the fourth-inch weaver, which is brought around twice, making a ring of double thickness. The ring is then wrapped with the eighth-inch weaver, and fastened to the basket with loops of the same. The weaving of this large basket differs from the smaller one, in that the weaver is not cut at the end of each row, but is continued around row after row. For a large basket the half-inch weaver can be used in this way, but in a small basket the slant of the weaver as it runs around is too apparent. If a long weaver is used in a small basket it must not be more than one-eighth of an inch in width.

While baskets of the natural white splint are extremely dainty, color certainly gives variety and adds interest to the work, and the splints will take dye readily. You might also line your basket with silk of a color to harmonize with the splint.

The white-ash splint one and one-half inches wide comes in rolls of twenty-five yards, and a roll will make several medium-sized baskets. The material may be obtained of almost any kindergarten supply firm.

CHAPTER IX

MODELLING IN TISSUE-PAPER

A FEW cents will be sufficient to buy enough tissue-paper to model good-sized elephants, too large to stuff into the Christmas stocking, for they measure six or seven inches in length and stand four or five inches high; and you can make chickens nearly life-size, and the queer little turkeys, too.

You must select paper of the necessary color, and fold, roll, fold, squeeze, fold, tie, with here a little pull and there a little pat, a spreading out, a pinching in; that is all. There is no sewing, no pasting, no pinning, merely modelling and tying, using only tissue-paper and string.

These animals are very substantial and unique. They are not at all thin or flat, but well rounded out and lifelike, with character and independence enough to stand alone—just the kind your little brother and sister will be delighted with, for they may play with the toys free from all danger of hurts or bruises. To

Make the Chicken

select a sheet of tissue-paper of a soft yellow color, cut it through the centre, fold into two pieces. Take one of the halves and gather up the long edge where it has been cut ([Fig. 92]), then gather the opposite edge ([Fig. 93]). Crease the paper as it is folded by holding one end with the right hand ([Fig. 92]), and drawing the paper several times through the partially closed left hand. This will cause it to retain the creases, as seen in [Fig. 93].

Fig. [92].—The beginning of the paper chicken.

Fig. [93]—Second step in modelling chicken.

Fig. [94].—Third step in modelling chicken.

Fig. [95].—Fourth step in modelling chicken.

Fig. [98].—Modelling the chicken's legs.

Roll a separate piece of paper into a little wad and lay it on the creased strip ([Fig. 93]) about one-fourth of the distance from one end. Bend the short end of the strip over the wad of paper, as in [Fig. 94]; then fold up the strip where the end of the short fold lies, bend this over the first fold ([Fig. 95]) and bring the loose end on the bottom of the three layers. [Fig. 96] shows a wad of paper inserted at one end of a strip of creased paper folded over and over three times, making four layers, two on top and two on the bottom of the paper wad. Wind a string around the paper tight up to the wad and tie it securely to form the head ([Fig. 97]). You now have the body and head of the chicken. Make the legs and feet of a strip of paper about sixteen inches long and seven and one-half wide. Gather up the two long sides with your fingers as you did the paper in [Fig. 93]; crease the paper, then wind each leg with string, leaving one inch free at each end to form the feet ([Fig. 98]). Lift up the free end of the folded paper ([Fig. 97]) and place the centre of the legs ([Fig. 98]) midway under the last fold as in [Fig. 99]. Tie the end of the loose layer of the body securely on the body, and you will have the foundation ready for the beak, wings, and tail ([Fig. 100]).

Fig. [99].—Modelling body and legs of chicken.

Fig. [100].—Partially modelled ready for beak, wings and tail.

Fig. [101].—The beak of chicken.

Fig. [102].—Modelling beak on chicken.

Fig. [103].—Paper chicken nearly finished.

Fig. [104].—Hungry little paper chicken.

Cut a square of the same kind of tissue paper, measuring nine and one-half inches on all four sides; fold diagonally twice across the square as when making a paper pin-wheel. The centre of the square is exactly where the diagonal lines meet and cross; pinch the centre portion up into a beak and tie it with a string ([Fig. 101]); then fit the beak over the centre of the chicken's head, bringing the paper entirely over the head on all sides; tie the square around the chicken's neck close up to the head ([Fig. 102]). The two points A and B of the square must form the wings, while C is carried backward over the under portion of the body and D back over the upper part, the two ends C and D being brought together and tied tight up to the body to form the tail. In [Fig. 103] you will see exactly how to pinch up the wing if you notice particularly the upper part of the wing B, next to the body. The wing A on [Fig. 103] shows how the two wings must be tied close to, but not on, the body. When each wing is tied, make the tail of C and D by tying the extensions together as explained above; that done, bend down the legs, spread out the wings and tail, open out and flatten the feet, then stand the little chicken on a level surface ([Fig. 104]). Remember always to crease the tissue-paper with the grain of the paper; if you attempt to cross the grain the paper will be very apt to tear.

The Turkey

Fig. [105].—The astonished paper turkey.

Fig. [106].—Modelling turkey's body.

Fig. [107].—Legs and feet of turkey.

Fig. [108].—Head modelled on turkey.

Fig. [109].—Paper for turkey wings.

([Fig. 105]) is also modelled from half a sheet of tissue-paper as near the general color of a turkey as can be found. Make [Fig. 92] and [Fig. 93] of the paper; then fold [Fig. 93] five and three-quarter inches from one end ([Fig. 106], F). Three inches from this end tie the two layers together ([Fig. 106], G). Fold the strips back and tie a string through the lower loop up over the loose top layer ([Fig. 106], H). Wind the extreme end of the paper ([Fig. 106], O), with string to form the beak ([Fig. 107]), bend the beak down and tie it to the neck to form the top of the head ([Fig. 108], P). Make the legs and feet as you did those for the chicken ([Fig. 98]) and slide them through the body so that one fold of the body will be above and two beneath the legs ([Fig. 107]). Cut the wings from a separate piece of tissue-paper ([Fig. 109]). Let the paper measure seven inches on the widest side, five on the opposite side, and four and one-half on each of the other sides. Pinch the paper together through the centre and tie ([Fig. 110]). Gather up one wing, so that it will not tear, and slip it through the body, immediately over the legs, with the widest side toward the front ([Fig. 105]), leaving the other wing out free on the other side of the turkey. Bend down the legs, spread the tail out fan shape and bend it up; open out the wings and drop them downward and forward ([Fig. 105]). Flatten out the feet and stand up the turkey ([Fig. 105]).

Fig. [110].—Turkey wings.

Fig. [111].—Elephant modelled of tissue-paper.

The Elephant

([Fig. 111]) will require two sheets of brown tissue-paper for its body, head, and trunk, which are all made of a single strip of paper. Unfold, spread out and fit the two sheets of tissue-paper together; then gather up one side, as in [Fig. 92], crease and gather up the other side ([Fig. 93]). Bind one end with black thread to the distance of four and one-half inches to form the trunk; then fold the remainder of the strip into four layers, beginning with the free end of the paper; fold over and over three times. This gives the body and head. Bind black thread around the folds next to the trunk to form the head. Make four legs of two pieces of paper in the same way you formed those of the chicken ([Fig. 98]), only the elephant's legs must be very much thicker. Slide the legs through the body between the two layers of paper, shove the front legs forward and the hind legs backward. For the tail use a small strip of the brown tissue-paper. Wrap it around and around with black thread to within an inch of the bottom and cut this end up into fringe. Fasten the tail on the elephant with black thread, pass the thread between the first and second layers of paper forming the back of the body of the animal and tie the tail on the outside threads which cross from side to side of the elephant; bend the top of the tail over the thread, as you would hang a garment on a clothes-line, and tie the bent-over end down on to the tail proper. Shape the ears like [Fig. 112], pinch together the end S and tuck it under the thread which separates the head from the body. Allow the long side, M, to form the front of the ears. You can add white ivory tusks if desired. Roll up two white writing-paper lighters and push an end of each up in the head under the trunk, forming one tusk on each side.

Fig. [112].—Elephant's ear.

In making these little creatures do not forget that you must do some modelling, bending and shaping them with your fingers, squeezing up the paper where it stands out too far, and gently pulling it out in places where it flattens too much. The heads can be turned to suit the fancy, the bodies inclined this or that way, or they may stand stiff and erect. You might model a number of chickens, of different-colored paper, some yellow, some white, and others black, like real chickens; or make several turkeys and two or three elephants, some of the latter with tusks and others without. The toys when finished will cause exclamations of delight and approval. They are simple and easy to put together, something which will not cost much and yet be worth many times the amount expended for the necessary material to manufacture. The little animals are attractive, substantial toys, entirely different from the common ones which any girl or boy with sufficient pocket money may purchase.

CHAPTER X

NATURE STUDY WITH TISSUE-PAPER

A natural flower, some tissue-paper, a pair of scissors, a spool of thread, and nimble fingers are all you need.

There are no patterns, only circles and squares and strips of paper which you gather here, spread out there, wrap and tie some place else and, with deft fingers, model into almost exact reproductions of the natural flower before you.

With its unfamiliar terms to be committed to memory and the many parts of the flower to be distinguished, botany is apt to prove dry and tiresome to the little child, but to study nature by copying the flowers in this marvellously adaptable material is only a beautiful game which every child, and indeed many grown people, will delight in. The form of the flower, its name and color, may, by this means, be indelibly stamped upon the memory, and a good foundation laid for further study.

The Best Models

Ordinary garden flowers and those most easily procured make the best models. The carnation-pink, the morning-glory, and the rarer blossoms of the hibiscus, are well adapted to the work, also the daffodil and some of the wonderful orchids.

Carnations modelled from tissue-paper.

Even holly with its sharp-spiked leaves and scarlet berries and the white-berried, pale-green mistletoe may be closely copied. All these and many more are made on the same principle and in so simple a manner even quite a little child may succeed in producing very good copies from Nature.

Material

Buy a sheet of light pink tissue-paper, another of darker pink, and one of the darkest red you can find. Then a sheet of light yellow-green and one of dark green. Have a table "cleared for action" and place your paper on the right-hand side, adding a pair of scissors and a spool of coarse thread, or, better still, of soft darning-cotton.

With all this you are to copy the

Carnation-pink

which someone has given you or you have growing in your own garden. Make one of your light pink paper, one of the darker pink, and another of the rich, deep red to have a variety.

Lay your natural flower down on the left-hand side of the table, away from your material but quite within easy reach, for it must be consulted frequently. Seat yourself comfortably and don't work hurriedly.

Fig. [113].—Fold the square diagonally through the centre.

The first thing necessary in this system of squares and circles is to know

How to Cut a Circle Quickly,

easily and accurately, and always without a pattern. Here is a method which never fails:

Fig. [114].—The first triangle.

Cut a square the size you wish to make your circle. That is, if you want a circle with a diameter of four inches cut a four-inch square ([Fig. 113]). Fold the square diagonally through the centre according to the dotted line on [Fig. 113], and you have the triangle ([Fig. 114]). Fold this at the dotted line and it will make another triangle ([Fig. 115]). Again fold through the middle and you have the third triangle ([Fig. 116]). Fold once more and [Fig. 117] is the result. Measure the distance from the edge, B, to the centre A in [Fig. 117] and mark the same distance on the other side of the angle shown by the dot, C ([Fig. 117]). With your scissors cut across from C to B, curving the edge slightly, as shown by the dotted line from C to B ([Fig. 118]). [Fig. 119] is the circle still in its folds. [Fig. 120] is the circle opened, the dotted lines indicating where it has been folded.

Fig. [115].—Second triangle.

Fig. [116].—Third triangle.

Your eye will soon become sufficiently accurate to enable you to gauge the distance from A to B, and you can then cut from C to B without measuring.

Before Beginning Your Flower

take up the natural one and examine it carefully. You will notice that it has a great many petals crowded closely together and that their edges are pointed like a saw. You will also see that the green calyx is wrapped snugly around the lower part of the flower and that it, too, has a pointed edge.

Now hold the pink off at arm's length. The separateness of the petals disappears and you see them only as a mass; the points on the edges are not noticeable except as they give the flower a crimped appearance, and the edge of the calyx looks almost straight. It is this last appearance or the impression of the flower that you are to produce rather than its many and separate little parts. So now to work.

Fig. [124].—Make a slender lighter.

Fig. [126].—The calyx.

Cut Two Squares for Each Pink,

one measuring five and one-quarter inches, the other four and three-quarter inches, and turn them into circles ([Fig. 121]) by the method just explained. Take one of the circles at the centre, where the folding lines cross, with the tips of the fingers of your left hand and pinch it together; then, while still holding it, crimp the edge with the fingers of your right hand ([Fig. 122]). Do this always with every kind of flower, whether it is made of circles or squares. Without loosening your hold of the centre, draw the paper lightly through your right hand several times, then crimp the edge again, this time with the blade of your scissors. Treat all the circles alike, then place a small circle inside a larger one and draw them through your hand to bring them together, pinching them closely until within a little over an inch of the edge ([Fig. 123]). Make a slender lighter of ordinary writing-paper ([Fig. 124]), snip off the point of the flower (D, [Fig. 123]), open the other end a little and push the lighter through until its head is hidden. This forms the stem. Wrap and tie with thread at the bottom of the flower ([Fig. 125]), and again where the petals spread. This last is to be but temporary, as you will remove the thread when the flower is sufficiently pressed together to hold its shape.

Fig. [128].—The leaves.

From your light-green paper cut a circle measuring three and one-quarter inches through its diameter and cut it in two to make the half circle for the calyx ([Fig. 126]). Remove the thread that holds the flower just below its petals and wrap the calyx closely around the lower part, tying it at the bottom; then cut a narrow strip of dark-green paper and wrap it spirally around the stem, beginning at the top ([Fig. 127]). Let the wrapper extend a little below the lighter and twist the end to hold it in place. Spread the petals of your flower as much like the natural blossom as possible.

Leaves

For the leaves cut a strip of dark-green paper six inches long and three-quarters of an inch wide ([Fig. 128]). Find the centre by folding the paper end to end and making the crease shown by dotted line in [Fig. 128]. Gather it along this line, not with needle and thread—we use no needle in this work—but with your fingers, and pinch it together; then twist each end into a point ([Fig. 129]). With the sharp point of your scissors punch a hole directly through the centre (E, [Fig. 129]), and push the point of the stem through the hole, bringing the leaves as far up on the stem as you find them on the natural flower; then wrap and tie them in place.

Fig. [129].—Twist each end into a point.

The Bud

is made of a circle of dark-green paper the diameter of which is three and one-quarter inches ([Fig. 130]). Gather this circle between your fingers as you did the others and crimp the edge with the scissors. It will then form a little bag or cup like [Fig. 131]. Slip the bag over the head of a lighter and tie at the bottom as in [Fig. 132]. If the bud does not take the proper shape at first, model it with your fingers until it is correct. Start the wrapping of the stem just above where the bud is tied and finish as you did the stem of the pink. Use small leaves on the bud stem, having the strip of paper just as wide, but considerably shorter than for the leaves on the stem of the open flower.

Fig. [130].—The bud.

It is wonderful how very natural these blossoms appear. At a short distance no one would think they are not the real, old and familiar pinks. Only the fragrance is missing, and that may also be supplied and a spicy odor given by enclosing a whole clove in the heart of each flower.

The Morning-Glory

From your pale-pink paper you can make the delicately beautiful morning-glory. Have the natural flower with its stem and leaves to copy from, even if the blossom is not the color you want. As with the pink, it is the general form and appearance we strive for in the morning-glory, not the detail.

Fig. [132].—Slip the bag over the head of a lighter.

Make your pink circles with a diameter of about seven inches. It is always better to have your flowers a trifle larger than the natural ones, rather than smaller.

But one circle is required for each morning-glory. Crimp this in your fingers and draw through your hand as you did the circles for the pinks; then, pinching it together to within one and one-half inches of the edge, hold it in your left hand and flatten out the top as in [Fig. 133]. See that the fulness is evenly distributed, and pull and straighten out the edges until you are satisfied with its appearance.

Morning-glory modelled from tissue-paper.

Fig. [133].—Flatten out the top of the flower.

A piece of bonnet-wire makes the best stem if you wish to give the true viney effect of the growth. If it is only the blossom you are making, a paper lighter will answer. When you use the wire bend one end over to form a small loop; this is to keep the stem from slipping through the flower. Pass the straight end of the wire through the centre of the flower and draw it down until the loop is hidden.

Fig. [134].—Green square for calyx.

Make

The Calyx

of a square of light-green paper measuring about four and one-half inches. Fold the square four times through the centre to form the creases shown by the dotted lines in [Fig. 134]. Hold the square at the centre and draw the edges down as in [Fig. 135]; then bring the two edges together in gathers, just below one of the corners, to form a leaf-shaped point as in [Fig. 136]. Gather below each corner, tie as in [Fig. 137], and twist each corner into a sharp point like F, [Fig. 137]. Draw the calyx through your hand, bringing the points together ([Fig. 138]). Push the calyx up on the stem and tie just at the base of the flower, then tie again about three-quarters of an inch below and wrap the remainder of the calyx close to the stem. Wind the stem with light-green tissue-paper and bend it as the natural one is bent and curved.

Fig. [137].—Twist each corner into a point.

Fig. [138].—Bring the points together.

Make several buds of the pink paper, following the directions given for the green bud of the pink; then twist each bud at the point and add a calyx.

The wilted flower shown in the illustration is made by taking one of the morning-glories you have just finished and actually wilting it by drawing the flower together and creasing and pressing it to resemble the partially closed and drooping natural blossom.

Fig. [139].—Gather along one of the creases.

Only a piece of dark-green paper six inches square is required to model two almost perfectly shaped morning-glory leaves.

Fig. [140].—The morning-glory leaves.

Daffodils modelled from tissue-paper.

Fold the square twice diagonally across from corner to corner to find its centre; then begin at one corner and gather along one of the creases until you reach the centre ([Fig. 139]). Start again at the opposite corner, gather along the crease to the centre, then wrap and tie ([Fig. 140]). Pinch each leaf from underneath along the crease in the middle, to give the depression at the midrib. Straighten the leaf out a little at its widest part and you will find you have made a pair of leaves which are surprisingly natural. Wrap and tie these to the stem and make as many more as you think are needed.

The Daffodil

is of such a different nature it hardly seems possible that it can be made on the same principle as the other flowers, yet the work is practically the same.

Fig. [141].—For the two extra petals.

Fig. [143].—Bring together the fan of paper below the petal.

Match the tint of your natural daffodil in yellow tissue-paper as nearly as possible, and then cut two squares for each flower measuring about five and one-half inches. Fold the squares crosswise and diagonally through the centre as you did for the calyx of the morning-glory ([Fig. 134]), and cut one square in half along one of its diagonal folds ([Fig. 141]). Gather the square two and a quarter inches below each corner and tie as in [Fig. 137], but do not twist the points. This gives you four petals, but as the daffodil has six, you must make two more from the triangular halves of the square you have just cut. Gather each triangle across from side to side, according to the dotted line in [Fig. 141], and pinch and tie in place as in [Fig. 142], making sure the petal is of exactly the same size as those on the square. Bring together the fan of paper left below the petal and wrap and tie as in [Fig. 143], then cut off the ragged end ([Fig. 144]). Draw the petals of the square together as you did the calyx, and insert the stem made of a paper lighter. Put in place the two extra petals, pushing the wrapped ends down into the heart of the flower; fit each loose petal between two of the others and tie ([Fig. 145]).

Turn back to the bud of the pink ([Fig. 130]), and from a circle of the yellow paper, with a diameter of four inches, make the cup ([Fig. 131]), using the scissors to give a fine crimp to the edges. Pinch the cup together at the bottom almost half-way up and tie ([Fig. 146]); slip it on your finger like a thimble and press it into shape like [Fig. 147]. Insert the point or stem of the cup into the centre of the flower and tie in place just below the petals ([Fig. 148]).

Cut a two and three-quarter-inch square from light-brown paper and divide it diagonally in half for the calyx. Examine your natural daffodil and notice how loosely the calyx seems to be wrapped around the flower. Imitate this by leaving the point loose at the top, while you wrap the bottom of the calyx closely around the stem. Allow the wrapping for the stem to cover the lower part of the brown calyx. Make several long, narrow leaves from strips of dark-green paper, two inches wide and of varying lengths. Twist one end of each leaf into a point and, gathering the other end, draw it through your hands until it stands up stiffly. Wrap each leaf partly around the stem and tie in place, following as closely as possible the natural growth of the leaf on the stem. Bend the stem just below each flower, being careful not to break the paper lighter which forms it.

If you use thread the color of the flowers for tying and green for the stems the effect will be almost perfect.

CHAPTER XI

A NEW RACE OF DOLLS

LIKE the little animals, these dolls are modelled of tissue-paper and they are equally substantial and durable. The dolls, as well as their dresses, shoes, and bonnets, are made without taking a stitch or using glue or paste. Nothing could be prettier or more suitable to hang on the Christmas-tree than these little ladies decked out in their fluffy tissue-paper skirts, and nothing will give greater delight to the children.

Here she comes. Little Miss Muffett.

To make

Little Miss Muffett

you will need eight sheets of white tissue-paper, two sheets of flesh pink, not too deep in color, a quarter of a sheet of light-brown or yellow, and a small piece of black. Her underclothes will require one sheet of white and her dress and bonnet one sheet of any color you consider most becoming.

Fig. [149].—Creased tissue-paper for making doll.

Take one sheet of the white paper at a time and draw it lengthwise through your hands, creasing or crimping it as in [Fig. 149]. Do this to all the eight sheets. Then, pulling six of them partly open, place them evenly one on top of another and fold through the middle ([Fig. 150]). Take another sheet of the crimped paper and roll it into a ball like [Fig. 151]. Open the folded paper, place the ball in the middle, bring the paper down over the ball and wrap and tie just below with coarse linen thread or white darning-cotton ([Fig. 152]). This is the head, which you must model into shape with your fingers, squeezing it out to make it fuller and rounder at the back and pinching it to give a chin to the face. Fold another crimped sheet like [Fig. 153] for the arms. You will notice the ends do not quite reach the folds. The space left should measure a little over one inch. Crimp half a sheet of the pink paper and with it cover the arms; allow the pink to extend equally at each end beyond the white and fold over the ends, tying them as in [Fig. 154]. Then tie the loose ends down as in [Fig. 155]. Open the paper just below the head, slip the arms in place and tie below ([Fig. 156]).

Fig. [153].—Beginning the arms.

Fig. [154].—Pink paper over arms.

Fig. [155].—Outside of arms tied over inside.

Spread out your smooth sheet of pink paper, place the doll's head directly in the centre and draw the paper down over head and body; keep it as smooth as possible over the face and wrap and tie at the neck ([Fig. 157]). Push the pink paper up on the shoulders and cut a slit about six inches long lengthwise through the middle of the entire mass of paper, as shown in [Fig. 157]. Wrap and tie each of the legs ([Fig. 158]) and tie once more under the arms ([Fig. 161]). Fold the bottom edges under and model the feet in shape ([Fig. 158]). The wrappings at the thighs and knees take slanting lines, which give a more natural shape to the legs than if the thread were simply wrapped round and round as at the ankles.

Fig. [156].—Arms in place.

Paint the Face

of Little Miss Muffett with water-colors, placing the features low on the head to give a babyish look, and make the eyes large and mouth small. Color the cheeks and chin a deeper pink, and put little touches of red just above the eyes near the inner corners and little streaks of blue just below the eyes.

Miss Muffett's curls are furnished by

Fig. [159].—The wig.

The Wig,

which you are to make of brown or yellow paper, or black if you want a little brunette.

Cut a circle seven and one-half inches in diameter, and on the edge cut a fringe one inch in depth ([Fig. 159]). This is the hair, which you must curl by drawing it lightly over the blade of a penknife or scissors ([Fig. 159]).

Fit the wig on Miss Muffett's head, holding it in place with pins until you can tie it on just back of the curls ([Fig. 161]).

Now for the little lady's clothes. To make

The shoe.

Fig. [160].—Pattern of shoe.

The Shoes,

which will be her first article of dress, cut out of the black tissue-paper two circles measuring four and one-half inches in diameter ([Fig. 160]); place one foot in the middle of a circle, draw the paper up around the ankle and wrap a number of times before tying. Put the other shoe on the other foot in the same manner, and your doll will look like [Fig. 161].

Miss Muffett's Lingerie

consists of a union garment ([Fig. 162]) and a white skirt ([Fig. 163]). From one end of your remaining sheet of white paper cut a strip about seven inches wide, and at the middle cut a slit half-way up ([Fig. 162]). Draw this through your hands to crimp it, the creases to run lengthwise, that is, from top to bottom. Fit the little garment to the body, tying it just below the arms and again above the knees, where it will form ruffles.

Cut the white skirt in a circle seventeen inches in diameter with a circular opening in the centre ([Fig. 163]). Crimp the skirt and put it on over the feet, not the head, of the doll, wrapping and tying it in place around the waist.

Not only may tissue-paper be purchased in all colors, with their various shades and tints, but in pretty little checks, plaids, and figures as well, so Miss Muffett may have a dress equal in appearance to the cotton or silk gown of her china sisters.

Fig. [161].—Ready to be dressed.

Cut the skirt of

The Dress

after the white skirt pattern ([Fig. 163]), and the waist like the smaller circle ([Fig. 164]), which has one slit, from outer to inner edge, added to the opening at the centre.

Fig. [162].—Union garment.

This waist circle should measure ten inches in diameter. Do not crimp the dress skirt, but put it on in all its crisp freshness, and tie in place at the waist-line. Adjust the waist on Miss Muffett, bringing the slit opening at the back. It looks very much like a cape now, doesn't it? But draw the fulness in at the bottom and around the arms at the shoulders, and you have a little waist with full short sleeves. Tie the waist rather high, and bring it down to bag slightly over the skirt as shown in the illustration of Miss Muffett. Cut

The sun-bonnet.

The Sun-Bonnet

of the same paper as the dress. [Fig. 165] shows the pattern, which is ten inches long and nine inches wide. Fold the straight edge over three times, according to the dotted lines in [Fig. 165], making the folds one and one-quarter inches wide. [Fig. 166] shows the bonnet folded, and the dotted line around the curve indicates where it is to be gathered in at the neck.

Fit [Fig. 166] on Miss Muffett's head, allowing the folded edge to extend slightly beyond her face, then draw the bonnet down at the back and gather it in with your fingers until it sits snugly to the neck. Through the middle of the fold, one inch from each end, puncture a hole, and through these two holes pass the thread that goes around the back of the bonnet and ties under Miss Muffett's chin. See illustration of sun-bonnet.

CHAPTER XII

AN INDIAN ENCAMPMENT

AN Indian encampment for your very own! A wigwam, camp-fire, Indian travois, blanket-weaving loom, gorgeous feathered head-dress, bow, arrows and shield, tomahawk, wampum, and a little copper-colored papoose in its funny stiff cradle, hanging on a tree entirely alone! Does not all that sound delightful? The complete scene can actually be made to appear in your room at home.

Take for

The Ground

a common pastry-board or any kind of board of the desired size—about nineteen by twenty-six inches—and for grass cover one side and the four edges of the board with a piece of light-green cotton flannel stretched tight, fleece side up, and tacked to the under side of the board. Sprinkle sand and small stones on the grass at one side of the wigwam, to show where the grass has been worn off by the tramping of the Indians, the bronco pony, and the dog, for all Indians possess dogs of some description. If you have a toy dog of suitable size, stand him by the fire where he will be comfortable. Before the red men owned horses, a dog was always used to drag the travois, and to this day the braves care as much for a dog as does any pale-faced boy—which is saying much, for a white boy and any kind of a dog make devoted friends and comrades.

Fig. [167].—Home-made compass.

Now that we have our camping-ground, the first thing we must do is to

Put Up the Wigwam

for shelter. Draw an eight-inch diameter circle on the grass near one end of the ground. Fold a strip of paper lengthwise, stick a pin through one end of the paper and drive it down into the board where you wish the centre of the circle, push the point of a lead pencil through the other end of the paper four inches from the pin; keep the pin steady while you move the pencil around many times until a circle appears plainly on the grass ([Fig. 167]).

Fig. [168].—Pole sharpened to flat point.

Cut twelve slender sticks eleven inches long and sharpen the heavy end of each into a flat point ([Fig. 168]). The sticks must be straight, for they are wigwam-poles. Tie three poles together two inches from their tops and spread out the sharpened ends at nearly equal distances apart on the circle line; mark the spots where they rest and bore gimlet-holes in each place through the cloth into the wood. Enlarge each hole with a penknife and insert the poles, pushing the sharpened points down firmly into the holes ([Fig. 169]). Add seven more poles around the circle, keeping the spaces between all about even. Sink these last poles in the ground as you did the first three; then tie the tops together around the first three poles, and you will have the wigwam framework of ten poles standing strong and firm.

Fig. [169].—First three poles planted firmly in edge of circle for wigwam.

Fig. [170].—Cover for wigwam.

Make the cover of unbleached or brown-tinted cotton cloth cut like [Fig. 170]. Mark the curved lower edge with the home-made compass used for the grass circle. Fasten the pin and pencil in the paper strip nine and one-half inches apart; draw almost a half circle, then an inch and a half from the spot A ([Fig. 170]), where the pin is stationed, begin to cut the opening for the top of the wigwam poles, B ([Fig. 170]). Slash the point C in as far as D, sew pieces of cloth over the points E and E, leaving the opening at dotted lines to form pockets for the smoke-poles. Cut two rows of little holes on each side of the upper part of the wigwam to run the pinsticks through when fastening the wigwam together ([Fig. 171]).

Now comes the fun of decorating the cover. Pin the cloth out flat and smooth, and paint in brilliant red, yellow, black, green, white, and blue the designs given in [Fig. 170]. When finished, fit the cover over the wigwam-poles and with short, slender sticks pin the fronts together. Peg the lower edge down to the ground with short black pins and slide a pole in each pocket of the smoke-flaps E and E ([Fig. 170]). Bring the poles around and cross them at the back of the wigwam. As you do this you will exclaim with delight at the result, for the little wigwam will be very realistic.

In front of your wigwam or tepee

Build a Make-Believe Fire

of bits of orange and scarlet tissue-paper mixed in with short twigs, and then you must manufacture something to cook in. Bore a hole in the ground near the fire and fit in the fire-pole, making it slant over to one side and hang directly above the fire. Place a stone over the embedded end of the pole to keep it firm. Suspend an acorn kettle or any little kettle of the right size for the Indians to use on the pole and the camp will begin to look cosey for the red men to enjoy. Hunt up a jointed doll about five inches high, paint it copper color, ink its hair, and the doll will be a fairly

Good Indian.

If you can find a Zulu doll of the required size, with long, straight black hair, and give him a wash of dull red paint, you can turn him into a fine Indian. Failing these dolls, make an Indian doll of dull red raffia or cloth. This you can do if you try, and remember to have your red man a little more slender than store dolls; most of these are rather too stout to make good Indians.

Fig. [171].—Wigwam with make-believe camp-fire.

Fig. [172].—Pattern for war bonnet.

Real chiefs like Turning Eagle, Swift Dog, Crazy Bull, and others, wore gorgeous feather headdresses, and gloried in the strange war bonnets, not because they were gay and startling, but for the reason that each separate feather in the head-band meant that the owner had performed a brave deed of which the tribe was proud, and the greater the number of brave deeds the greater the number of feathers; consequently the longer the bonnet-trail. This explains the real meaning of the common expression, "A feather in your cap."

Fig. [173].—Indian war bonnet.

Fig. [174].—Tie the four poles together and tie thongs across centre for your travois.

Your Indian must be a mighty chief and will need a very long-trailing

War Bonnet.

Cut the head-dress like [Fig. 172] of white paper. Paint all the paper horse-hair tips on the paper eagle feathers red, the tops of the feathers black, and the band in which they are fastened yellow, red, and green, leaving white spaces between the colors ([Fig. 173]). Cut out, then turn the end of the band F ([Fig. 172]) until the loop fits the Indian's head, and glue the end of the loop on the strip ([Fig. 173]). Paste fringed yellow paper around each of the chieftain's feet, fringed edge uppermost, to serve as moccasins. Part the Indian's hair at the back, bring the two divisions in front, one on each side of the head, and wind each with scarlet worsted as the real Indian wears his hair, then wrap around your red man a soft, dull-colored cloth extending from the waist to the knees. Pin the drapery in place and the chief will be ready to take charge of his bronco pony, which may be any toy horse you happen to possess. The horse in the illustration is an ordinary cloth toy.

Red men are not fond of remaining long in one place, and naturally your Indian will soon want to break camp and carry his belongings elsewhere. Help him prepare by making

A Travois.

You will need four slender poles, two fifteen and one-half inches long, one five and one-half and another six and one-half inches long. Bind the six-and-a-half-inch pole across the two long poles four inches from their heavy ends; fasten the five-and-a-half-inch pole across the long poles two and one-half inches above the first cross-piece. Instead of thongs of buffalo hide, such as the real red man would use, take narrow strips of light-brown cloth to form the rude net-work over the space bounded by the four poles. Tie the top ends of the long poles together ([Fig. 174]), then tie the travois to the horse, as in [Fig. 175]. In most of these conveyances the thongs are tied across one way only, from short pole to short pole, forming a ladder-like arrangement.

Fig. [175].—Travois ready for camping outfit.

Fig. [176].—Different parts of straw calumet.

Fig. [177].—Calumet finished.

A chief must always have his

Calumet,

or "pipe of peace," to smoke and pass around the council circle, when all the leaders of the different tribes meet to talk over important matters concerning the welfare of their people. Real calumets are generally large and of goodly length, some of them being four feet long. They are made of dull-red stone, which, when first cut from the large mass, is soft enough to be carved out with a knife; later the pipe becomes hard and capable of receiving a polish. But as the red stone is not within our reach, we must use dull red-colored straw for the calumet. Soak the straw in hot water to render it less brittle. Then cut a three-inch length piece; make a hole in it a short distance from one end ([Fig. 176], G) and insert a three-quarter inch length of straw for the pipe bowl ([Fig. 176], H). For the mouthpiece take a half-inch length of white straw ([Fig. 176], I), and slide it in the other end of the pipe. Glue both bowl and mouthpiece in place and decorate the calumet with red, green, and white silk floss tied on the pipe stem ([Fig. 177]).

The Tomahawk

must not be forgotten. Soak a stick two and one-half inches long in hot water; when it is pliable, split an end down one inch, no more ([Fig. 178], J), and in true Indian fashion bind a stone hatchet ([Fig. 178], K) between the split sides of the stick handle with thongs of hide. Whittle the little hatchet from a piece of wood, cover it with glue, then with sand. When dry it will be difficult for others to believe that the implement is not of real stone. Instead of thongs use thread ([Fig. 179]).

The Chieftain's Shield

is of hide taken from the neck of the bull bison; the piece must be twice the required size for a finished shield to allow for the necessary shrinkage. Over a fire built in a hole in the ground the skin is stretched and pegged down. When heated, it is covered with a strong glue made from the hoofs and joints of the bison, which causes the hide to contract and thicken. As this process goes on the pegs are loosened and again adjusted until the skin ceases to contract and absorb the glue. Then the hide is much smaller and thicker than at first. When it has slowly cooled, the skin is cut into a circle and decorated. Though pliable, the shield is strong enough to ward off blows from arrows or spears.

Fig. [180].—Diagram for shield.

Fig. [181]. Eagle feather of paper.

Fig. [182].—Decorated Indian shield.

Bison hide is something you cannot obtain, so take writing paper for the shield. Cut it into a circle an inch and a half in diameter, with an extension for the handle ([Fig. 180]). Glue the free end of the handle on the opposite side of the back of the shield. Make ten paper eagle feathers ([Fig. 181]), hang seven on the bottom of the shield with red thread, after first decorating the centre of the shield with given designs and the edge with colored bands, using any or all of the following colors, but no others: positive red, blue for the sky, green for the grass, yellow for the sun, white for the clouds and snow, and black. To the Indian color is a part of religion. Purple, pinks, and some other colors, the red man, loyal to his beliefs, can never bring himself to use. Attach two of the remaining feathers at the top and another on the centre of the shield, as shown in [Fig. 182].

Fig. [183].—Paper flint arrow-head.

The Indian makes his

Arrow-heads

of triangular flakes of flint chipped from a stone held between his knees and struck with a rude stone hammer. The pieces knocked off are carefully examined, and only those without flaws are kept. Stones for arrow-heads must be very hard. When found, the red men bury them in wet ground and build fires over them, causing the stones to show all cracks and checks. This enables the arrow-maker to discard those unfitted for his work.

Though you cannot make a real flint arrow-head, you can manufacture a toy one. Take a piece of stiff pasteboard and cut it like [Fig. 183]. Let the length be a trifle over half an inch. Cover the arrow-head all over with a light coat of glue, then dip it in sand, and the arrow-head will come out as if made of stone. Were it actually hard stone and large size you would be obliged, as the Indians do, to trim and shape more perfectly the point and edges of the arrow-head. You would hold a pad of buckskin in your left hand to protect it from the sharp flint, and on your right hand would be a piece of dressed hide to guard it from the straight piece of bone, pointed on the end, which you would use to strike off little bits of stone along both edges, working cautiously as you neared the point in order not to break it. But such work will not be needed on your arrow-head.

For

The Shaft

hunt up a piece of wood strong and straight. Cut it three inches in length, remove the bark and scrape the wood until it is about the thickness of an ordinary match. Notch one end and split the other end down one-quarter of an inch, insert the arrow-head ([Fig. 184]), then bind the shaft and head together with thread ([Fig. 185]), in place of the wet sinew an Indian would use for a real arrow, after he had first fastened the head in the shaft with glue from buffalo hoofs.

Cut three paper feather strips ([Fig. 186]), each an inch in length, paint black bands on them, bend at dotted line and glue the feathers on the shaft one-quarter of an inch from the notch, allowing them to stand out at angles equally distant from each other ([Fig. 187]). Bind the extensions L and M ([Fig. 186]) to the shaft, and tie tufts of white and red worsted on immediately above the feathers to help in finding the arrow ([Fig. 188]). Paint the shaft in brilliant colors.

Almost any kind of wood that has a spring will make

A Good Bow

for your little Indian. Cut the piece of wood four inches long and an eighth of an inch wide. Scrape it flat on one side and slightly rounded on the other, notch the stick at each end, wind the centre with red worsted and paint the bow in bright hues ([Fig. 189]). Tie a strong thread in one notch and bring it across to the other notch; tighten until it bends the bow centre half an inch from the straight thread; tie the thread around the notch ([Fig. 190]). Now try the wee weapon; hold it vertically and shoot the little arrow into the air. It will fly very swiftly away, landing many yards from where you stand.

Make the bow case ([Fig. 192]) of ordinary wrapping paper cut like [Fig. 191], three and a half inches long and two and a half inches wide. Fold the paper lengthwise through the centre and glue the sides together along the dotted lines; then fringe the edge up to the dotted line and decorate with gay paint.

Dress the jointed doll squaw in a fringed

Chamois-Skin Gown;

Fig. [193].—Squaw's chamois dress.

fold the skin and let one half form the front, the other half the back. Cut the garment like the half N, in [Fig. 193], stitch the sides together, stitch the under part of the sleeves together and fringe both sleeves and bottom of the dress (O, [Fig. 193]). Belt the gown in with scarlet worsted and load the squaw down with strands of colored beads; then seat her on the grass ([Fig. 194]) while you make the primitive loom for her to use in weaving one of the famous

Navajo Blankets.

Paint a two by four inch piece of white cotton cloth with a blanket design in red and black, with white between the markings, and pin it securely on a board ([Fig. 195]). Tie stones to a pole six inches in length ([Fig. 196]); with long stitches fasten the stone-weighted pole to the bottom edge of the painted cloth blanket ([Fig. 197]).

Fig. [194].—Squaw doll make-believe weaving Navajo blanket on primitive loom.

Two inches above the blanket attach a six-inch pole to the board with pins and use a coarse needle and heavy thread to make the warp. Run the thread through the wrong side of the blanket and up around the pole. Cross it on the under side of the long thread (P, [Fig. 197]) which extends from blanket to pole.

Fig. [195].—Indian blanket pinned on board.

Fig. [196].—Stones tied to pole for bottom of loom.

Fig. [197].—Building primitive loom.

Carry the thread along the pole a short distance, loop it over (Q, [Fig. 197]) and bring the thread down through the right side of the blanket. Take a long stitch and again carry the thread up over the pole. Continue until the warp is entirely across the blanket. Pin another pole six and a half inches long, three-quarters of an inch above the top pole, and fasten the two poles together by tying loops of string across from one to the other ([Fig. 198]).

Fig. [198].—Primitive loom ready for frame.

Make the loom frame of two seven-inch poles four and a half inches apart and crossed at the top by another seven-inch pole, the three firmly tied together and made to stand erect on the grass by planting the two upright poles in holes bored through the cloth grass into the board ground. Hang the loom on this frame by winding a narrow strip of cloth loosely around the top of the frame and top of loom ([Fig. 194]).

Fig. [199].—Natural twig and tissue-paper tree.

Find a stout, short-branched twig for

The Tree

([Fig. 199]). Sharpen the bottom and drive it into a hole in the ground. For the foliage cut a fringe of soft green and olive-brown tissue-paper folded lengthwise in strips. Crimp the strips with a blade of the scissors, then open out the fringe; gather each one through the centre, give the paper a twist, and the two ends will form bunches of foliage. Work the twisted centre of one piece down into a crack at the top of the tree. Over across this at right angles in another opening, fit in the second twist of paper foliage and crown all with a bunch standing upright as shown at [Fig. 199].

A solemn

Little Papoose

bound in its stiff cradle is one of the drollest things imaginable. Paint a small doll copper color, make its hair black, and bind the baby in a cradle cut from brown pasteboard ([Fig. 200]). Cut along heavy line and bend forward the tongue R along the dotted line, bring the strap S across and glue the end on the under side of the cradle; then line the cradle with white tissue-paper and place the Indian child on it; spread a piece of vivid red tissue-paper over the infant, bringing the sides of the cover on the under side of the cradle, where you must glue them. Fold over the lower end of the paper and glue that also on the back of the cradle. Paint the cradle and portions of the cover white, green, black, and yellow ([Fig. 200]); then hang the cradle and baby on the limb of the tree ([Fig. 199]), where the little papoose will be safe while his squaw-mother works at her weaving.

Fig. [201]. Wampum, Indian money.

The red men use queer money which they call

Fig. [202]. Buffalo claw cut from wood.

Wampum.

It is made of shells found usually along the borders of rivers and lakes. The Indians cut the thick part of the shell into cylinders about an inch long, bore holes lengthwise through the centres and string them like beads on fine, strong sinews ([Fig. 201]), but this money is not as pretty as glass beads, for it resembles pieces of common clay pipe stems. A certain number of hand-breadths of wampum will buy a gun, a skin, a robe, or a horse, and when presented by one chief to another the wampum means good-will and peace. Of course, you will want to supply your Indians with their own kind of money. You can string the wampum into a necklace and decorate the strand with eagle claws, bright beads, and tufts of gay worsted.

Find some beads much smaller, but as near as possible in color and form to real wampum, and string them with tiny eagle claws made of wood cut like [Fig. 202], only smaller. Paint the claws very dark gray, almost black, and bore a hole through the heavy end with a hat-pin heated red hot. The claws will then string easily and give quite a savage appearance to the necklace ([Fig. 203]).

Let the colored worsted tufts, which must take the place of hair, be bright-red, and the strands of round beads on each side of the necklace of various colors ([Fig. 203]).

Fig. [203].—Indian necklace of wampum, eagle claws, tufts of hair, and bone beads.

Indians when they cannot obtain beads use gayly colored porcupine quills for their embroidery. You need not try the embroidery, but be sure to make the entire Indian encampment with everything pertaining to it.

CHAPTER XIII

A TOY COLONIAL KITCHEN WITH FAC-SIMILE COLONIAL FURNISHINGS.

WOULD it not be fun to see a yoke of real live oxen come slowly walking into the kitchen dragging a load of logs? That is what many of the colonial boys and girls saw every day, and frequently the boys helped their fathers cut the logs which were for the big kitchen fireplace. And such a fireplace! Large enough for the huge, roaring fire and the chimney-seats also. These were placed close against the sides of the opening, making fine places for the boys and girls to sit and listen to thrilling tales of adventure or delightful fairy stories.

[Fig. 204].

The kitchen in those days was the chief apartment and the most interesting room in the house. Who would want to go into the stiff, prim "best room" when they could be so much more comfortable in the spacious kitchen where everyone was busy and happy, and where apples could be hung by a string in front of the fire to roast and made to spin cheerily when the string was twisted, that all sides might be equally heated? Any girl or boy to-day would be only too glad of a chance to sit on a log in front of such a fire and watch red apples turn and sputter as the heat broke the apple skin, setting free the luscious juice to trickle down the sides.

As the Indian's first thought was for shelter, and he put up his wigwam, so the early settler's first thought was for shelter, and he built, not a wigwam, but a log-house with a kitchen large enough to serve as a general utility room. It was filled with various things, and all articles in it were used constantly. Everything not brought from the mother country the settlers made by hand. The colonial kitchen you can build may be of gray or white cardboard. Old boxes, if large enough, will answer the purpose.

Fig. [205].—Kitchen floor.

I will tell you exactly how I built the colonial kitchen seen in [Fig. 204]. I made the floor ([Fig. 205]), the two side walls both alike ([Fig. 206]), the back wall ([Fig. 207]), and the interior of the fireplace ([Fig. 208]) of light-gray cardboard. I cut all the heavy lines, scored and then bent all the dotted lines.

Fig. [206].—Side wall.

Fig. [207].—Back wall.

Now you do the same thing. Get your measurements correct and be careful to make the lines perfectly straight. Before putting the kitchen together, fasten the rustic brackets, cut from a branching twig ([Fig. 209]), on the wall above the mantel-piece to support the flintlock gun. Take two stitches through the wall around each twig, as shown in [Fig. 210], at the dots A and A and B and B ([Fig. 207]).

Fig. [208].—Interior of fireplace.

Every colonial fireplace boasted of

A Strong Crane

upon which to hang the pots and kettles over the fire. One end of the crane was bent down and attached to the side chimney wall by iron rings. These rings allowed the crane to turn so that the extending iron rod could be swung forward to receive the hanging cooking utensils and then pushed back, carrying the pot and kettles over the fire for the contents to cook. The crane was black and of iron. A hair-pin ([Fig. 211]) makes a fine crane. Bend yours, as shown in [Fig. 212], then with two socket-rings made with stitches of black darning-cotton fasten the crane to the side of the chimney at the dots C and C ([Fig. 207]), and tie a piece of the darning-cotton on the little crane immediately below the lower socket-ring; bring the thread diagonally across to the top arm of the crane an inch and a quarter from the free end and again tie it securely ([Fig. 213]).

Fig. [212].—The crane.

Bend the two sides of

The Fireplace

F and F ([Fig. 207]) as in [Fig. 213]. Bend forward the interior of the fireplace ([Fig. 208]) at dotted lines, and fit [Fig. 208] on the back of [Fig. 207] to form the inside of the fireplace and the mantel-piece. Slide the slashed top strips of the sides of the fireplace D,D,D,D ([Fig. 207]), back of the slashed strips D,D,D,D ([Fig. 208]), which will bring the two centres E and E of the sides in [Fig. 208] behind F and F in [Fig. 207], and will thus form two layers on the sides of the chimney. Push the edge G and G of [Fig. 208] through the slit G and G in [Fig. 207] to form the mantel-piece, then bend down the edge of mantel-piece along dotted line.

Fig. [213].—Back wall, showing crane hung and oven door open.

You must have

An Oven

at one side of the great fireplace for baking the wholesome "rye and Indian" bread, and the delicious home-made apple, pumpkin, rice and cranberry pies. In colonial days thirty large loaves of bread or forty pies would often be baked at one time, so spacious were the ovens. These side-ovens used to be heated by roaring wood fires built inside of them and kept burning for hours. When the oven was thoroughly hot the cinders and ashes were brushed out and in went the pies with a lot of little ones called "patties," for the children. When these were cooked to a golden brown each child was given his own piping hot "patty."

Make your box-like oven according to [Fig. 214], cut the heavy lines, score and bend the dotted lines. Bring the side H to the side I; lap I over H so that the two slits, J and J, will exactly fit one over the other; then bend the back down and run the flap J on the back through the two slits J on the side, and the flap K through the slit K.

Fig. [214].—The oven.

Fig. [215].—Pattern for andiron.

Adjust the oven back of the oven door L ([Fig. 207]), and fasten it tight on the wall by sliding the flap M of the oven ([Fig. 214]) through the slit M ([Fig. 207]) above the oven door; bend it down flat against the wall. Bring the bottom oven-flap N in through and over the lower edge of the oven door-way N ([Fig. 207]) and bend that also flat against the wall ([Fig. 213]). The two side oven flaps will rest against the back of the wall on each side of the oven door-way.

Now that is finished firm and strong, and you can

Put the Kitchen Together

in a few moments. Lay the floor ([Fig. 205]) down flat on a table; bend up the two diagonal sides O and O, and slide the slit P in the side wall ([Fig. 206]) down into the slit P of the floor ([Fig. 205]), bringing the wall ([Fig. 206]) in front of the upturned floor-piece O ([Fig. 205]). In the same way fasten the other side wall on the floor. Slip the two slits Q and Q of the back wall ([Fig. 207]) down across the top slits (Q, [Fig. 206]) of the side walls. While bringing the back wall ([Fig. 207]) down to the floor, slide its outside strips S and S over and outside of the upturned pieces of the floor, S and S ([Fig. 205]), to hold them in place.

As soon as the Indian's wigwam was up, he had a brisk fire to cook by, for after shelter came food. The white man did likewise after his house was built. Though he had andirons to help with his fire, even then to

Fig. [216].—The andiron.

Lay the Fire

Fig. [217].—The flames.

in the immense fireplace required some skill. Cut two andirons of cardboard ([Fig. 215]), bend at dotted lines, paint black, and the andirons will stand alone and look like real ones ([Fig. 216]).

Cut from red, orange, yellow, and black tissue-paper flames like [Fig. 217]; bend at dotted line and paste the mingled flames one at a time and turned in varying directions on a piece of cardboard made to fit the bottom of the fireplace. Adjust the little black andirons to the fire and glue them in place; select a large log for the "back-log," and a more slender one to lay across the front of the andirons. Place smaller wood in between with the flames, and scatter a few bits of black paper on the hearth underneath to appear like fallen charred wood. When finished the fire should look as if it were actually sparkling, roaring, and blazing ([Fig. 218]).

Fig. [218].—The flames leap up the chimney.

Fig. [219].—Cut the shell in half.

Your fire is ready, so you must hurry and get the

Great Iron Pot

to hang over the flames. Break an egg in halves as indicated by dotted lines in [Fig. 219]; even off the edge of the larger half shell with a pair of scissors, paste a strip of tissue-paper over the edge and glue on a stiff paper handle ([Fig. 220]). Cut three pieces of heavy, stiff paper like [Fig. 221], bend at dotted line and pinch the two lower corners on part T together to form the pot legs ([Fig. 222]). Turn the egg-shell upside down and fasten the legs on by gluing the flap U ([Fig. 221]) on the bottom of the shell; the legs should enable the pot to stand upright. Turn the egg-shell into iron by painting the handle and outside of the pot jet black ([Fig. 223]). Swing the crane forward, hang on the pot, pretend you have something to cook in it, then move the crane back over the fire.

Fig. [220].—A strip of paper for the handle.

Remember all the time you are playing, that this is the way your colonial ancestors cooked.

In days of long ago, they had many other

Odd Utensils

One of the easiest for you to make is the long-handled iron shovel called a "peel" ([Fig. 224]), used to place bread and pie in the great oven. Cut the peel from stiff cardboard, paint it black and stand it up by the side of the chimney ([Fig. 204]). Trace the toaster ([Fig. 225]) on cardboard, paint it black, bend up the four semicircular rings and bend down the two feet, one on each side ([Fig. 226]).

Chicken and other eatables were placed between the front and back rings on the toaster and broiled before the fire, which was so hot that it was necessary to have long handles on all cooking utensils.

Several pieces of iron of varying lengths, generally made into the shape of the letter S, were called "pot-hooks"; they hung on the crane. Make two or three pot-hooks of cardboard and paint them black ([Fig. 227]). When you are not using the little toaster, bend up the handle and hang it on a pin stuck in the wall ([Fig. 204]).

Fig. [228].—The spinning-wheel and jointed doll spinning.

Fig. [229].—Spokes.

Just look at your little colonial friend, Thankful Parker! ([Fig. 228]). The tiny maid seems almost to be stepping lightly forward and backward as she spins out long threads of the soft, warm yarn, singing softly all the while a little old-fashioned song. How busily she works, and listen! you can all but hear the wheel's cheery hum, hum, hum! That's the way the real colonial dames used to spin. Such a

Spinning-Wheel

belonged to every family, for all had to do their own spinning or go without the yarn, as they could obtain no assistance from others.

Fig. [232].—Stand.

Fig. [230].—Tire of wheel.

Fig. [234].—Upright.

Cut from cardboard the spokes ([Fig. 229]) for your miniature colonial spinning-wheel, the tire ([Fig. 230]), and the two small wheels ([Fig. 231]). Bend forward the fan-shaped ends of each spoke ([Fig. 229]) and glue the tire (Fig. 230) around on them; let one edge of tire lie flush on the edges of the bent ends of the spokes.

With the exception of the square spaces AA and BB on the stand ([Fig. 232]) cut the heavy lines and the little holes; score, then bend the dotted lines. Bend down the long sides and the ends fitting the corners against and on the inside of the same letters on the sides, glue these in place and you have a long, narrow box with two extensions on one side (HH and GG). Bend these extensions, also their ends II and JJ, and glue the ends on the inside of the opposite side of the box against the places marked II and JJ.

Turn the box over, bringing the level smooth side uppermost. Cut out the wheel brace ([Fig. 233]), turn it over on the other side, then bend AA backward and BB forward, and glue the brace on the box-like stand ([Fig. 232]) on the squares AA and BB. See [Fig. 228].

Make the upright ([Fig. 234]) of wood; shave both sides of the end, KK, until it is flat and thin, then glue a small wheel ([Fig. 231]) on each side, raising the wheels above the wood that the flat end of the upright may reach only to their centres. Glue the wheels together to within a short distance of their edges.

With the red-hot end of a hat-pin bore the hole LL through the front of the upright, and below bore another hole, MM, through the side. Make the screw ([Fig. 238]) and the block ([Fig. 239]) of wood. Run the screw through the side hole MM in the upright ([Fig. 234]), and push the screw on through the hole in the top of the block ([Fig. 239]). Break off more than half of a wooden toothpick for the spindle ([Fig. 236]) and pass it through the hole LL ([Fig. 234]).

Fig. [235].—Hub.

Make the hub ([Fig. 235]) of wood and thread it in through the wheel and brace ([Fig. 233]), to hold the wheel in place. Use two wooden toothpicks, with the ends broken off ([Fig. 237]), for legs; insert these slantingly into the holes, GG ([Fig. 232]), on the under part of the stand, allowing the top ends to reach up and rest against the under side of the top of the stand. Spread out the bottom ends of the legs.

Run the upright ([Fig. 234]) through the single hole near one end of the stand ([Fig. 232]) and pass it down through the under hole on HH. The lower part of the upright forms the third leg. See that all three legs set evenly when the wheel stands, and that the box part is raised slightly higher at the upright end, slanting downward toward the other end ([Fig. 228]). Glue the three legs firmly in place.

Connect the two small wheels ([Fig. 231]) and the large wheel together by passing a string between the small wheels and over around the outside of the tire of the large wheel, fastening it on here and there with a little glue ([Fig. 228]). Twist a piece of raw cotton on the spindle and tie a length of white darning-cotton to the end of the cotton ([Fig. 228]).

Fig. [241].—Hair-pin.

Fig. [240].—Do her hair up in this fashion.

Stretch the thread across to the hand of your colonial-dressed doll, glue it in place, and the next time your mother attends a meeting of the Society of Colonial Dames tell her to show your little maid Thankful Parker and her spinning-wheel. When you

Dress the Doll

coil her hair up on top of her head ([Fig. 240]) and fasten it in place with common pins ([Fig. 241]). Make the straight bang look as nearly as possible as though the hair were drawn up into a Pompadour such as was worn in Colonial times.

Fig. [244].—Cap band.

Fig. [245].—Pattern of kerchief.

Make the cap ([Fig. 243]) of thin white material cut like [Fig. 242], and the band ([Fig. 244]) of the same color as the dress. Cut the thin white kerchief like Fig. 245, and fold it as in [Fig. 246]. [Fig. 247] gives the design for the dress waist, and [Fig. 248] the sleeve. The skirt is a straight piece gathered into a waistband. The apron ([Fig. 249]) is white. When the doll is dressed it should resemble little Thankful Parker ([Fig. 228]). An

Fig. [250].—Lock and band of tinfoil.

Fig. [251].—Make this part of pasteboard.

Old-Fashioned Flintlock Rifle

with its long, slender barrel was used almost daily by our forefathers for securing game as food.

The gun was kept hanging in plain sight over the kitchen mantel-piece, ready for defence at a moment's notice, for in those early days wolves and other wild animals were numerous and dangerous, and enemies were also likely to appear at any time.

You should have one of those queer old guns to adorn your kitchen wall. Get some heavy tinfoil off the top of a bottle, or take a collapsible tube and from it cut a wide strip like [Fig. 250], one narrow, straight strip and two medium-wide straight strips, four in all. Cut the butt end of the gun ([Fig. 251]) of stiff cardboard. Break a piece measuring four and one-half inches from a common coarse steel knitting-needle for your gun-barrel and use a slender, round stick, or the small holder of a draughtsman's pen, cutting it a trifle more than three and one-half inches in length for the ramrod groove.

Fig. [252].—A pin for a ramrod.

Fig. [253].—Slide the paper end in the wood like this.

In the centre of one end of the stick bore a deep hole with the red-hot point of a hat-pin and insert the pointed end of an ordinary pin for a ramrod ([Fig. 252]). Split the other end of the stick up through the centre not quite half an inch and work the butt end of the gun in the opening ([Fig. 253]).

Fig. [254].—Ready for the tinfoil bands.

Lay the gun-barrel above the wooden part ([Fig. 254]) and fasten the two together with the four bands of tinfoil ([Fig. 255]), allowing the top part of [Fig. 250] to stand up free to represent the flintlock. We must be content without a trigger unless you can manage to make one by bending down and cutting a part of [Fig. 250]. Paint the butt and wooden portion of the gun brown before binding on the barrel, and you will find that you have made a very real-looking little rifle to hang upon the rustic brackets over the mantel-piece.

Fig. [255].—Colonial flintlock made of knitting-needle and small pen-holder.

When the fire in your big kitchen fireplace needs brightening, use the

Fig. [257].—The finished bellows.

Fig. [256].—Cut the bellows by this pattern.

Little Bellows

to send fresh air circulating through the smouldering embers. The bellows are easy to make. Cut two pieces of pasteboard like [Fig. 256], and cut two short strips of thin paper. Paste one edge of each strip to each side of one piece of cardboard bellows, fold the strips across the centre ([Fig. 256]), and attach the free ends of the folded strips to the other piece of pasteboard bellows, forming a hinge-like connection on each side between the two pasteboard sides. Paste the points of the two sides together up as far as the dotted line ([Fig. 256]). When thoroughly dry you can work the bellows by bringing the handles together and opening them as you would real bellows ([Fig. 257]).

Fig. [258].—Colonial pewter dish made of tinfoil.

Heavy tinfoil must furnish material for your

Pewter Ware;

Fig. [259].—The warp.

much of it has the same dull, leaden color and the peculiar look of old pewter. Should the pieces of tinfoil you find be twisted and uneven, lay them on a table and smooth out the creases with scissors or the dull edge of a knife-blade; then cut out round, flat pieces and holding one at a time in the palm of your left hand, round up the edges by rolling the ball of a hat-pin around and around the plate; press rather hard and soon the edges will begin to crinkle and turn upward ([Fig. 258]). You may mould some deeper than others and have a row of different-sized pewter plates on the kitchen mantel-piece, and you can make a wee pie in the deepest plate, open the oven-door and shove the pastry into the oven with the little iron peel. Try it.

The colonial kitchen would be incomplete without a bright,

Home-like Rag Rug

to place over the bare board floor, and it will be fun for you to weave it. Take a piece of smooth brown wrapping-paper the size you want your mat, fold it crosswise through the centre and cut across the fold ([Fig. 259]), making a fringe of double pieces which we will call the warp. Unfold the paper and weave various colored tissue-strips in and out through the brown foundations ([Fig. 260]), until the paper warp is all filled in with pretty, bright colors. You can weave the rug "hit or miss" or in stripes wide or narrow as you choose, only make the rugs as pretty as possible.

Fig. [260].—Weave the rug in this way.

Now we must manufacture a fine

Old Colonial Clock

Fig. [263].—Draw the circle.

([Fig. 261]). It would never do to forget the clock, for poor little Thankful would not know how long her many loaves of bread were baking in the big oven, and the bread might burn. Cut [Fig. 262] of cardboard and score all dotted lines, except NN-OO, which forms the hinge of the door. Mark this with a pinhole at top and bottom, turn the cardboard over and draw a line from pinhole to pinhole; then score it on this line that the door may open properly outward. Try to draw the face of the clock correctly. Make it in pencil first so that any mistake may be erased and corrected. When you have the face drawn as it should be, go over the pencil lines with pen and ink. Begin the face with a circle ([Fig. 263]). Make it as you made the circle for the wigwam, only, of course, very much smaller. Above the circle, at the distance of half the diameter of the circle, draw a curve with your home-made compass ([Fig. 264]). Lengthen the compass a little and make another curve a trifle above the first ([Fig. 265]). Connect the lower curve with the circle by two straight lines ([Fig. 266]), draw a small circle above the large one ([Fig. 267]), connect the two circles by two scallops ([Fig. 268]), and bring the upper curve down into a square ([Fig. 269]). The small top circle stands for the moon; draw a simple face on it like [Fig. 270], then make the numbers on the large circle ([Fig. 271]) and also the hands ([Fig. 272]). Both numbers and hands must be on the same circle on the clock. They are on two different circles in the diagrams that you may see exactly how to draw them.

Leave [Fig. 269] white, but paint the other portions of the clock a light reddish brown with black lines above and below the door, and a black band almost entirely across the bottom edge of the front of the clock that the clock may appear to be standing on feet. Gild the three points on the top to make them look as if made of brass.

Be sure that the four holes in the top ([Fig. 262]) are fully large enough to allow a coarse darning-needle to be passed readily through them; then bend the clock into shape, fitting the extension PP over the extension QQ; the two holes in PP must lie exactly over those in QQ. Glue the clock together, using the blunt end of a lead-pencil, or any kind of a stick, to assist in holding the sides and tops together until the glue is perfectly dry.

Fig. [273].—Weights for winding the clock.

Fig. [275].—The churn.

Thread a piece of heavy black darning-cotton in the largest-sized long darning-needle you can find; on one end of the thread mould a cylinder-shaped piece of beeswax, cover it with thin tinfoil, then open the clock-door and hold the clock with its head bent outward and downward from you. Look through the open door and see the holes on the inside of the top; run your needle through one of these holes and across the top on the outside, bringing it down through the other hole into the clock. Slip the needle off the thread and mould another piece of beeswax on the free end of the thread, make it the same size and shape as the first weight, cover this also with tinfoil and you will have clock-weights ([Fig. 273]) for winding up the old-fashioned timepiece. Gently pull down one weight and the other will go up, just as your colonial forefathers wound their clocks. When the weight is pulled down in the real clock it winds up the machinery, and the clock continues its tick, tack, tick, like the ancient timepiece Longfellow tells us of, stationed in the hall of the old-fashioned country-seat.

Fig. [274].—Pattern of the churn.

Fig. [277].—Handle of the dasher.

Do you like real country buttermilk, and have you ever helped churn? If you live in the city or for some other reason are not able to make the butter, you can still enjoy manufacturing a little

Colonial Churn

that will look capable of producing the best sweet country butter ([Fig. 275]).