Making Easy Money

Due to the current situation with the countrys in recession, Many people are trying to find ways of making money Online,there are ways and there are SCAMS! Just to point out, if you are looking for an easy way to make money Online, there is not, there are so many people out there selling guides on how to make Easy money but they are just selling what you want to hear, so many people hand over their hard earned money for these easy money making guides that are useless, the information they give you, you could probably find it for free if you do a search on google, also there are many guides for sale that claim they can make you loads of money on an Online casino, i would avoid them to! there are no techniques for Gambling or playing at Casinos, Its just LUCK really. Any website or somewere trying to sell you a guide to Making Easy Money are probably scamers, dont fall for it and remember that if it sounds to good to be true, it probably is!!!!
One of the good ways in making money online that is genuine is to take surveys, there are a few good websites out there that will pay you for taking part in surveys, basically they are paying you for your time, the amount of money you can make is endless really, as an example companys such as Nike or Sony want to know how many people have bought their products and how likley they are to buy them again, they want to know what you think of certain products so they will pay you to give this information, i have done a few before and found that the money varys depending on what the questions are about and the time it takes to complete the questions, they can vary from 2 mins to 45 mins or even more, they pay approx 15 pence per survey but can be more or less! Taking surveys online is NOT a get Rich Quick or Easy Money system! but it is something you can make a little extra on if your home in the evening with nothing to do and your bored.
hope this helps someone out there before they are ripped off by someone selling these guides,
if you go ahead and try out a guide that you have baught onling after reading this, Dont say i Didnt WARN YOU!

Digital Camera through binoculars

Have you ever been somewere with a Digital Camera when you are out of range of what you want to take a picture of, an easy way to get around it without spending £100s of pounds on an expensive camera kit with different lenses and so on....... Use binoculars , i have a fuji finepix 12 mp (million pixels) its a few years old now but it is a good quality camera but the zoom lacks a bit, one day i went out walking, i had my camera and also i had cheap pair binoculars with me and i wanted to take a picture of something in the distance but couldnt get it with the camera zoom and then i clicked, if i put the camera lense into the binoculars i would get the zoom out of the camera and the binoculars together, took some great pictures through the binoculars and got them from a great distance, i even tried taking a picture of the moon on a clear night through the binoculars and what great pictures they were, my binoculars were £20 and the camera was £179.99 a few years ago just to give you an idea of what i paid, give it a go with your camera and see how you get on!!

Castles

Myself i enjoy going to see castles, it really takes you back to how things used to be in the past and gives you a feeling of what went on back in the days were people were thrown into the dungeons and were fighting hand to hand with arrows, spears and swords.... a lot of the time i think to myself, if i could only go back in time just for a day to see actually how life was in and around a castle, the feeling you get when ur in a castle looking out at the enemy marching towards you or the feeling you get marching towards a castle and not knowing either way what to expect, whats going to happen, all of these thaughts rushing through your head, what an experience!!
for those interested in Castles i would suggest going here for a list of castles, places to visit - http://www.castlewales.com/

Chocolate Velvet Cheesecake

1 c Vanilla Wafer Crumbs
1/2 c Chopped Pecans
3 tb Granulated Sugar
1/4 c Margarine, Melted
16 oz Cream Cheese, Softened
1/2 c Brown Sugar, Packed
2 ea Large Eggs
6 oz Semi-sweet Chips, Melted
3 tb Almond Flavored Liqueur
2 c Sour Cream
2 tb Granulated Sugar
Combine crumbs, pecans, granulated sugar and margarine; press onto bottom of 9-
inch springform pan. Bake at 325 degrees F., 10 minutes. Combine cream sheese
and brown sugar, mixing at medium speed on electric mixer until well blended. Add
eggs, one at a time, mixing well after each addition. Blend in chocolate and liqueur;
pour over crust. Bake at 325 degrees F., 35 minutes. Increase oven temperature to
425 degrees F. Combine sour cream and granulated sugar; carefully spread over
cheesecake. Bake at 425 degrees F. 10 minutes. Loosen cake from rim of pan; cool
before removing rim of pan. Chill. VARIATION: Substitute 2 Tablespoons milk and
1/4 teaspoon almond extract for almond flavored liqueur.

Cookies and Cream Cheesecake

2 c Cream-filled Cookies *
6 tb Margarine, Softened
1 ea Env. Unflavored Gelatin
1/4 c Cold Water
8 oz Cream Cheese Softened
1/2 c Sugar
3/4 c Milk
1 c Whipping Cream, Whipped
1 1/4 c Creme-filled Cookies **
* The cookies (24) should be chocolate cream filled cookies and be to as fine as can
be done. ** These cookies should be chocolate cream filled cookies and should be
coarsely chopped. Combine cookie crumbs and margarine; press onto bottom of 9-
inch springform pan. Soften gelatin in water; stir over low heat until dissolved.
Combine cream cheese and sugar, mixing at medium speed on an electric mixer until
well blended Gradually add gelatin mixture and milk, mixing until well blended. Chill
until mixture is thickened but not set. Fold in whipped cream. Reserve 1 1/2 C
cream cheese mixture; pour remaning cream cheese mixture over crust. Top with
cookies and reserved cream cheese mixture. Chill until firm.

Creamy Chilled Cheesecake

1 c Graham Cracker Crumbs
1/4 c Sugar
1/4 c Margarine, Melted
1 ea Env. Unflavored Gelatin
1/4 c Cold Water
8 oz Cream Cheese, Softened
1/2 c Sugar
3/4 c Milk
1/4 c Lemon Juice
1 c Shipping Cream, Whipped
1 x Strawberry Halves
Combine Crumbs, sugar, and margarine; press onto bottom of 9-inch spring- form
pan. Soften gelatin in water; stir over low heat until dissolved. Combine cream cheese and sugar,
mixing at medium speed on electric mixer until well blended. Chill until slightly thickened; fold
in whipped cream. Pour over crust; chill until firm. Top with strawberries before serving.

Chocolate Raspberry Cheesecake

1 1/2 c Creme-filled Cookie Crumbs *
2 tb Margarine, Melted
32 oz Cream Cheese, Softened
1 1/4 c Sugar
3 ea Large Eggs
1 c Sour Cream
1 ts Vanilla
6 oz Semi-sweet Chocolate Chips**
1/3 c Strained Raspberry Preserves
6 oz Semi-sweet Chocolate Chips
1/4 c Whipping Cream
* Cookie crumbs should come from 18 Cream Filled Cookies that have been finely
crushed. ** This 6 ozs of Chocolate chips should be melted and cooled slightly .
Combine crumbs and margarine; press onto bottom of 9-inch springform pan.
Combine 24 ozs of cream cheese and sugar, mixing at medium speed on electric
mixer until well blended. Add eggs, one at a time, beating well after each addition.
Blend in sour cream and vanilla; pour over crust. Combine remaining 8 ozs cream
cheese and melted chocolate, mixing at medium speed on eletric mixer until well
blended. Add Red Raspberry preserves; mix well. Drop rounded measuring
tablespoonsfuls of chocolate cream cheese batter over plain cream cheese batter, do
not swirl. Bake at 325 degrees F., 1 hour and 25 minutes. Loosen cake from rim of
pan; cool before removing rim of pan. Melt chocolate pieces and whipping cream
over low heat stirring until smooth.
Spread over cheescake. Chill. Garnish with additonal whipping cream, whipped,
raspberries and
fresh mint leaves, if desired.

Dating

Dating tips will be troublesome to come by in this day and age. Probably the greatest tips that anybody may ever give you is to try out on-line dating. It might sound creepy, but it surely is without doubt one of the quickest and only ways to find those that match your interests.
Many folks have a hard time assembly people. This could often be as a result of they are too shy. Being shy is difficult to get around as a result of it has to do with years and years of points that you can not simply get over in a single day. The most effective resolution is to search out another person with the same personality to you. Online dating lets you do that. You may meet somebody with an analogous character or a completely completely different one-if that is what you're looking for.
Online dating gives you more management and extra choice. You may join with a wide range of people in a short time.Listed here are tips for beginning out.
The most essential factor that you have to do is to take time filling out your online dating profile. Be utterly honest. You would not wish to waste time on a phony and nobody else does either. Be clear about what sort of relationship you're in search of - friendship or long term romance.
Describe the "real" you - what you like to do, learn, watch etc. Sharing your actual pursuits fairly than a creating a personality you think is enticing will increase your chances of making an actual connection. Pay as much attention to your appearance as you would if assembly an individual within the "real world" - so keep away from off color language and submit an image of your self trying your best.
Relationships are onerous sufficient, having to seek out them simply provides more to the problem. You possibly can at all times make it a bit easier by just looking for a relationship online. It is quick and effective, many people swear by it.

Zucchini Stuffed Chicken

2 tablespoons margarine
2 medium zucchini, shredded
3 slices of bread
1 egg white
1 teaspoon butter oil
1/2 cup shredded low fat Swiss cheese
4 skinless, boneless chicken breasts
1/4 teaspoon garlic salt
dash of pepper
dash of paprika
Melt margarine in a skillet and saute zucchini several minutes over
medium−high heat. Tear the bread into pieces and add to zucchini,
along with egg white, butter oil, and cheese. Stir well and remove
from heat. Season chicken breasts with spices. Put chicken breasts in
casserole sprayed with cooking spray. Spread stuffing over all four.
Cover casserole and bake at 400F for approximately 1 hour or until
chicken is tender. Or microwave for approximately 20 minutes at 60%,
turning after 10 minutes.

Vietnamese Sandwiches

1 clove garlic, crushed
1/2 teaspoon salt
1/4 cup rice wine vinegar
1 teaspoon sugar
1/2 cup carrot, peeled and grated
1/3 cup thinly sliced white onion
1 to 2 tablespoons jalapeno chile, finely chopped
1 − 16" long baguette
4 teaspoons low−fat mayonnaise
3/4 pound cooked chicken breast or pork tenderloin, sliced
1 tablespoon fresh lime juice
1/2 teaspoon five−spice powder
1/2 cup fresh cilantro
With chef's knife, mash garlic and salt into a paste. Transfer to
a mixing bowl and add vinegar and sugar, stirring to dissolve. Add
carrots, onions and chilies. Toss to coat. Set aside. Slice baguette
into 4 equal lengths. Split each piece horizontally. Spread cut sides
with mayonnaise. Arrange the meat on the 4 bottom halves. sprinkle
with lime juice and 5−spice powder. Top with the carrot salad and
a shower of cilantro leaves. Cover with bread tops and serve.

Vegetable Dip

1/2 cup reduced−calorie or light mayonnaise
1 1/2 cups plain non−fat or low−fat yogurt
4 scallions, chopped
1/4 cup fresh lime juice
2 cloves garlic, minced
One 10−ounce package frozen chopped spinach, thawed, drained,
and squeezed dry
Raw vegetables for serving
In a bowl, combine all of the ingredients except the raw vegetables.
Cover and refrigerate for 30 minutes to allow the
flavors to blend. Serve with cut raw vegetables.

Veal Stew

1 pound Veal − trimmed of all visible fat and cut into 1 inch cubes.
1 cup baby carrots or 2−3 large carrots − cut into 1 inch pieces
6 to 8 small onions − peeled
2 cloves of garlic − peeled
2 large boiling potatoes − peeled and cut into 1 inch cubes
2 to 3 cups de−fatted chicken or beef stock
1 tablespoon Worcestershire Sauce
Pepper and Herbs − to taste (sage, rosemary, thyme)
2 tablespoons cornstarch mixed with 2 tablespoons cold water
Heat a large, non−stick, pot on high. When hot, sear meat on all sides.
Add herbs and seasoning and stir. Add stock and bring to the boil
(the chicken stock will be more delicate and let the full flavor come
through). Add vegetables and return to the boil. Cover and simmer on
very low heat for 45 minutes to an hour or until meat is fork tender
and vegetables are tender but not mushy. Turn heat to high and bring
stew up to the boil, remove from heat and drizzle in corn starch
mixture while stirring constantly. Return to heat and continue to
stir until the stew has thickened. Serve immediately.

Two Layer Pumpkin Pie

1 pie crust, baked
2 cups prepared pumpkin
1 cup cold skim milk
2 pkg. Instant Vanilla Pudding mix, sugar free
1 tsp. allspice
1 tsp. cinnamon
1/2 tsp. ground cloves
8 oz. low−fat cream cheese, softened
1 tbs. sugar
1 tbs. milk
8 oz. cool whip, Lite
Bake pie crust until browned and allow to cool. Mix together pumpkin,
allspice, cloves, cinnamon, 1 cup milk, and pudding mixes. Mix well.
Combine softened cream cheese, sugar, and milk. Stir until smooth and
add 1 1/2 cups cool whip. Spread cream cheese mixture in bottom of
prepared cooled crust. Spread pumpkin mixture over cream cheese mixture.
Top with remaining cool whip. Chill for several hours before serving.

Three Cheese Baked Ziti

15 ozs. fat−free cottage cheese
2 whole eggs, slightly beaten
1/4 cup fat−free parmesan cheese
16 ozs. ziti pasta, cooked and drained
1 teaspoon salt
26 ozs. spaghetti sauce (low fat)
1 cup low−fat mozzarella cheese, shredded
Preheat oven to 350. Prepare a 13 x 9" pan with cooking
spray; set aside. In a mixing bowl, combine cottage
cheese, eggs, and parmesan cheese; set aside. In another
mixing bowl, combine cooked pasta, pasta sauce, and salt.
Spoon half of the pasta mixture into prepared pan;
evenly top with cheese mixture, then remaining pasta
mixture. Sprinkle with mozzarella cheese. Bake for 30
minutes, or until heated through.

Stuffed Mushrooms

18 large mushrooms
1 tablespoon olive oil
1/4 cup onion, minced
1 clove garlic, minced
1/4 cup walnuts, finely chopped
1 shredded wheat biscuit, crushed
1 tablespoon Parmesan cheese, grated
pepper to taste
1/2 teaspoon paprika
1/8 teaspoon basil
1/8 teaspoon parsley
1/8 teaspoon oregano
Preheat the oven to 350 degrees. Clean mushrooms and wipe dry.
Remove stems and chop fine. Heat oil in a skillet over medium high
heat and saute chopped mushroom stems, onions, garlic and walnuts
until onion is tender. Remove from heat.
Stir in shredded wheat, cheese, basil, parsley, oregano, and pepper.
Stuff mushroom caps, packing mixture firmly. Arrange mushrooms in a
shallow baking dish and sprinkle tops with paprika.
Bake 20 to 25 minutes or until mushrooms are tender.

Spaghetti Sauce

1 lb. extra lean ground beef
1 clove garlic, minced or put through garlic press
1 onion, chopped fine
1/2 green pepper, chopped fine
1/2 cup sliced mushrooms
2 cups chopped fresh tomatoes with juice,
or 16 oz. can diced tomatoes
1 6 oz. can tomato paste
1 tsp. sugar
1 bouillon cube
1 tsp. basil
1 tsp. oregano
1/2 tsp. salt
Crumble and brown ground beef. Drain off all fat; wipe out
frying pan. Turn beef into colander, and rinse with cold water.
Pat dry with paper towel; return to pan.
Add garlic, onion, pepper, mushrooms and cook over medium
low heat, stirring as necessary until veggies are soft.
Add tomatoes and tomato paste. Add seasonings and simmer until
hot throughout. Adjust seasonings to taste and serve over
pasta with low fat Parmesan sprinkled over.

Smoked Eggplant and Yogurt

1 medium eggplant, peeled and chopped
1/2 cup lightly salted water
1 1/2 cups plain regular or low−fat yogurt
1 small bunch green onions, diced
1/2 bunch cilantro, diced
1 teaspoon ground black pepper
salt to taste
1/4 teaspoon paprika
1 piece charcoal
1 − 5x5 inch piece aluminum foil
1 tablespoon margarine or shortening
In a pot over medium heat, add the eggplant and water; cook
until tender and the water evaporates. Mash the eggplant so no
large chunks remain. Allow to cool completely.
In a large bowl, add the yogurt, mashed eggplant, green onions,
cilantro, pepper and salt; mix well.
To smoke the salad, heat the charcoal over open flame until gray
and reddish in color. Place the piece of foil in the eggplant
salad (make room in the center for the foil). Place the hot charcoal
on the piece of foil in the bowl. Add the margarine on top of the
charcoal and cover salad bowl immediately. Allow to smoke for
10 minutes; remove charcoal.
Chill the salad in the refrigerator and garnish with fresh chopped
cilantro and a sprinkle of paprika.

Shrimp Thermidor

1/4 cup green onions or shallots, sliced
2 Tablespoons diced green pepper
3/4 cup fat−free half−and−half
4 slices Smart Beat fat−free cheese, cut in pieces
1 can (10 oz.) potato soup
2 tablespoons lemon juice
1/4 teaspoon ground pepper
1/2 teaspoon dry tarragon
1/2 teaspoon dry mustard
1 − 1 1/2 cups cooked shrimp (tails removed)
Spray a large, nonstick skillet with spray oil. Saute onion and
pepper over medium heat until tender, about 5 minutes. Add soup
and half−and−half; heat slowly, stirring frequently. Bring to a
gentle boil; add cheese pieces, lemon juice, spices and shrimp.
Heat completely through, about 3 to 4 minutes. Serve hot over rice.

Sesame Ginger Noodles

Dressing:
1/2 cup creamy peanut butter
3/4 cup chicken broth
1/4 cup soy sauce
2 tablespoons rice wine vinegar
1 tablespoon minced fresh ginger
1 tablespoon sesame oil
1 clove minced garlic
2 cups trimmed watercress
1 cucumber, peeled, halved lengthwise, seeded and thinly sliced
1/2 cup finely diced yellow pepper
1/2 cup finely diced red pepper
1/4 cup thinly sliced radishes
1/4 cup thinly sliced green onions
18 oz. linguini
Dressing: Puree all dressing ingredients in blender until smooth.
Combine veggies in large bowl. Cook pasta according to directions;
drain and rinse. Add to bowl with veggies. Toss with dressing.

Potato Gnocchi with Sage Cream

2 cups whole milk
1 teaspoon dried sage leaves
1 cup chopped onion
2−3 teaspoons margarine
4 cups small broccoflower, or broccoli, florets
1/2 cup water, divided
1 package (16 ounces) potato gnocchi, cooked, warm
2 tablespoons all−purpose flour
1/2 teaspoon ground nutmeg
Salt and pepper to taste
Shredded Parmesan cheese, for garnish
Heat milk and sage leaves to boiling in medium saucepan; reduce
heat and simmer 10 minutes.
Saute onion in margarine in large skillet 2 to 3 minutes; add
broccoflower and 1/4 cup water and heat to boiling. Reduce heat
and simmer, covered, until broccoflower is tender and water gone,
5 to 8 minutes.
While vegetables are cooking, cook gnocchi according to package
directions; add to vegetables in skillet.
Heat milk and sage mixture to boiling. Mix flour, nutmeg, and
remaining 1/4 cup water; whisk into milk. Boil, whisking constantly,
until thickened, about 1 minute. Pour sauce over vegetables and
gnocchi in skillet and season to taste with salt and pepper. Spoon
into serving bowl; sprinkle with Parmesan cheese.

Porkettes

1 pound ground fully cooked low−fat ham
1 egg
1/4 cup sweet pickle relish
1 teaspoon prepared mustard
2 cups mashed cooked sweet potatoes
1 teaspoon grated orange peel
1/8 teaspoon pepper
8 turkey bacon strips, halved lengthwise
1 can (20 ounces) pineapple slices, drained and
halved horizontally
In a bowl, combine the ham, egg, relish and mustard. Shape
into eight patties the same diameter as the pineapple rings.
Combine the sweet potatoes, orange peel and pepper. Shape into
eight patties the same diameter as pineapple rings. On a
15−in. x 10−in. x 1−in. baking sheet coated with nonstick
cooking spray, assemble in the following order: Cross 2 strips
of bacon, 1 pineapple slice, 1 ham patty, 1 sweet potato patty
and 1 pineapple slice. Fold bacon ends up and over top; secure
with a toothpick. Bake at 350F for 50−55 minutes or until bacon
is crisp. Remove toothpicks; serve immediately.

Peppermint Angel Food Cake

For Cake:
1 − 16 oz. package of angel food cake mix
10 striped round peppermint candies, crushed (1/3 cup)
For Sauce:
3/4 cup sugar
1/3 cup unsweetened cocoa
4 teaspoons cornstarch
1/2 cup evaporated skim milk
1 teaspoon vanilla
Prepare cake according to package directions. Gently fold
in crushed candy. Pour into un−greased 10 inch tube pan.
Bake according to package directions. Cool inverted.
In a saucepan stir sugar, unsweetened cocoa, and cornstarch
together. Add evaporated skim milk. Stir. Cook and stir
constantly until thick. Then cook 2 minutes more. Remove
from heat and add 1 teaspoon vanilla.
Chill remaining sauce and re−warm before serving.
To serve, slice cake and serve with warm sauce
over each serving. Cake can be decorated with additional
crushed peppermint candy.

Oven−Baked Pork Chops

4 − 3 to 4 ounce lean pork chops, well−trimmed
1 cup low−fat buttermilk
1 cup fine bread crumbs
2 teaspoons dried basil
2 teaspoons paprika
1 teaspoon lemon pepper
1/2 teaspoon garlic salt
Allow pork chops to soak in buttermilk (in refrigerator) for
at least one hour. In a small bowl combine bread crumbs and
remaining spices. Preheat oven to 425F and spray a cookie sheet
with non−stick spray oil. Spread mixture onto wax paper and dip
each pork chop in crumb mixture. Place chops on prepared cookie
sheet and bake for 20 to 25 minutes, or until chops are no
longer pink (internal temperature of 160F).

Orange Chicken with Rice

1 tablespoon canola or olive oil
4 boneless, skinless chicken breasts; cut in 1/2 inch strips
Lemon pepper seasoning
1/4 cup low−fat or fat−free ranch salad dressing
1/2 cup orange juice
1/4 cup low−fat mayonnaise
2 tablespoons brown sugar
1 cup instant rice
1 green pepper; julienned
1 can (11 oz.) mandarin oranges; drained
In a large skillet that has a lid, heat oil over medium heat.
Add chicken, cook and stir about 5 to 7 minutes. Sprinkle
liberally with lemon pepper while cooking. In a medium bowl,
combine mayonnaise, ranch dressing, orange juice, and brown
sugar. Stir mixture into chicken, mix well. Add rice and green
pepper; bring to a boil. Cook 5 minutes. Remove from heat and
add mandarin oranges. Cover and let stand 5 minutes.

Nacho Cheese Soup

1 can (11 oz.) whole kernel corn, drained
1 can (14−15 oz.) diced tomatoes and green chilies, undrained
hot pepper sauce, to taste
2 cups water
1 package (5 1/4 oz.) Au Gratin Potatoes (with cheese packet)
2 cups skim milk
1 cup (about 5 oz.) light Velveeta cheese, cubed
In a large pot, combine the contents of the Au Gratin potatoes
package (with cheese packet), corn, tomatoes, and water. Mix
well and bring to a boil. Reduce heat, cover and simmer for
15 to 20 minutes or until potatoes are tender. Add milk,
cheese, and hot sauce. Cook and stir frequently until the
cheese is completely melted.

Mississippi Mud Cake

6 tablespoons soft, reduced−calorie margarine, melted
1 1/2 cups sugar
1/2 cup cocoa powder, sifted
1/2 cups all−purpose flour
1/2 cup self−rising flour
1/3 cup ground almonds
3 egg whites
1. Preheat oven to 375F.
2. Coat base and sides of a 6−inch square
nonstick pan with cooking spray.
3. Combine margarine and sugar in a medium bowl.
Stir in cocoa, flours and almonds.
4. Beat egg whites in a small bowl with electric mixer
until soft peaks form. Fold into cocoa mixture.
5. Spread into prepared pan. Bake about 40 minutes.
6. Cool in pan. Cut into 8 slices and serve.

Middle Eastern Roast Chicken

2 teaspoons dried orange peel or freshly grated orange zest
1 teaspoon garlic powder
1 teaspoon ground coriander
3/4 teaspoon ground cinnamon
1/2 teaspoon salt
1/4 teaspoon ground white pepper
1/8 teaspoon ground cardamom or cloves
1/8 teaspoon cayenne pepper
1−2 tablespoons canola or saffron oil
1 8−10 pound roasting chicken, capon or small turkey
Orange Scented Gravy
1−2 cups fat free and low sodium chicken broth
1/2 cup orange juice
3 tablespoons flour
1/3 cup Madeira
Salt and pepper for seasoning
Set oven temperature to 325 degrees. Combine the orange peel, garlic
powder, coriander, cinnamon, salt, white pepper, cardamom and cayenne
pepper together in a small bowl. Set aside a large roasting pan fitted
with a rack. Remove the giblets from inside the chicken. Discard or
reserve for another use. Rinse the bird inside and out with cold
running water. Place on a working surface and pat dry with paper
towels. Remove any visible fat with poultry shears. Very carefully
loosen the skin from around the breast, thigh, leg and neck areas with
a spoon without tearing the skin. Season the inside cavity with about
1/3 of the spice mixture. Rub the remaining mixture under the skin as
evenly as possible. Lightly oil the outside with canola oil. Tuck the
wings under the bird and tie the legs together loosely. Place in the
roasting pan and roast for 15 minutes per pound or until the internal
temperature registers 180F degrees. Use an instant read thermometer
placed between the thigh and the body without touching bone. Remove
the bird from the oven, transfer to a carving board, cover with
aluminum foil and let rest for 20 minutes before carving.
Pour the pan juices into a bowl. Let the juices settle. The fat will
float to the top. Skim off the fat with a spoon or use a turkey baster
to siphon the juices from the bottom of the bowl. Add enough chicken
broth to measure 2 1/2 cups and pour into a saucepan. Add the orange
juice and bring to a boil. Mix the flour and Madeira together to make a slurry.
Slowly pour into the gravy while whisking. Cook over
medium−high heat for 5−10 minutes stirring occasionally. Season to
taste with salt and pepper.

Layered Pizza Dip

8 ounce container fat−free cream cheese
1/2 cup chunky pizza sauce
1/4 cup chopped green pepper
1/3 cup thinly sliced mushrooms
1/4 cup minced onions
1 cup reduced fat shredded cheddar cheese
Heat oven to 350F. Using a 9" pie pan, layer all ingredients
in order listed, starting by spreading cream cheese evenly over
bottom of the pie pan. Bake 15 minutes or until dip is hot and
cheese is melted. Serve warm with crackers or chips.

Greek Chicken

2 teaspoons olive oil
4 chicken breast halves on the bone, skin removed
1/2 medium onion, minced
2 cloves garlic, minced
1 − 14 1/2 ounce can cut−up tomatoes
1/2 teaspoon cinnamon
1/4 teaspoon cayenne pepper
Salt and black pepper to taste
1/2 cup Greek olives, cut in half and pitted
1 tablespoon lemon juice
1/4 cup minced parsley
In a large nonstick skillet, heat olive oil over medium heat.
Brown chicken on both sides. Add onion and garlic; cook 2 minutes.
Add tomatoes with their liquid to the pan with the cinnamon,
cayenne, salt, pepper and olives. Simmer, covered, 15 minutes.
Turn chicken and continue cooking 10−15 minutes, until chicken
tests done. Remove chicken to a warm platter. Bring sauce to boil
with lemon and parsley. Boil a few minutes until slightly
thickened. Pour over chicken. Serve with rice or noodles.

Greek Burgers

2 garlic cloves, minced
3 tablespoons fresh mint, chopped
1−1/2 cups non/lowfat yogurt
1−1/2 pounds ground turkey, lean
2−1/4 teaspoons feta cheese, crumbled
6 pita bread loaves, cut in half
1−1/2 tomatoes, sliced
1−1/2 red onions, sliced
fresh ground black pepper, to taste
Combine garlic and mint in a small bowl and mash. Add yogurt,
mix, and set aside. Combine turkey and feta cheese in a mixing
bowl. Form into 8 patties and sprinkle with pepper. Broil 5−10
minutes per side or until turkey is cooked through.
Serve in pita bread with tomatoes, onions and yogurt sauce.

Glazed Roast Pork Tenderloin

1/4 cup Dijon mustard
2 tablespoons orange juice
2 tablespoons honey
1 teaspoon grated orange rind
1/4 teaspoon ground cinnamon
1/8 teaspoon ground allspice
2 lbs pork tenderloin, trimmed of all visible fat
Preheat the oven to 325 degrees F.
In a small bowl, whisk together the mustard, orange juice, honey,
orange rind, cinnamon and allspice. Set aside.
Place the pork on a rack in a shallow roasting pan. Insert a meat
thermometer into the center of the pork. Roast for 30 minutes, or
until the thermometer registers 160F. During the last 10 minutes of
roasting, brush the pork occasionally with the mustard mixture.
Remove from the oven and let stand for 5 minutes before slicing
and serving.

German Potato Salad

1 Pkg. frozen vegetarian bacon, thawed and chopped
1 tablespoon flour
1/4 cup of sugar
1/3 cup of white vinegar
2/3 cup of hot water
2 pounds of white potatoes, boiled for 25 minutes, covered
until just tender
8 to 10 green onions, finely chopped (1 cup)
1/2 teaspoon of salt
1/8 teaspoon ground black pepper
In a non−stick skillet cook bacon over low heat, stirring
constantly for about 8 minutes or until crispy.
Add flour and stir for about one minute. Combine sugar, vinegar,
hot water and add to bacon mixture. Cook, stirring constantly,
until sauce thickens.
Drain potatoes well, cool, peel and slice. Add to the sauce
along with the onion, salt and pepper. Serve warm or chilled.

Garlic and Sage Biscuits

 2 1/4 cups all purpose flour
1/4 cup whole−wheat flour
1 teaspoon sugar
1 teaspoon dried sage
1/2 teaspoon baking powder
1/2 teaspoon baking soda
1/4 teaspoon salt
1 clove garlic chopped finely
3 tablespoons regular margarine or butter
3/4 cup & 2 tablespoons of fat−free buttermilk
Coat a baking sheet with non−stick spray and set aside.
In a large bowl stir together the all−purpose flour, whole−wheat
flour, sugar, sage, baking powder, baking soda, salt and garlic.
Add the margarine or butter. Using a pastry blender cut the margarine
or butter into the flour mixture until coarse crumbs form. Add the
buttermilk and stir to form a soft dough.
Place the dough on a floured surface and gently knead to form a ball.
Roll out the dough until it is about 3/4 inch thick. Cut into 12 round
circles and place on the prepared baking sheet.
Bake at 400 degrees for 18 to 20 minutes or until the biscuits are
golden brown.

Garden burger

2 Tbs. bulgur wheat
1 pound mushrooms, halved or quartered
1 cup diced onion
1/2 cup rolled oats
2/3 cup cooked brown rice
1/2 cup shredded low−fat mozzarella cheese
2 Tbs. shredded low−fat cheddar cheese
2 Tbs. low−fat cottage cheese
1/2 tsp. salt
1/2 tsp. garlic powder
dash of pepper
2 Tbs. cornstarch
olive oil cooking spray
1/4 cup boiling water
1/2 cup water
Add the boiling water to the bulgur wheat in a small bowl and
let sit for about an hour. The wheat will swell to about double
in size. Steam the quartered mushrooms for about ten minutes
or until tender. Remove and steam onions for about ten minutes
or until they become translucent. Keep these two ingredients
separated and set them aside. Add 1/2 cup water to the oats
and let them soak for about ten minutes. Drain any excess water
from the bulgur wheat and oats, then combine the grains with
the mushrooms, rice, cheeses and spices in a food processor
and pulse four or five times until ingredients are chopped fine
but not pureed. Pour the mixture in a bowl and add the steamed
onion and cornstarch, blending well.
Preheat oven to 300 degrees. Spray a large skillet with olive
oil cooking spray and place it over medium−low heat. Measure a
1/2 cup of the patty mixture at a time into the pan and shape
with a spoon into a 3" round patty that is about 1/2" thick.
Cook for two to four minutes per side or until light brown on
the surface. When all of the patties have been browned, arrange
them on a lightly sprayed baking sheet and bake them for 20 to 25
minutes in the oven. Be sure to turn them over halfway through the
cooking time. Patties may be frozen once they have cooled.

Finger Lakes Chicken

2/3 cup fat−free mayonnaise
1 tablespoon salt
1/4 teaspoon ground black pepper
1 1/2 teaspoons poultry seasoning
1 cup distilled white vinegar
4 boneless chicken breasts
In a shallow glass bowl combine the mayonnaise, salt, pepper,
poultry seasoning and vinegar. Mix together. Reserve 1/4 of the
sauce for basting. Pierce chicken pieces with a fork and add to
remaining sauce, tossing to coat. Cover and refrigerate for 2 to 4
hours to marinate.
Lightly oil grill and preheat to medium high. Remove chicken
pieces from sauce/marinade and grill for 6 to 8 minutes on each
side or until chicken is no longer pink and juices run clear.
Baste with reserved sauce while grilling.

Egg McMuffin

1 English muffin, split
Butter−flavored cooking spray
1 ounce Canadian−style bacon
2 egg whites
2 tablespoons fat−free half and half or skim milk
Salt and pepper to taste
1 slice fat−free cheese
Yellow food coloring (optional)
1. Spray both halves of English muffins with butter spray. Toast muffin
until it is lightly browned. While muffin toasts, spray a non−stick
skillet with butter flavored cooking spray. Saute Canadian−style
bacon for about 1 minute. Remove from pan and place on half of the
toasted English muffin
2. In a small bowl, combine egg whites, half and half, 5−6 sprays of
fat−free butter spray and salt and pepper to taste. (If you like
the look of whole eggs, add a drop of yellow food coloring to egg
mixture.) Stir well and pour into a non−stick skillet coated with
cooking spray. (For best results, use an egg ring that has been
sprayed with cooking spray. The egg ring will shape the egg to fit
the muffin.)
3. Cook egg until well done and place over Canadian−style bacon.
While egg is piping hot, place slice of cheese over egg and top
with remaining muffin half.

Dijon Mushroom Potatoes

1 medium onion
1 sweet green bell pepper
1 small carrot
1/2 lb. mushrooms
1/2 cup stock or boullion
1 tbsp. dark soy sauce
1 tbsp. Dijon mustard
1 tbsp. cornstarch
freshly−ground black pepper
Chop the onion, deseed and chop the green pepper, peel
and grate the carrot and slice the mushrooms, halving them
across the other way first if they are large.
Saute the vegetables in the water or stock, in a large
frying pan, until most of the liquid is gone and the vegetables
are soft.
Mix the remaining ingredients together in a bowl, adding a
bit of water if you wish (makes a thinner sauce) and add to
the vegetables in the pan. Mix well and cook, stirring, over
low heat for about a minute until thickened.
Pour over hot, split baked potatoes (enough for about four
potatoes) with a crisp green salad on the side.

Curried Cauliflower

1 whole medium onion, chopped
3 garlic cloves, minced
1/2−1 serrano chile, seeds removed and finely chopped
2 teaspoons curry powder
1 pound ripe roma tomatoes, seeded and chopped
or 1 can (14 1/2−ounces) chopped tomatoes in juice
1 medium cauliflower, rinsed and cut into even size florets
salt and freshly ground black pepper for seasoning
1/2 cup chopped cilantro
Grease the bottom of large saucepan with non−stick spray. Heat the pan
over moderately−high heat for a few minutes. Add the onions and cook for
3−4 minutes stirring frequently. Add the garlic, serrano chile, and
curry powder. Cook for a minute longer. Add the tomatoes and cauliflower.
Stir to combine and blend the seasonings. Cover, reduce heat, and simmer
for 15−20 minutes until the cauliflower is very tender. Season with salt
and pepper to taste. Garnish with chopped cilantro.

Spicy Cucumber−Avocado Soup

1/2 firm−ripe California avocado
1 1/2 pounds cucumbers, cut into 1/2−inch pieces
1 (8−oz) container plain low−fat yogurt (1 cup)
3 tablespoons chopped fresh chives
1 teaspoon fresh lime juice
1 teaspoon salt, or to taste
1/2 teaspoon chopped fresh jalapeno chile with seeds
1 cup small ice cubes
Garnish: diced avocado and chopped chives
Peel and pit avocado. Blend all ingredients in a blender until
very smooth, about 1 minute.

Crockpot Tostada

3/4 pound ground turkey
1 eggplant, cubed
1 cup fresh or canned salsa
1 (6−oz) can tomato paste
1/4 cup chopped fresh parsley
1 tablespoon chili powder
1 teaspoon ground cumin
1 teaspoon dried oregano
1 (10−oz) pkg. frozen corn, thawed
1/2 cup plain lowfat yogurt
2 cups shredded lettuce
1/2 cup sliced ripe olives
1/2 cup low fat shredded cheese
4 pita rounds, halved, toasted
Combine turkey, eggplant, salsa, tomato paste, parsley, chili powder,
cumin, oregano and corn in slow−cooker. Cover and cook on low 5 to 6
hours. Stir with a fork to break up large chunks of turkey. Spoon
about 3/4 cup cooked turkey mixture on each pita half. Top with yogurt,
lettuce, olives and cheese.

Crab Imperial

1 lb. Crab meat, cooked (imitation can be used)
1/2 cup pimento, chopped
1/2 cup celery, chopped fine
2 slices bread, low cal, crustless
2 egg whites, beaten
1 cup low fat yogurt
dash of Worchestershire sauce
1/8 teaspoon cayenne pepper
1 teaspoon dry mustard
1/4 teaspoon salt
Juice of 1/2 lemon
Paprika
Combine the crab meat, pimento, and celery in a mixing bowl.
Crumble the slices of bread and add to the mixture. Gently add
the egg white, yogurt, Worchestershire sauce, cayenne, mustard,
salt, and lemon juice. Place in a sprayed casserole dish. Top
with a sprinkle of paprika. Bake at 400F for 15 to 20 minutes,
until lightly browned.

Corn Noodles

1 −12 ounce package yolk−free egg noodles
2 teaspoons olive oil
2 medium onions, chopped
3 cups diced fresh tomatoes
1/4 cup vegetable stock or water
1/4 cup chopped parsley
3 cups fresh corn kernels
Salt and Pepper to taste
Cook the noodles in a large pot according to package
directions. In a large skillet over medium heat, saute
onions in olive oil until slightly brown, about 12 minutes.
Add nonstick spray oil during sauteing if necessary. Add
tomatoes and stock or water; cover and simmer 3 to 4
minutes. Stir in parsley, corn, and cooked noodles;
simmer until heated through, about 3 to 4 minutes more.
Season with salt and pepper.

Colorful Chicken Stew

1 lb. boneless skinless chicken breasts, cubed
1 (14 1/2 oz.) can Italian diced tomatoes, undrained
2 medium potatoes, peeled and cut into 1/2−inch cubes
5 medium carrots, chopped
3 celery ribs, chopped
1 large onion, chopped
1 medium green bell pepper, chopped
2 (4 oz.) cans mushroom stems and pieces, drained
2 low−sodium chicken bouillon cubes
Artificial Sweetener equal to 2 tsp. sugar
1 tsp. chili powder
1/4 teaspoon pepper
1 tablespoon cornstarch
2 cup cold water
In a 5−quart crockpot, combine the first 12 ingredients.
In a small bowl, combine cornstarch and water until smooth. Stir into
chicken mixture. Cover and cook on LOW for 8 to 10 hours or until
vegetables are tender.
Nutritional Analysis: One 1−cup serving equals: 123 calories,
209 mg sodium, 25 mg cholesterol, 16 gm carbohydrate, 11 gm protein,
1 gm fat, 3 gm fiber.
Diabetic Exchanges: 2 vegetables, 1 very lean meat, 1/2 starch.

Cocoa Angel Food Cake

1 1/2 cups egg whites (about 12 egg whites)
3/4 cup sifted whole−wheat pastry flour or sifted unbleached flour
1/4 cup unsweetened cocoa powder
1 teaspoon cream of tartar
1 teaspoon vanilla
1/2 cup honey
Fresh fruit (such as strawberries, raspberries, blueberries
or peaches)
Place the egg whites in a 5− or 6−quart bowl. Let stand at room
temperature for 30 minutes.
Meanwhile, sift the flour and cocoa powder together 4 times; set
aside. Using an electric mixer, beat the egg whites on high speed
until foamy. Add the cream of tartar and vanilla. Then beat on
medium speed until the egg whites form soft peaks. Add the honey,
1 tablespoon at a time, and continue beating on medium speed until
the egg whites form stiff peaks but are not dry.
Sift 1/4 of the flour mixture over the egg whites and fold in using
a wire whisk or large spatula. Repeat sifting and folding in the
flour 3 more times.
Spoon the batter into an ungreased 10" tube pan with a removable
bottom. Use a thin knife to cut through the batter to remove any
large air pockets. Bake at 350F for 30 to 35 minutes or until the
cake springs back when lightly touched. Invert the pan onto a wire
rack and let cool for at least 1 1/2 hours. Then remove the cake
from the pan. Slice and serve with the fresh fruit.

Chutney Chicken Salad

2 cups diced cooked chicken
1/4 cup mango chutney
1 small golden delicious or gala apple, cored and finely diced
1/4 cup finely diced celery
1/4 cup finely diced red onion
1/4 − 1/3 cup low−fat mayonnaise
Salt and pepper for seasoning
Mix all ingredients together. Season to taste with salt
and pepper. Use as a sandwich filling or serve on top of a
bed of greens.

Chocolate Cherry Layer Cake

3/4 cup unsweetened cocoa powder
1/4 cup sugar
1/2 cup boiling water
1 package (16 oz.) angel food cake mix
1 1/4 cups water
1 can (20 oz.) lite cherry pie filling
Prepared chocolate frosting (reduced−fat if possible)
Chocolate shavings
Preheat oven to 350F. Line a jelly roll pan with wax paper
(pan should be appproximately 10 by 15 by 1 or 11 by 17 by 1). Whisk
together cocoa, sugar and boiling water. Cool mixture to lukewarm.
Prepare angel food cake mix per package directions, using 1 1/4 cup
water and adding cocoa mixture. Spread batter evenly into prepared
jelly−roll pan. Bake 20 minutes or until top looks dry. Invert
onto a large wire rack. Remove the pan and wax paper; cool. Slice
cake into three equal parts. Start with cake, top with cherry pie
filling, then top that with more cake and more pie filling and end
with cke layer. Frost and decorate with chocolate shavings.

Chocolate Candy Cheesecake

1 cup graham cracker crumbs
1 egg white, slightly beaten
1 tablespoon light butter or margarine
1 − 8 oz. bar light cream cheese, softened
1 − 8 oz. bar fat−free cream cheese, softened
1/2 cup sugar
3 egg whites
1/3 cup unsweetened cocoa powder
1/2 cup plain nonfat yogurt
1 teaspoon vanilla extract
2 light Milky Way bars, cut up
1/4 cup fat−free caramel ice cream topping
Preheat oven to 350F. Spray a 9 inch pie pan with nonstick spray oil.
In a small bowl, mix graham cracker crumbs, 1 egg white, and melted
margarine until well moistened. Press crust evenly into prepared pie
pan, set aside.
In a large mixing bowl, combine both bars of cream cheese and sugar.
Beat with a mixer until fluffy. Beat in egg whites, cocoa, yogurt,
and vanilla until smooth. Fold in candy bar pieces and pour into
prepared pie pan. Bake at 350F for 60 to 65 minutes or until center
is set. Let stand at room temperature about 15 minutes. Top with
caramel topping and refrigerate until served.

Chipotle Turkey Chili

Olive oil cooking spray
1 medium onion, diced
4 garlic cloves, minced
1−2 tablespoons chili powder
2 15−ounce cans tomato sauce
2−3 cups turkey, diced
2 15−ounce cans red kidney beans
1−2 chipotle chilies, finely diced
Salt and pepper for seasoning
Garnish: Grated cheddar cheese and sliced green onions
Lightly oil a large saucepan with cooking spray. Heat for a few minutes
over medium−high heat. Add the onions, garlic and chili powder. Cook
while stirring for about 5 minutes. Add the tomato sauce and bring to
a boil. Add the turkey, kidney beans, and chipotle chilies. Heat
through and season to taste with salt and pepper. Serve garnished with
grated cheddar cheese and green onions.

Chili Dip

1 15−ounce Hormel Turkey With Beans, 99% Fat−Free Chili
1 8 oz. package fat−free cream cheese
1 cup reduced fat shredded sharp cheddar cheese
Allow the cream cheese to soften completely to room
temperature. Spread the cream cheese on the bottom of a shallow
casserole type dish. Next, evenly spread the chili over the cream
cheese. Lastly, sprinkle the shredded cheese over the chili. Bake
at 350F for 20 to 25 minutes or until heated through.
Serve hot with baked tortilla chips.

Chile−Cheese Chowder

2 bacon slices
1 cup chopped carrot
1 cup chopped, seeded, poblano chiles
1 cup chopped onion
2 tablespoons minced, seeded jalapeno peppers
1/2 teaspoon ground cumin
3 cloves garlic, minced
2 (16 oz.) cans fat−free chicken broth
5 cups diced, peeled, baking potato
1/2 teaspoon salt
1/3 cup flour
2 1/2 cups 1% milk
3/4 cup shredded Monterey Jack cheese
1/2 cup shredded reduced−fat sharp cheddar cheese
2/3 cup sliced green onions
In a dutch oven, cook bacon until crisp. Reserve 1 tablespoon drippings
in pan, remove bacon and set it aside. To the pan add carrots, chiles,
onion, jalapeno, cumin, and garlic. Saute until browned. Stir in broth
and scrape bottom of pan to release browned bits. Add potatoes and salt,
cover, and simmer for 25 minutes.
Whisk together flour and milk, add to potato mixture while stirring
and cook over medium heat until thickened stirring often (about 10
minutes). Remove from heat, stir in cheeses until melted. Serve in
bowls topped with crumbled bacon and sliced green onions.

Chicken Cordon Bleu

4 Boneless, skinless chicken breasts
1/2 cup diced low fat boiled ham
1/2 cup shredded low fat Swiss cheese
1/8 teaspoon minced garlic
2 tablespoons white wine
salt/pepper to taste
8 oz. plain low fat yogurt
1 tablespoon milk
1 cup crushed seasoned bread crumbs
Combine ham, Swiss cheese, garlic, wine, salt and pepper in a bowl
to make a filling.
Preheat oven to 350F. Rinse chicken with cold water and pat dry with
paper towels. Cut a slit in the side of each breast to form a pocket.
Stuff each pocket with 1/4 of filling. Press to close or secure with
wooden picks.
In a flat dish, combine yogurt and milk. Dip each breast in yogurt
mixture; turn to coat well. Roll in bread crumbs and place in
well−greased baking pan.
Bake at 350F for 45 minutes or until done.
Serve with pasta and zucchini.

Cajun Style Pasta

12 ounces linguine
1 teaspoon butter or olive oil
2 garlic cloves, minced
8−12 medium size shrimp, peeled and deveined
1/2 pound chicken breast meat, diced
2 1/2 tablespoons all−purpose flour
2 cups of 1% milk
2 tablespoons sherry
1/4 cup grated Parmesan cheese
1/4 teaspoon cayenne
4 plum tomatoes, seeded and chopped
1/2 cup frozen peas
Salt and black pepper to taste
Prepare the linguine according to package directions.
Drain and keep warm until ready to serve.
Melt the butter in the center of a large non−stick skillet over
medium−high heat. Add the garlic and cook for 1 minute. Add the
shrimp and chicken. Pan−fry until the chicken is cooked through,
3−4 minutes. Whisk the flour, milk, sherry, and Parmesan cheese
together. Pour into the skillet and bring to a boil while stirring.
Reduce heat to medium and continue to cook for about 5 minutes
until the mixture has thickened, stirring occasionally. Add the
cayenne and fold in the tomatoes and peas. Cook until heated
through. Season to taste with salt and pepper. Arrange the
linguine on individual plates and spoon the sauce over the top.
Garnish with chopped fresh parsley.

Bulgar Wheat and Fruit Stuffing

1 1/4 cup bulgar wheat
1/2 cup apple juice
1/4 cup dried apples
10 dried apricots
1/4 cup raisins
1 8−ounce package seasoned bread stuffing
1/4 cup toasted pine nuts or pecans
1/2 to 3/4 cups fat−free and low sodium chicken broth
Salt and pepper for seasoning
Bring 2 quarts of salted water to a boil. Add the bulgar wheat, bring
back to a boil. Lower heat just enough so that the pot doesn't spill
over and cook for 15 minutes.
While the bulgar is cooking, pour the apple juice into a micro−safe
measuring cup. Chop the apples and apricots. Add the apples, apricots
and raisins to the apple juice stirring to combine. Microwave at full
power for 1 minute and set aside.
Drain the bulgar wheat and return to the pot. Stir in the bread
stuffing, apples, apricots, raisins and pine nuts. Stir in just enough
chicken broth to moisten the bread. Season to taste with salt and
pepper. Heat in the microwave for 3−4 minutes. The stuffing can be
made 2 days ahead and stored in the refrigerator.

Buffalo Chicken Strips

Blue Cheese Dip:
2/3 cup nonfat plain yogurt
2 tablespoons reduced−fat mayonnaise
2 ounces crumbled blue cheese
3 tablespoons finely chopped scallions
1/4 teaspoon coarsely ground black pepper
Chicken Strips and Celery Sticks:
1 teaspoon vegetable oil
1/2 pound skinless boneless chicken breasts, cut crosswise into
1/4−inch strips
1/4 teaspoon salt
2 teaspoons butter
1 tablespoon Frank's original hot sauce
5 celery stalks, cut into 3−inch sticks
In a small bowl, whisk together the yogurt, mayonnaise and blue
cheese. Stir in the scallions and pepper and set aside while preparing
the chicken. Cover and refrigerate.
Heat the oil in a large, preferably nonstick skillet. Season the
chicken with the salt. Cook the chicken over medium−high heat,
stirring frequently, until lightly browned and cooked through,
3 to 4 minutes. Remove the skillet from the heat. Add the butter
and hot sauce to the pan and swirl until the butter barely melts
and the sauce coats the chicken.
Serve the chicken and celery sticks along with the blue cheese dip.
Provide toothpicks for spearing the chicken and dipping it in the sauce.

Black Bean Lasagna

1 − 28 ounce jar tomato pasta sauce
1/2 cup water
2 cans (15 ounce) black beans, rinsed and drained
1 3/4 cups lowfat ricotta cheese
1 egg
12 uncooked lasagna noodles
2 1/2 cups shredded skim mozzarella cheese
Preheat oven to 375F. Over low heat, simmer tomato sauce, water, and
black beans. Meanwhile, in a small bowl, combine ricotta cheese and
egg. Set aside. Using a 9 X 13 inch baking dish, place 1 cup of the
bean/sauce mixture on the bottom of the dish. Place 3 pieces of
uncooked lasagna noodles on top of the sauce. Next, spread about
2/3 cup of the ricotta mixture over the noodles. Top with 1 cup of the
bean/sauce mixture, lastly about 1/2 cup of the mozzarella.
Repeat two layers of noodles, ricotta, bean/sauce, and mozzarella.
Then place on the remaining 3 lasagna noodles and pour the remaining
bean/sauce mixture over all. Top with remaining mozzarella. Cover with
foil and bake at 375F for 30 minutes. Remove foil and continue to bake
another 15 minutes. Remove from oven and let stand for 15 minutes
before cutting.

Beef Tenderloin with Cabernet Cherry Sauce

4 small filet mignon steaks (about 1/4 pound each)
1/2 teaspoon salt
2 garlic cloves, pressed
1/2 teaspoon cracked pepper or freshly ground pepper
Cabernet Cherry Sauce:
1 1/2 cups Cabernet Sauvignon or Burgundy
3 tablespoons balsamic vinegar
4 whole cloves
8 whole pepper corns
1 bay leaf, torn into small pieces
1/2 pound fresh Bing cherries, rinsed
Salt and pepper for seasoning
Optional: 1−2 teaspoon sugar
Set oven controls to broil. Line a broiling pan with aluminum foil
and place in the oven on the top rack to preheat. Trim the steaks of
visible fat. Rub the garlic evenly over the steaks and season with
salt and cracked pepper. Set aside until ready to broil.
Add the Cabernet and balsamic vinegar to a saucepan and bring to a
boil. Tie the cloves, peppercorns, and bay leaf in a bundle with a
small piece of cheese cloth. Add the bundle to the wine mixture. Allow
the mixture to reduce to 1/2 cup, about 15 minutes.
While the wine is reducing, pit the cherries. Cut the cherries into
quarters and add to the wine mixture. Cover and cook over medium−high
heat until the cherries are tender, about 10 minutes. Season the sauce
with salt and pepper. Add the sugar to balance the flavors, if needed.
The sauce should have a deep robust flavor but not be too sweet.
While the sauce is cooking, broil the steaks for 3−4 minutes per side
for medium rare. To serve, remove the spice bundle from the sauce. Place
the steaks on individual plates with the sauce spooned over the top.

Baked Potato with Spicy Chicken Topping

4 baking potatoes
2 tablespoons olive oil
1/2 cup slivered almonds
1 cup chopped onions
1/4 teaspoon garlic powder
1 lb. boned chicken breast, cut in strips
2 tablespoons flour
1 1/4 cup chicken broth
3 tablespoons lemon juice
1 teaspoon cinnamon
1 teaspoon paprika
1/2 teaspoon salt
1/2 teaspoon Tabasco
1/2 cup raisins
Scrub potatoes, dry and prick with fork. Cook. In a large skillet,
heat oil and saute almonds until golden brown. Add onion and garlic.
Saute until tender. Add chicken and cook, stirring, until chicken turns
white. Sprinkle with flour and mix well. Combine broth, lemon juice,
cinnamon, paprika, salt, and Tabasco. Gradually add to chicken mixture,
stirring constantly, until mixture boils and thickens. Stir in raisins.
Simmer 3 minutes. Spoon over blossomed potatoes.

Baked Macaroni, Cheese & Spinach

1 pound elbow macaroni
15 oz. low fat ricotta cheese
1 3/4 cups skim milk
1/2 cup egg substitute
2 teaspoons brown mustard
1 −2 teaspoons Tabasco sauce
1/2 teaspoon salt
1/4 teaspoon ground pepper
2 cups shredded low fat cheddar cheese
2 cups torn fresh spinach leaves
1/4 cup grated Parmesan cheese
1/4 cup fine bread crumbs
1 teaspoon paprika
Preheat oven to 375F. Spray a 9 X 13 or 3 quart baking dish with
nonstick spray oil. Cook macaroni according to package directions.
Meanwhile, in a food processor or blender, mix ricotta cheese,
milk, egg substitute, mustard, Tabasco sauce, salt and pepper.
Process until smooth. Drain macaroni, return to pot and add
shredded cheddar and spinach. Stir until cheese melts and spinach
wilts. Stir in ricotta mixture and scrape into prepared baking
dish. In a small bowl, combine Parmesan cheese, bread crumbs,
and paprika. Sprinkle evenly over macaroni and cheese. Bake at
375F for 25 minutes. Serve hot.

Baked Chicken Breast with Fresh Basil

10 boneless skinless chicken breast (about 2 1/2 lbs.)
3/4 cup low−fat yogurt
1/2 chopped fresh basil
2 teaspoons cornstarch
1 cup bread crumbs
2 tablespoons grated Parmesan cheese
Arrange chicken in single layer in baking dish. Combine yogurt,
basil and cornstarch; mix well and spread over chicken.
Combine bread crumbs with Parmesan and sprinkle over chicken.
(If making in advance, cover and refrigerate for up to 6 hours.)
Bake chicken in 375 degrees oven for 30 minutes or until chicken
is no longer pink inside.

Apple pie Recipe

Crust:
1/3 cup rolled oats
6 graham crackers
2 tablespoons chopped walnuts
1 egg white
Buttered flavored vegetable cooking spray
Filling:
2 cups apple cider
1/2 cup sugar
2 tablespoons fresh lemon juice
2 teaspoons vanilla extract
1 1/4 teaspoon pumpkin pie spice
5−6 large Granny Smith apples, about 2 1/2 pounds
3 tablespoons cornstarch
Topping:
1/3 cup brown sugar
1/3 cup rolled oats
2 tablespoons chopped walnuts
1/2 teaspoon ground cinnamon
2 tablespoons butter, melted
Set oven temperature to 350 degrees.
In a food processor, process the oats, graham crackers and walnuts
until finely ground. Add the egg white and process until blended.
The mixture should look crumbly not gooey.
Coat a 9−inch pie pan with cooking spray. Press the crumb mixture
evenly into the pie pan to make the crust. Lightly coat with cooking
spray. Bake at 350 degrees for 10 minutes. Remove from oven and set
aside until ready to use.
Bring the cider to a boil in a large heavy saucepan over high heat.
Cook until reduced to 1/2 cup, about 15 minutes. Pour the mixture
into a large mixing bowl. Add the sugar, lemon juice, vanilla, and
pumpkin pie spice to the bowl. Peel the apples, cut into quarters,
remove the core and cut into thin slices. Stir the apples into the
cider mixture. Sprinkle the cornstarch over the apples and stir to
combine. Arrange the apples in the crust.
In a small bowl, mix the brown sugar, oats, walnuts and cinnamon
together. Pour the melted butter into the bowl stirring to combine.

Sprinkle the topping over the apples, pat down with your hands and
bake at 350F for 1 hour to 1 hour and 15 minutes. The center should
be soft when pierced with a sharp knife.

Activities for little fingers

Activities For Little
Fingers

PREFACE
" Every task, however simple, Sets the soul that does it free."
FROM time immemorial man has worked with his hands, and his time
and attention have been utilized in the production of things both useful
and ornamental. "Necessity" very often was the "mother of invention,"
and the need for food, shelter, and clothing led to the gradual
development of industries, from the simple handwork to the elaborate
products of the factory system of to-day.
Whether, then, through necessity, or simply because of joy in
expression through the hands, the world is to-day a rich treasurehouse
stored with the wonderful products which man has created. The
instinct for production is not dead, but will last as long as man, for to
create is a divine and God-given instinct.
Froebel, in his study of the child, realized that his natural activity could
be utilized, and turned into channels which would lead to his gradual
development, physical, moral, and intellectual. He believed in the
development of head, heart, and hand. For that purpose he introduced
the gifts, occupations, songs, and plays, and allowed the child to
invent and create. Joy and happiness in work were the results.
For some time kindergarten training was a precarious feature in
education, but now that this branch has been incorporated into the
public-school systems and colleges, and finds a place even in
university work, it seems an assured fact that children are to receive
some of their early training in the kindergarten. Here their crude ideas
are worked out through the materials offered, and the child improves
in his ability to express himself with his hands for expression is
necessary if images are to be clear. This handwork satisfies the early
craving of the child for play and the practical, and the gifts and
occupations become playthings in his hands, but, unknown to him,
things of educational value.
When the child leaves the kindergarten and passes to the grade
school, too often the change is a very abrupt one. There is a lack of
the old-time freedom, and an absence of the play materials. Children
then begin to lose interest, and the attention is often forced rather
than spontaneous, and teaching ceases to be as effective.
As a help in alleviating this difficulty, handwork as one of the mediums
of expression has been introduced into many of the grade schools,
sometimes in correlation with other subjects, but more often simply in
an occupational wray. Handwork as manual training is most effective
when taught in relation to the other work of the grade, so that there is
unity and a harmonious development. By manual training is meant not
simply work which is spontaneously interesting and keeps the child
alert and active, but work which is educationally effective. This
effectiveness is in the hands of the teacher, and will be worked out by
her if she understands the theory back of real manual training.
This little book is in answer to a number of demands which have come
from different parts of the country. Busy mothers at home, grade
teachers and settlement-workers are constantly asking, "What can I do
with my children? They want something to do." The object of this book
is simply to furnish some ideas and to act as a suggestive medium; in
no way does it attempt to correlate the work for the teacher. It has
been left for her to utilize the material here offered in working out her
schemes for unity in the development of the class work.
In the study of various kinds of handwork for children, one will find
that they are most interested in form when it is associated with
function or color; that children are interested in things in connection
with people, animals, and plants, and when they can construct
something in which they can feel the sense of self, as the cause of that
construction, the joy of expression brings great happiness.
Constructive handwork offers many opportunities for the development
of design, and often a detail of design lends an atmosphere of greater
reality to an object, especially when the object made is of miniature
size and is for play-use, as a doll's table-cover, cushion, chair, hat,
etc. Children feel many things in their imagination, and a little touch of
reality in design furthers that imaginative thought. Many opportunities
are offered in this work for the teaching of harmony of color, for the
adaptation of design to use, and for the correct placing of design in
relation to the space offered for decoration. Teachers are urged to lay
particular emphasis on the design, which in previous years has been
very much neglected. "The highest aim of art is to make some useful
thing beautiful."
The writers have realized the necessity for keeping the cost of the
articles made at a minimum. As represented, perhaps a few are
beyond the average public-school treasury or purse of the settlementworker,
but they can, almost without exception, be reproduced in less
expensive materials. The work will be equally valuable, only in the
cheaper goods there is not always the same opportunity for harmony
of color and for artistic production.
Perfect and accurate work should not be expected from young
children, but the teacher must consider the age and ability of the child,
and judge the results accordingly. A very crude piece of work,
produced perhaps by a child in some school of reform nature, may
have been of far more help and value in that child's development than
that produced under far more favorable circumstances.
The writers hope that within these covers may be found suggestions
for the teachers of such little people as especially need help, and that
the book may be the means later on in life of introducing them to
much broader fields of expression through which great joy may come
to them and be given to the world.
Table of Contents
CONTENTS
PREFACE ............
INTRODUCTORY NOTE .........
CHAPTER
I.A TALK ABOUT THE MATERIALS USED
II.SOME USES FOR CORD AND STRING ....
III.A FEW SUGGESTIONS FOR RAFFIA . . . .
IV.COARSE SEWING ........
V.PAPER CUTTING AND FOLDING .....
VI.SOME STORIES IN CLAY .....
VII.WEAVING .........
VIII.BEAD-WORK . . . . . . . .
IX.How TO FURNISH A DOLL'S HOUSE . . .
X.SIMPLE UPHOLSTERY FOR HOME USE . . .
XLCROCHETING AND KNITTING . . . . .
XII.SOME SPECIAL WORK FOR BOYS . . . . .
XIII.How TO USE NATURE'S MATERIALS . . .1
INTRODUCTORY NOTE

THE child is naturally a worker. He will destroy if he does not know
how to make. Destruction interests him as much as construction. He
likes to see "the wheels go around," and it matters little to him if the
gratifying of his desires is advantageous or not to the article in hand.
Mothers, who were the earliest and should be the best teachers, long
ago found that the happiest child was the busy one. They discovered
also that to keep him at work he must be interested in the thing he is
doing. To accomplish this they must provide that which he feels to be
worth the effort. It must be something which he understands and
which he can finish in a short time. A stupid, difficult "stint" such as
poor Little Prudy had to finish daily is not calculated to increase a love
for work. The wise and patient mother has it in her power to create an
interest in the daily work of the household. Even such homely tasks as
sweeping, dusting, and sewing may be taught to the children and
prove pleasurable and profitable to them.
Handwork has its place in education as well as in the daily life. It
should ever be a blessing, not a doom. It may give in both places rich
returns, which should affect the child in the development of his
thought, of his emotional life, and of his character. The results of the
work are the child's, but the mother and the teacher must study how
best to give the full joy of work to the children.
This book considers the needs of both the mother and the teacher. It
has been written by two teachers who know and love children and who
have practically worked out with them the things of which they write.
It tries to meet the child's constant cry, " What shall I do?" with a
direct reply full of help and of interest. Mere formal models aie not
mentioned, the book dealing with attractive and useful articles. It sets
forth the best way of making such articles and it tells what they should
cost. Simple crafts from many industrial fields are chosen in order that
variety in work may increase the child's interest in the world about
him. The teacher who has the handwork in the early grades finds here
a series of valuable suggestions, while the mother is fortified with
delightful occupations for rainy days. This little book should therefore
increase the helpfulness and happiness of many little workers in the
school, the settlement, and the home.
MARY SCHENCK WOOLMAN,
CHAPTER I
A TALK ABOUT THE MATERIALS USED
THE resourcefulness of localities varies in such a degree that materials
which may be quite feasible and easy for one teacher or mother to
obtain may be rather difficult for another. In this talk on the materials
used it is hoped that suggestions may be offered which will make it
possible for even those in more remote districts to carry on some of
the occupations presented, though perhaps in not quite the same way
as outlined in the following chapters.
Many varieties of cord will be found adaptable to the kind of work
presented in the chapter on that subject. Even a piece of discarded
string may be utilized; odds and ends, saved from time to time, may
be sorted and knotted together if it is possible to procure no other.
Macrame cord lends itself to this variety of work in a most pleasing
way, as it is soft and pliable. It may be obtained from wholesale twine
houses, and costs about twenty-five cents a pound, and the numbers
vary according to the size of the cord, No. 16 being finer than No. 60.
A hank of the fine will go farther than one of larger size. The hanks are
wound in a way similar to worsteds, and for large classes the teacher
will find it advisable to wind a number of small balls, and distribute the
cord in that way. Colored macrame' may be procured in balls for ten
cents each.
The netting-needles used in making cord hammocks, bags, etc., in
which the netting stitch is used, may be procured generally at a
kindergarten supply place. If none is near, the needles and meshsticks
may be made by the children (see Fig. 22), or pieces of old
rulers may be used for mesh-sticks, and a round pointed stick for
needle. The cord may be wound around the stick first to one side and
then to the other. Care must be taken, however, not to fill the needle
too full, as it will be quite difficult to put through the mesh.
Raffia has been used so extensively during the past few years that it
will perhaps be the material most easily obtain-able. It is possible to
order small quantities by mail, or to obtain it at a neighboring florist's.
Large quantities may be ordered from wholesale seed stores in most of
the large cities. Some wholesale firms have several qualities, and will
ship in large quantities at reduced rates; colors may also be obtained.
The kindergarten supply places also deal in both plain and colored, and
are, perhaps, more satisfactory shops if only small quantities are
desired. The department stores in some cities also carry a supply.
Raffia comes principally from Madagascar, and is a natural material
which forms the outside covering of a palm. It is of yellowish color,
soft, and easy to handle.
More satisfactory results may be obtained in working with the colored
raffia if the vegetable dyes have been used.
Many materials may be used for the work in coarse sewing. If the
locality does not offer any of the canvas or burlap varieties, one can
always find a substitute. Denim can be found in most places.
The Java canvas, basket burlap, and cotton burlap are so wide that a
yard is sufficient for quite a number of small articles.
These may be obtained at art-embroidery shops, and often in
department stores. By the quantity they seem costly, but it must be
remembered that each child receives only a small piece, and the
canvas is very wide.
Germantown wool may be used for sewing, and although less
expensive than a mercerized cotton, is liable to become moth-eaten. It
may be obtained at art or department stores. Poseidon, referred to in
Chapter IV, is a mercerized cotton thread, and comes in small hanks in
various numbers. The colors are very beautiful and make an artistic
finish.
San silk may be substituted for Poseidon, although the colors are not
as pretty; if the best colors are selected the results are very effective.
Some art stores and nearly all department houses keep it. The Prisma
cotton mentioned is a heavy form of Poseidon.
For the card sewing, kindergarten supply places furnish the best
variety. These card's may be obtained in many sizes. If it is not
possible to obtain ,these, any scrap of card-board or heavy paper, and
even an old visiting-card, may be pressed into service.
Any available piece of paper may be used for folding. Ordinary brown,
and even cheap straw papers, make artistic effects, either as
backgrounds or for the folded form.
Kindergarten papers come in all the colors, shades, and tones, and are
very beautiful. Black paper is useful in cutting, especially for
silhouetting, and is inexpensive.
For very simple work with young children, the potter's gray clay serves
the best purpose.
One simple, flat, wooden stick is the only tool which is really needed,
and much may be accomplished without this, with wire, toothpicks,
string, knitting-needles, etc.
Looms of some description must necessarily be used after the simple
splint weaving has been studied. Looms may be improvised from paper
candy-boxes, or any small wooden box will answer the purpose.
Indian looms may be made of four natural sticks bound at the corners.
The woolen yarns for weaving seem to be best in effect, but are more
expensive than cotton. Strips of cloth or rags may be used, and are
very inexpensive. Carpet yarns may be procured in a number of
shades.
Germantown wool and wool rug yarn are soft and pleasing.
Raffia may be used in weaving small articles, but is not as satisfactory
as other materials. Candle-wicking or cable cord is inexpensive
material for elementary weaving work.
Linen thread is generally used in making bead-work because of its
superior strength. It may be obtained at any department store.
The beads come in a variety of sizes, and are numbered according to
color and size. The wholesale bead houses furnish illustrated lists of
the prices per bunch; they may also be purchased at the shops dealing
in Indian goods. At the kindergarten supply houses beads of assorted
colors are sometimes sold by the box.
Most of the materials mentioned in the chapters on Crocheting,
Upholstery, and the Doll's House may be obtained at a department or
art-embroidery store.
The material for the rattan furniture may be bought at a kindergarten
supply house or at a rattan company. It is sold by the pound and is
numbered according to size the smaller the number the finer the reed
or rattan.
CHAPTER II
SOME USES FOR CORD AND STRING
THERE is, perhaps, nothing which so appeals to the average boy or girl
as a bit of string. It has wonderful possibilities, and slow is the boy
who does not work it to its utmost capacity, from spinning a top to
playing at cat's cradle with another boy.
When it is introduced into the school-room the children are made
extremely happy. Simple knotting may be begun with six-year-old
children. This work trains the eye with the hand; measurement and
spacing are taught, as well as number, color, and a certain deftness of
touch. The child must be attentive and thoughtful in order to follow
well, and he is so interested that he does so unconsciously. This work
strengthens the arm and finger muscles, and appeals to the child's
desire to invent.
Macrame cord is generally used for this work, but odd bits of string
may be utilized if no other can be procured.
Various kinds of knotting may be taught, and these can be used in
many ways, in the making of raffia hats, bags, nets, etc.
In demonstrating the cord work, the teacher will find it helpful to use
large upholstery cords of various colors.
Cord work may be used as an introduction to crocheting, and simplifies
the approach to that work. It has been used with great success in the
summer playgrounds for children, and the teachers have welcomed it
as an interesting and instructive occupation.
I- The Curtain Cord
Materials. Macrame cord, No. 16, 3 yards. 1 brass ring, 1 inch in
diameter.
The curtain cord is made by using the chain-stitch, as in crocheting,
but the fingers are used instead of a needle. Begin by making a circle,
or letter O, at one end of the cord. Double the long end and draw the
loop through the circle (see Fig. 1). Continue until two yards of the
cord have been looped in a similar manner. Then pull the end of the
cord all the way through the last loop in order to fasten it securely
before finishing with the ring. Place the ring close to the last chainstitch,
and use the blanket-stitch in covering the ring with the cord
(see Fig. 2). After this has been done, run the end of the cord up
through the chain-stitch for two inches, and cut it off close.
II- The Sailor's Lanyard
Materials. Macrame cord, No. 16, 8 yards. Macrame cord, No. 6, 2
yards.
Five inches from the end of the eight-yard piece start the chain-stitch,
as in making the curtain cord (see Fig. i). Continue to within five
inches of the other end of the cord. Pull the end
through the last loop in order to fasten it securely. With the fine cord
bind the two five-inch pieces together. Begin just below the last chainstitch,
working over the end of the fine cord with the blanket-stitch
(see Fig. 2). Continue for one inch from the chain-stitch, working over
the two cords. Divide the two cords and form a loop, having the ends
overlap (see Fig. 3). Continue with the blanket-stitch around the. loop
thus formed. Run the end of the cord under the blanket-stitch when
the loop has been finished.
III- The Whistle Chain
Materials. Macrame cord, No. 60, 2 yards. Whistle.
Four inches from one end of the cord begin the chain-stitch, as in
making the curtain cord (see Fig. i). Continue to within four inches of
the other end, and pull this through the loop in order to fasten it. The
whistle is strung on one of the four-inch ends of the crocheted chain,
and that end is run up through the chain-stitch. It may be sewed to
hold it more securely. The other end for the button loop is finished by
running the end of the cord down through the crocheted chain and
fastened with sewing.
IV- The Scissors' Guard
Materials. Macrame cord, No. 60, 3 yards. 1 pair small scissors.
This guard is made of a three-strand braid. Cut one yard from the
three-yard length. Double the two-yard
length to find the center. Put the end of the one-yard piece under the
center and allow the end to extend four inches for the fastening of the
scissors. Braid the three cords together (see Fig. 4) to within six
inches of the ends. In braiding, the right and left hand strand in turn
crosses the center strand, and so becomes the center one itself. Make
a half-hitch with one strand over the other two, in order to hold it in
place (see Fig. 5). Take the single cord of four inches, which extended
above the braid, pass it through one ring of the scissors handle and
then down through the braid. In order to hold it very securely a few
stitches may be taken with a needle and thread. Any suitable article
may be substituted for the scissors. The price of this model depends
upon the quality of scissors.
V- The Horse-Reins
Materials. Colored Macrame cord, No. 16, 5 yards. White Macrame
cord, No. 16, 5 yards.
Knot the ends of the two cords together. Hold the knot and throw one
cord around the fingers of the left hand, forming a loop. Pull a loop of
this cord partly through the loop thus formed. Through this loop draw
a loop of the contrasting color cord, and draw it up securely by pulling
the end of the cord previously looped (see Fig. 6). Continue the whole
length of the cords, by alternating the loops of color, and
pulling them in place by drawing the end of the contrasting color.
After this double chain-stitch has been completed, the horse-reins may
be shaped to form the cross-piece. Make a circle of one-third of the
chain by running the end of the cord in and out of the chain. Make a
large circle with the remaining two-thirds by fastening the end six
inches from the first fastening on the small circle (see Fig. 7).
The horse-reins may be made with the single loop chain, and also
larger in size. They may be dyed any attractive color, and if made of a
heavy cord (No. 60) and trimmed with bells, may be used by the
children for Christmas gifts.
VI- Braided Ties for Sailor Suit
Materials. Macrame cord, No. 16, 12 yards.
Cut the twelve yards into six two-yard pieces. Three pieces will be
used for each tie. Lay two cords evenly together. Take the third cord,
double it in half, and loop it around the middle of cords one and two
Then begin to braid. Each strand of the braid is composed of two
cords. In making a three-strand braid, the right and left-hand strand in
turn crosses the center string and so becomes the center one itself.
The second tie may be made in a similar way and used on the boys'
sailor suits.
The children may also make ties for their flower-presses. They may be
made in like manner, but in one piece, and of sufficient length to go
twice around the press and tie.
VII- The Overhand Knot
Plate I, No. 7, shows the overhand knot and its use and application in
a small piece of netting. The cord is thrown to either the right or left,
forming a loop, and the end of the cord is drawn through it. Two cords
may be knotted together with this knot, as shown in No. 7.
VIII- The Square or Hard Knot
Plate I, No. 8, shows the steps to be followed in making the square
knot. The two ends are to be knotted together. Cross them and twist
the upper end around the lower cord, bringing the ends up in position.
Cross these two ends again, having the original upper end again go
over and around the end it crosses.
This knot is especially useful in tying bandages.

IX- The Weaver's Knot
Plate I, No. 9, if carefully studied, will reveal the method of making the
weaver's knot. It is the knot especially used in weaving, and is strong
and easily made after some practice.
Cross the two ends at right angles. For convenience, we will call one
the old end and the other the new piece to be joined to it. Place the
new under the old and at right angles under the thumb. Hold them
securely. Pass the new cord around the outline of the thumb-nail and
under itself, then-over the old, and hold it under the thumb. Pass the
old end through the loop formed by the new. Hold all the ends and
draw up the knot by pulling the newly added cord.
This knot is too difficult for very young children, but may be given to
the older ones.
X- The Soft Carriage-Whip
Materials. Macrame cord, No. 60, 4 yards.
Cut the cord in two pieces of two yards each. Cross the two at right
angles in the middle. Tie the lower cord over the upper one at the
point of crossing, using the single tie of the square knot. Continue to
build up the whip by alternating the cords tied, one above the other, to
within six inches of the ends of the cords. One inch from the last tie,
on each cord, make a single overhand knot. Continue knotting at inch
intervals, on each of the four cords, to form the lash of the whip.
XI- The Hammock
Materials. Iron rings, 1-inch, 2. Macrame cord, No. 16, 12 yards.
Macrame cord, No. 60, 1 yard. Macrame cord, No. 6, 1 yard.
Divide the twelve yards of No. 16 cord into eight pieces of one and
one-half yards each. Double each strand in the middle and loop the
eight through the iron ring (see Fig. 9). Four inches from the ring start
the knotting to form a mesh. The overhand knot is used (see Plate I,
Fig. 7). Take the first two cords in the right hand, throw the cords in a
circle to the left and draw the two ends through it. Continue across the
hammock, knotting the strands in order and by twos. One inch from
the first row of knots make a second row. In starting it, the first cord
is omitted. This forms the mesh. On the third row, the two outside
strands are again knotted in place. Continue the netting for eight or
nine rows. Gather the ends together and slip them through the second
iron ring and bind with half a yard of the fine cord. In large hammocks,
where there is to be some strain, the ends may each in turn be passed
around the ring and looped with an overhand knot before binding.
To bind: Hold the net of the hammock in the left hand. Take one end
of the fine cord in the right hand, and place the end of it as near the
ring as possible and on top of the strands. Carry the fine cord toward
the netting for one inch and back again toward the ring. A loop will
thus be formed. Begin to bind over this loop, working from the ring
toward the net. When all the cord has been wound evenly and tightly
around the strands, put the end through the loop over which the cord
has been bound. Take the first end of the cord extending at the ring,
and pull it carefully. The loop will draw the cord under the binding and
then the ends may be cut off close. Care must be taken not to pull the
cord all the way through or the binding will be loosened.
Cut the heavy cord in two pieces. Double them in the middle and loop
one piece through each ring (see Fig. 9). Knot the two ends of each
with the overhand knot. Halfway between the rings and the ends of
these hangers make another overhand knot in order to hold the cords
securely.
Large hammocks may be made in a similar way with heavy cord and
more strands. This makes very good work for playgrounds where the
hammocks are afterward used for the babies.
XII- The Lash Whip
Materials. Macrame cord, No. 16, 10 yards. One piece of 1/2-inch
rattan, 9 inches.
From the length of cord cut off six yards for the binding of the handle.
Divide the remaining four yards into eight pieces of half a yard each.
The eight are to form the lash. At both ends of each half-yard piece
make an overhand knot close to the end. From each knotted end work
toward the middle of the cord, making four more overhand knots at
one and one-half-inch intervals. There will be a space of three inches
left in the middle of each lash. This plain part is bound to the handle.
One-half inch from the end of the rattan handle cut a slight groove.
Place the middle of each lash at the groove and distribute them evenly
around the handle. Half of the knotted lash will lie along the handle
and the other half dangle from the end. Bind them to the stick with the
fine cord tied in the groove. After tying, shake the lashes down in
place, and start to cover the handle with the cord binding. Handle: Cut
the six-yard length of cord in half. Place one piece at each side of the
handle, with one-inch end of each piece lying on top of the lashes and
the ends pointed away from them. Bind with the fine cord. The lengths
will then be in position and ready for working over the rattan. The first
inch will be the most difficult, for it is necessary to. work over the
bound lashes. Using the stick as the foundation, pass the left-hand
cord over the stick, so it lies across it.
Pass the right-hand cord over the end of the left, then under the stick
and up through the loop formed by the left-hand cord (see Fig. 10).
The cord will twist itself, forming the corkscrew appearance. Be careful
to keep the left-hand cord on top of the stick each time, for it is upon
this that the twist will depend.
The handle may be finished by holding the ends of cord in place with a
gilt-head tack nailed in the end of the handle. A loop of cord or a braid
may also be made for a hanger.
XIII- The Double Sailor's Knot
Materials. Corset-laces or cord. (Number dependent on the size of the
bag desired.)
This knot may be used in making various kinds of bags. Eighteen laces
will make a small one. A foundation cord is used at the top of the bag,
and each lace is doubled and looped around it (see Fig. 9).
Begin with two strands, one from each two groups. Make a loop of the
left-hand one and lay it on the right-hand strand. Hold the loop in
place while the right-hand end is woven over and under and through
the loop of the left-hand strand.
CHAPTER III
A FEW SUGGESTIONS FOR RAFFIA
No material has opened up a larger field for children's work than raffia.
It is a tough, strong, yet pliable fiber, which lends itself to many
charming uses. Its natural color is extremely artistic, and its properties
are such that it may be readily colored in many beautiful shades by
the use of vegetable dyes.
Raffia is imported from Madagascar, and is the outside covering of a
native palm which grows in great abundance in that climate. The
gathering and exporting of the fiber gives employment to many of the
inhabitants, both men and women.
In the following chapter will be given a few of its uses, but it would be
almost impossible to describe the many articles which may be
fashioned from a bunch of raffia. Some persons prefer to work with
raffia damp or wet, but as soaking it makes it swell, it has been found
that the best results are obtained from the dry. The material works
better if it is used from the large end toward the small, as the fiber
grows that way, and it is not as liable to rough up.
I- Brush Broom Holder
Materials. A piece of stiff paper, 4 x 9 inches. Several strands of raffia.
Tapestry needle, No. 18.Thimble.
Fold the paper with the four-inch sides overlapping one and one-half
inches at the bottom and just meeting at the top, and sew. This forms
the case for the brush. Take a wide strand of raffia and tie one end
around the foundation case. Begin winding at the back or pieced side.
Wind over and over, lapping the raffia carefully, until the paper is
covered. The raffia will have to be pieced, as the strands are not very
long; tie them together with an overhand knot and hide the knots on
the inside of the case. Make a braid of raffia, using a color if possible,
and sew it around the top and bottom for decoration. Put a loop of the
braid at the back for a hanger. This is very simple work, and is suitable
for young children.
II- Picture-Frame
Materials. Cardboard, round or oval. Several strands of raffia.
Cut the cardboard the size and shape desired. From the center cut an
opening the same shape, allowing an inch or one and one-half inches
for the width of the frame. The largest end of a strand of raffia is
brought up through the hole and tied, the knot being placed on the
wrong side. The end is then put back through the opening, and
brought up through the loop formed (see Fig. 2). This is done closely
all around the frame. When a new strand is needed, tie it to the old
one, using an overhand or square knot. Care should be taken to keep
all the knots on the wrong side of the frame. After the cardboard is
filled, the edge may be further decorated by placing a fancy stitch
around it, or a braid of raffia. The picture may be sewed in by the
children. Raffia may be used, and a loop left for the hanger. If a neater
finish is desired a piece of heavy paper may be glued or sewed on the
back and a Dennison hook attached.
III- Napkin-Ring
Materials. 2 pieces of 1/2-inch flat splint, 8 inches. Several strands
raffia. Linen thread, No. 60.Tapestry needle.
Cut the two pieces of splint exactly the same length. Notch the ends
and lap about an inch, and tie firmly with the linen thread; be careful
to have both circles the same size. Tie a piece of raffia to one circle
and blanket-stitch, the same as the frame. Cover the other circle in
like manner. In order to finish the blanket-stitch neatly, thread the
finishing end into No. 20 tapestry needle, and bring the end through
the first stitch. Fit the two circles together with the edge of the stitch
to the outside, and catch them together, using any fancy stitch which
the children know. Feather-stitch and catch-stitch lend themselves
nicely to this work (see Fig. 12). The rings may also be made of a
single circle, in which case use two colors and make a stitch first with
one, then with the other, keeping the two ends out on the opposite
sides of the splint (see Fig. 13).
IV- Needle-Book
Materials. 2 circles of cardboard, 2-1\2 inches in diameter. Several
strands of raffia. 2 circles of white flannel, 2 inches in diameter.
Tapestry needles, No. 19.Thimbles.
Cut the two circles from lightweight cardboard or Bristol board, and
make a hole in the center of each. Thread the needle with a strand of
raffia, and bring it up through the hole in the center; tie the end to
hold it. Blanket-stitch it in the same way as the pictureframe,
using a needle to pass the raffia through the center of the card.
Blanket-stitch both circles, and fasten them together at one side,
catching in leaves of flannel at the same time. These leaves may be
pinked, or finished with an even or uneven blanket-stitch. Two braids
for tying the book may be made of the raffia and fastened to the
circles opposite where they are caught together.
V- Rain-Coat and Hat
Materials. Raffia.
These primitive rain-coats are still worn in some parts of Japan and
other warm countries. If the children are studying primitive life, they
will find the making of these little garments most interesting. The large
coats are made of a sort of grass which is so thick that it serves the
same purpose as a thatched roof.

Take a piece of raffia about ten inches long, and tie on thirty-two
double pieces of raffia about twelve inches long. These are tied on by
doubling them in the center and putting the loop under the main piece
and pulling the ends up through the loop (see Fig. 9). After these are
all tied, take one strand from each pair of knots and tie them together
with an overhand knot about one inch from the first row. Then tie one
string from each knot together, leaving out the first and last ones.
Continue this for four or five rows, forming meshes (see Hammock, in
Cord Work), leaving out the first and last string each time. If the
children know how to braid, a fine three;strand braid may be used in
place of the foundation strand of raffia. The ends of this braid form the
ties which hold the coat in place around the neck. The hat is made by
taking fourteen strands of raffia and tying them together at the top to
form the point of the hat. Divide into groups of two strands each. Take
a piece of raffia, double it in the center and place it around one group,
bringing both ends
toward you. Take the left-hand end, bring it over the right, in front of
the first group and back of the next and out; then the other end is
brought over and under the next group and out in front. This is called
pairing (see Fig. 14). This is done for two rows; then a new group is
inserted between every three groups. Weave three rows of pairing,
then leave a half-inch space; make another row of pairing, inserting a
new group, between each two of the old ones. Continue pairing,
spacing one-half inch apart, and taking one strand from each group
and weaving them together (see Fig. 15) for three rows. The border or
finish is made in the following manner: Take each group and place it
under the next group to the right and up; do this all around the hat,
the last group passes through the loop formed by the first. The second
row is made like the first, with the exception that the groups are
brought under the first group to the right, and down instead of up. Cut
off the ends, leaving about one inch.
VI- Umbrella
Materials. 1-inch flat splint, 4 pieces, 4 inches in length. No. 2 rattan,
1 piece, 9 inches. A few strands of raffia.
Cross the four splints in the center (see Fig. 16). Take a strand of
raffia, double .it and slip it around the back splint. Use paired weaving
(see Fig. 14), and when the mat is two inches in diameter, begin to
draw the weavers a little tighter to make the curve of the umbrella.
Continue weaving until it is three inches in diameter. Thread the ends
of the weaver into a tapestry needle and draw them into the weaving.
Cut the ends of the splints in points. Take the piece of nine-inch
rattan, push one end through the under center splint. Double so that
the ends meet, and wind with raffia to form the handle.
VII- Splint and Raffia Mat
Materials.1-inch flat splint, 8 pieces, 6 inches. Several strands of raffia.
Tapestry needle, No. 29.
This mat is started in the same way as the umbrella. After working
once around insert the four extra spokes, one at a time, between the
original four (see Fig. 17). Continue with paired weaving, being careful
to have the spokes succeed each other in regular order. Allow the mat
to lie flat, and when within one inch of the end of the spokes fasten
the weavers. Soak the ends of the splint in water for a short time to
make them pliable. Turn them over and push them down into the
weaving. The edge may be finished in a number of ways. Thread a
tapestry needle with a strand of raffia. Make a slanting stitch all
around the edge; turn, and work the other way, crossing each stitch
made in the first row. The blanket-stitch may also be used (see Fig.
2). It is well to let the children use their own ideas, as far as possible,
about finishing the edge.
VIII- String Ball
Materials. 18 strands of raffia, plain and colored. 1 small brass ring. 1
ball of colored twine.
Take nine strands of plain raffia and nine of colored. Double each
strand and slip it on the ring in the same way as in making the
hammock (see Fig. 9). Care should be taken to put the loop through
the ring in the same direction each time, also to alternate the colors.
After all the strands are looped on the ring, take one string of each
color from every pair and knot together, using an overhand knot (see
Fig. 18). The knots should be placed one inch from the ring. Tie all the
strings together in this manner. In knotting the second row take the
same colors and tie them together to form the mesh, spacing the
knots about one and one-half inches below the first row. The third row
should be like the first, and the fourth like the second. Care should be
taken to keep the colors in stripes as it makes a much more attractive
bag. Continue this until the bag is long enough to fit the ball of twine.
The top of the bag may be finished in a number of ways, such as
braiding the ends of the strands, and tying them together at the top
with a loop for hanger. It is well to let the children use their own ideas
about the finish at the top, only remember that there must be space
enough left in order to slip in the ball of twine. The end of the twine
should come from the center of the ball and fall through the ring at the
bottom of the bag.
Another way of starting the bag is to make a stirrup (or loop) of raffia
and knot the strands on this. The knots are tied in the same manner
as in the first bag, but the finish is different. The strands are all
fastened together at the bottom of the bag instead of at the top, and
the stirrup replaced by a braid of raffia for drawing up the bag and
serving as a hanger.
IX- Bag of Solomon's Knots
Materials. Plain raffia, 17 strands. Colored raffia, 17 strands.
The knot for this bag is a little more difficult than the preceding one,
therefore it is better work for older children. Four strands are needed,
two to act as the foundation cords and the other two to form the knot.
Tie the thirty-four, strands of raffia on to a stirrup, the same as in
the string bag, two colors in each knot, making seventeen groups in
all. Take two groups and bring the two inside strands together and
hold them. Bring the left-hand strand down and over the foundation
strands, the right-hand strand down over the end of the left hand,
under the foundation and up through the loop formed by the first (see
Fig. 19). This forms half of the knot. The second step is like the first,
but the right-hand strand is brought down first over the foundation,
the left-hand one down over the end of the right, under the
foundation, and up through the loop. This knot is really a square knot
tied over the foundation cord. A row of these knots is tied all around
the bag, about one inch from the top. In the second row leave out the
first two strands and take two from each group, tying them to form
meshes. Space the knots about one inch apart, being careful to keep
the colors in stripes. The third row is like the first. Continue with the
meshes until the bag is the desired depth. Fasten together at the
bottom by tying the strands from the two sides together in groups of
knots, using eight instead of four. Bars may be made by tying several
knots on the same foundation. A pretty finish is made by putting
several knots on the same foundation, but instead of placing first the
right-hand one over and then the left, using the same hand each time.
This alternates the colors and makes the bar twist. Fringe out the
raffia at the ends of the bars. These bars may be put in the body of
the bag for decoration. Finish at the top with a braid of raffia. A little
bag of silk or cotton may be placed inside and drawn up with ribbons.
X- Coiled Baskets
Materials. Raffia, plain and colored. Tapestry needle, No. 19.Thimble.
Take enough strands of raffia to make a coil about the size of the
finger. Begin at the large end and wind with a strand of colored raffia,
spacing about one-half inch apart. When the coil begins to get small
add new strands to keep the size uniform. To piece the colored raffia
tie the new strand to the old with an overhand knot, winding down the
ends to make it as neat as possible. Have the children wind two or
three yards and then tie the end of the winding strand to hold it in
place before beginning to sew. Thread a piece of the plain raffia in the
tapestry needle. Start from the large end of the coil, curve it around in
as small a circle as possible, and fasten with two or three stitches (see
Fig. 200). Begin sewing with the pointed stitch (see Fig. 206) taking it
through the old coil into the new. The basket may be made in any
shape. It is well to have the children draw a design of it before they
start work. The shaping depends on the angle at which the coil is laid.
In finishing, the end is sewed down on the inside of the basket, or
brought over the top to the opposite side to form a handle. This basket
is very simple, easy work, and is suitable for young children.
XI- Braided Basket
Materials. Raffia. Tapestry needle, No. 19.Thimble.
Three-strand braiding has been described in the chapter on Cord Work
under "Ties for Sailor Suits." Raffia braided in this style lends itself to
many attractive articles. A three-strand braid is made, using three or
four pieces of raffia in each strand of the braid. As the raffia is not the
same size the whole of its length, it is necessary to piece it when it
becomes thin. This is done by laying in a new strand where the old one
is growing thin and braiding it in. After the braid is finished, these
rough ends may be clipped off. Make about five yards of braid and
then begin the sewing. Thread the tapestry needle with a strand of
raffia, wind the beginning of the braid several times and take one
stitch through to fasten it. Begin coiling, in the same way as in the first
basket described, holding the braid on edge instead of flat. Take
several stitches through to hold it firmly; then sew with the same
pointed stitch as described under the coiled basket. Keep the braid on
edge, and continue until the bottom is about three inches in diameter.
Begin building up the sides by laying each row outside of the former
one, and lapping to about the center. These braids will also have to be
held at an angle to the bottom to make the sides flare as they should.
When within three or four inches of the top a pattern may be
introduced in the following manner: Make one strand of the braid of
colored raffia, and continue braiding until you have enough for three
rows around the basket; then make two strands of color for three rows
more, then the whole braid of color for three rows. This decoration
may be put in the center of the basket in the same way, if desired.
The finish at the top is made by sewing down the end of the braid
firmly on the inside.
XII- Braided Mat
Materials. Raffia, plain and colored. Tapestry needle, No. 19.Thimble.
The principle of the mat is the same as in the preceding basket. Make
a three-strand braid, using plain and
colored raffia, with two pieces in each strand of the braid. Start it in
the same way as the braided basket, holding the braid on edge, and
sew until the mat is the size desired, four or five inches in diameter.
Then make the border around the edge, forming the braid in points or
rings (see Fig. 21). This mat will take from five to eight yards of
braiding, according to size. Finish by sewing the end down firmly on
the under side.
XIII- Doll's Hat
Materials. Raffia, plain and colored. Tapestry needle, No. 19.Thimble.
A four- or five-strand braid may be used for this, or, if given to young
children, one of three strands. Four-strand braids are made in much
the same as one of three, with the exception that one outside strand
goes over the next and to the center, and the other outside one under
the next and to the center. This principle holds with all even-numbered
braiding, while in the uneven the outside strands always go over the
next and toward the center. If one keeps in mind the principle of
weaving, braiding with any number of strands will be comparatively
easy. The little hat is started the same as the basket, but the braid is
laid flat instead of on the side. Form the top of the crown first, then
the side crown by placing the braid at right angles to the top. The brim
is made by placing the braid at right angles to the side crown. The
children should have an idea of what shape they are to make the hat,
and what the size of the crown is to be, before they start sewing. The
trimming may be done with colored raffia or ribbon. These hats take
about five yards of braid. Hats for the children may be made in the
same manner; they take about one pound of raffia, and require about
twelve yards of braid.
XIV- Shopping-Bag
Materials. A bunch of raffia. Rattan, No. 4, 2 pieces, 15 inches. Brass
rings, 2. Netting-needle. Mesh-stick.
This work will be found too difficult for young children, but is
interesting to boys and girls of ten or twelve.
The first step is to wind the netting-needle. Tie fifteen or more strands
of raffia together to form long strings. Try to select strands that are of
an even size. Begin to wind, holding the end with the thumb until it is
fastened down. The raffia is brought around one of the points at the
bottom, and carried up to the tongue at the top, where it is passed
around it in the opposite direction from where it started. If it starts on
the left-hand side of the needle, it passes around the tongue from
right to left, so that each winding crosses the preceding one. Fill the
needle as full as possible. Make a stirrup of raffia and tie the end from
the netting-needle to it with an overhand knot about one inch from
the, stirrup. Hold the mesh-stick in the left hand between the thumb
and
first finger (see Fig. 22), and the needle in the right hand. Bring the
raffia over the mesh-stick, around it and up through the loop of the
stirrup. Carry it down to the stick again, and hold it with the thumb.
Throw the raffia to the kft and bring the needle up through the loop
formed (see Fig. 22). Cast on fourteen stitches in this way. Slip out the
mesh-stick, turn the work over, and begin the second row. This is
made like the first, the needle passing up through the loops formed by
the first row of stitches. Care must be taken to tie the knot over the
loop and not to let it slip below, as the netting will not then be firm
(see Fig. 22). Make nineteen rows of netting, fasten the end and take
out the stirrup.
Bend the two pieces of rattan with the ends meeting in the center.
Braid two three-strand braids eleven inches long and run them
through the meshes in order to draw up the bag at the sides. Blanketstitch
the rings. Wind one curved end of rattan with raffia for about an
inch. Insert the end of the braid which has been put through one ring
between the two pieces, and wind down. Wind over the double rattan,
keeping it flat, and catch in each loop of the netting at regular
intervals. When one inch from the other end put in the second braid
and ring and wind to the end of the rattan. The end of raffia is
fastened by running it into the winding. Run the long end of the braid
through the loops at the side of the netting and finish the other end of
the bag in the same way as the first. The handles are made of heavy
three-strand braids about eight inches long. These are fastened into
the rings in the same manner as the strings of the hammock are
bound (see Hammock, Chapter II). This same netting may be done
with cord and made into a number of articles, such as butterfly-nets,
school-bags, etc.
CHAPTER IV
COARSE SEWING
COARSE sewing has been introduced into some of the grade schools as
one of the forms of manual training. Educators have realized for some
time that the fine sewing and finely pricked cards of former years were
not suited to the adjustments which it is possible for young children in
the kindergarten and early grades to make. In the study of primitive
races, one notices the crudity of their early tools and efforts. Children
in the same way, in learning the early control of their muscles, will
begin in a very crude manner and will have much difficulty in using
tools.
The cardboard sewing of a very simple character may precede the
canvas work. Scope should be given for creative thought in the
decoration of the work and in planning for its use. Color, design, and
the relation of line to space are incidentally taught. The fact that it is
of use and finds a place in the life and thought of the child should be
its excuse for being if an excuse were necessary. Kindergarten cards
may be used for this purpose or, if large articles are to be made, the
Bristol board may be purchased by the sheet. In the cardboard sewing,
the teacher should aim to have the designs carried out in long stitches.
For the canvas work, burlap, basket burlap, Java canvas or burlap
canvas may be used, the burlap being the most inexpensive material
for large classes. In the canvas work the children learn easily the form
of the stitches which in later years are applied in the fine sewing.
There is also much scope in this work for the teaching of harmony of
color and design.
Raffia, either in plain or color, makes an inexpensive and effective
material for decoration. Germantown wool or Poseidon cotton may also
be used. San silk materially reduces the cost, but is not so attractive.
CARDBOARD SEWING
I- Pen-wiper
Materials. Kindergarten cards, 5x5 inches. Wool or Poseidon cotton, J
skein. Tapestry needles, No. 19 or No. 20.Pricking-pad and needle.
Chamois or flannel, 4x4 inches.
Have a pattern pricked on the cards, the simpler the better. Begin with
a knot and join the holes with long stitches; if the pattern can be
followed on the back and face of the card, the work is more
satisfactory. Work two cards alike, and join them together at one side,
placing two leaves of chamois between. As far as possible let the
children use their own ideas about fastening.
Needle-books may be made in the same manner, by placing two
leaves of pinked flannel between in place of chamois. The size of the
cards may vary.
II- Blotter
Materials. Bristol board. Wool or Poseidon cotton, J skein. Tapestry
needles, No. 19 or No. 20.Pricking-pad and needle. Blotting-paper.
After a simple pattern has been pricked on the card, it may be sewed
in a manner similar to the pen-wiper. Place the blotting-paper, which
is of the same size as the card, under it, and sew at the corners with a
small cross-stitch.
III- Match-scratcher
Materials. Kindergarten cards, 5x5 inches. Wool or Poseidon cotton, J
skein. Tapestry needles, No. 19 or No. 20.Pricking-pad and needle.
Sand-paper, 2x3 inches.
The design for the match-scratcher may be made on the upper part of
the card, then pricked and sewed. Glue the sand-paper on the lower
portion so that it is in the right relation to the space above.
IV- Napkin-Ring
Materials. Burlap canvas, 8x2 inches. Wool or Poseidon cotton, 1\2
skein. Thimbles. Needles. Tapestry, No. 19 or No. 20.
Round evenly one end of the strip: this will be the lap in the finished
ring. With an irregular blanket-stitch (see Fig. 23) work around all four
sides to prevent it from fraying. Lap the round end over the square
about one inch and sew through the two thicknesses with a decorative
stitch. The initial of the child makes an interesting finish and serves as
a means of distinguishing one from another at table.
V- Hair-Receiver
Materials. Burlap canvas, 5 J x 5 J inches. Poseidon cotton, | skein.
Needles, tapestry, No. 19 or No. 20.Thimbles.
Carefully blanket-stitch three sides of the square (see Fig. 24). Fold
the side next to the unfinished side over the rough edge and tack in
three or four places with small stitches. A loop of the cotton may be
put through the pointed top and tied in a small bow. This serves as a
hanger.
VI- Pencil-Case
Materials. Burlap canvas, 13 x 2 J- inches. Poseidon cotton, J skein.
Needles, tapestry, No. 19 or No. 20.Thimbles.
Round evenly both ends of the strip. Fold one round end over to within
two inches of the other. Pin carefully and blanket
stitch the edges. A simple running stitch (see Fig. 25) may be used as
ornamentation through the middle of the case, but must be put on
before the material is folded. If the running stitch is taken through the
two thicknesses, it will divide the case for two pencils. If no division is
made, the case may be used as a tooth-brush holder.
VII- Blotter-Comers
Materials.4 pieces of burlap canvas, 4x2 inches. Poseidon cotton, J
skein.
Blanket-stitch the four sides of the strip (see Fig. 24).
Fold the ends together to meet the long side, thus forming a tent
shape. Within this triangle, which will appear on the upper side of the
blotter, make some simple ornamentation with the cross-stitch (see
Fig. 26). This can be done before the ends are tacked together on the
under side. Slip the canvas on the corners of a large blotter and tack.
VIII- Letter-Case
Materials. Burlap canvas, 6 x 15 inches. Poseidon cotton, 1^ skeins.
Crewel needle, No. 1 or No. 2. Thimbles.
Decide on a decoration which may take the form of a border across the
ends or around the whole case (see Fig. 27). Use the cross-stitch and
the running or back stitching in combination. Put an even or uneven
blanket-stitch across the ends (see Figs. 23 and 24). Fold the ends to
within one-half inch of the center, pin, and blanket-stitch the sides
through the two thicknesses. Finish with a cord and tassel made of
Poseidon cotton tied on the center.
at Cord. This is made by taking two strands of cotton and twisting
them. Let two children work together, one twisting each way, double
this cord in the center, and twist together. Place a knot one inch from
each end and fringe.
IX- Iron-Holder
Materials. Basket burlap, 12x4 inches and 6 x 1 inches. Poseidon
cotton, 1 skein. Crewel needle, No. 2. Thimble.
Place the design in cross-stitch about two inches down from each end
of the twelve-inch strip (see Fig. 28). Two colors may be used
effectively. Finish the four-inch ends with an uneven blanket-stitch,
fold them together evenly and continue the stitch at the sides. Finish
the edges of the narrow strip in like manner, double and fasten it at
the upper left corner for the hanger. Slip a piece of thin asbestos
inside the case.
X- Book-Cover
Materials. Basket burlap, 6| x io| inches. Poseidon cotton, 2 skeins.
Crewel needles, No. 2.
Fold the burlap to find the center of the longest side; this will form the
front of the cover. Place a simple design in the center, using the crossstitch
(see Fig. 26), or a border made with a combination of the
running-stitch, cross-stitch or back-stitch. Letters may also be used
worked with cross-stitch. Finish the edge with an even blanket-stitch,
and tie in several sheets of paper to form the leaves, using a cord and
tassels. These books may be used for notes, recipes, scrap-books, etc.
Magazine-covers may be made in the same way. Find the dimensions
and place one one and one-half inch strip of canvas, finished at the
edge with the blanket-stitch, at each end of the cover on the wrong
side, and one and one-half inches in from each end. This will hold the
cover of the magazine.
XI- Doll's Table-Cover
Materials. Java canvas, 6x6 inches. Raffia, plain or colored, 5 strands.
Crewel needles, No. 1.Thimbles.
The decorations on this article may be made with long stitches
arranged systematically to form a line design. A border may be used,
or the whole center filled with decoration. The edge may be finished by
turning up one-quarter of an inch and blanket-stitching, or by tying in
a fringe.
Fringe. Wind silk or raffia around a card, one and one-half inches wide,
a number of times; cut through at one edge. In order to tie into the
table-cover, use a small crochet-hook or a tapestry needle, No. 19;
double each strand; pull the loop through the edge (see Fig. 29), and
draw the ends through the loop.
XII- Pillow for Doll's House
Materials. 2 pieces Java canvas, 6x6 inches. Crewel needles, No. 1.
Cotton batting. Thimble.
The decoration may be placed in the center of the cushion or form a
border around the edge. If it is to fill the center, divide the square in
quarters, either on the straight or the diagonal; this gives a center to
work from, and the spaces are to be filled with the repeat.
Two or more colors may be used effectively in this decoration. After
the design is worked, which should be done with long, straight
stitches, lay the two squares face together and sew around three
sides, one-quarter of an inch from the edge, using two runs and a
back-stitch (Fig. 30). Turn it right side out and stuff with cotton. Be
careful to fill the corners well. Turn in the edges of the opening and
run or overhand them together (Fig. 31). Finish the edge with cord or
a braid of raffia.
XIII- Iron-holder
Materials. Denim, 5x5 inches. Interlining, 4x4 inches. San silk. Crewel
needle, No. 2.Thimble.
Fold the interlining until it is four inches square. Fold a one-half inch
turning around both pieces of denim, taking care to fold the opposite
sides of the square first and then the remaining sides. Fit together at
the corners by slipping the turnings under each other (they will lie
much flatter). Baste the two sides, put in the interlining, and continue
basting around the holder. Finish the edge with an overcasting stitch
done in San silk (see Fig. 32), first one way all around and then cross
each stitch, working in the opposite direction. Put a large cross or star
in the center; this will make a decoration and will also serve to hold
the interlining. The legs of old stockings make excellent interlining for
holders; fold them flat, the size required, and turn the end over to
hold them. A loop of braid or tape may be added to one corner of the
holder for a hanger; or a longer piece may be sewed on, with a safety
pin in the other end to fasten it to the belt while in use.
XIV- Bean-Bag
Materials. Denim, 5x10 inches. Colored cotton, No. 50. Needle, No. 7.
Beans.
Fold the denim to form a square with the right sides together and
baste carefully around three sides. Sew two
sides and half of the third, using a backstitch (see Fig. 33) one-quarter
of an inch from the edge. Turn inside out, being careful to make
square corners. Fill with the beans; turn in the edge of the opening,
baste, and sew, using an overhand stitch (see Fig. 31).
XV- Pin-Ball
Materials.2 cardboard circles, 2 inches in diameter.2 circles of denim, 3
inches in diameter. Poseidon cotton, 1/2 skein.
On one piece of denim sketch some pleasing design, and place it well
in the center. This may be outlined by couching with a thread of
contrasting color (see Fig, 34). Couching is done by holding a heavy
cord (as Poseidon) over the line of design and sewing it down with
straight stitches of a finer silk; the stitches to be taken about oneeighth
of an inch apart. Make a row of running stitches one-eighth of
an inch from the edge of the denim, slip in the circles of cardboard and
draw up the thread. Catch firmly with long stitches back and forth.
Gather the edge of the other circle in a similar way over the
cardboard. The two circles may be joined together back to back by'
holding a thread of. Poseidon around the edge and over-handing it
(see Fig. 31), or by simply overhanding the two together.
XVI Denim Bag
Materials. Denim, 16x5 inches. Heavy mercerized cotton, J skein.
Needles. Thimbles. 40 cotton.
Double the strip so that the two right sides are together. There will be
no seam at the bottom of the bag. Seam the sides to within three
inches of the top. Use a combination stitch of two runs and a back
stitch (see Fig. 30). At each end, turn down one and three-quarter
inches on the right side of the bag. Seam down each side for one and
one-half inches same width as used in the long seam of the bag. Turn
this over to the wrong side. Turn under one-quarter of an inch and
hem down. One-quarter of an inch above this hem, on both sides of
the bag, make a running stitch for the casing.
If the bag is to be ornamented, it must be done before it is seamed at
the sides. The design should be very simple. Sketch it on paper, cut it
out and paste it on an extra piece of denim. Cut out the denim
according to design and baste this on the bag. The paper will be
between the two pieces of denim. Take heavy mercerized cotton and
lay around the design, couching it down with a different color (see Fig.
34). In putting in the draw-string at the top, begin at one side, run the
cord through the casing all the way around to where it was started. In
starting the other string, begin at the opposite side and run it around
in the other direction to the first string. Draw up the cords and sew or
tie the ends together.
The bags may be used for work-bags, marbles, or, if larger in size, for
skates.
CHAPTER V
PAPER CUTTING AND FOLDING
PAPER cutting and folding are other forms of handwork which may be
used in many delightful ways at home, or in the school-room in
connection with other studies. It is closely allied to drawing and
cultivates alertness and powers of observation, especially when the
cutting is free-hand work.
Many forms of symmetry and life may be made with the kindergarten
folding papers, and are of deep interest to the children. As the fingers
grow in strength, a heavier paper or cardboard may be used for the
construction work. Plain cartridge wall-paper is inexpensive and can be
used advantageously in large classes. Bogus paper and even
newspapers may be utilized in a similar way.
In lessons in folding, the children must learn to follow the directions
given in a quick, accurate way.
For the work in cutting or silhouetting plain black or white paper is the
best. Kindergarten papers 4x4 inches may be bought in all colors and
are best adapted for the conventional designs. These may be mounted
on the tops of boxes and other articles as a decoration, or used in
stencil work, as explained in the following chapter. With young children
it is preferable to use blunt-pointed scissors and inexpensive paper.
The following outlines may be suggestive of much that may be worked
out in relation to the other class-room work. It may be a foundation
for later work in more difficult construction.


I- A Simple Transparency
Materials. Gray card, 4x5 inches. Yellow tissue paper, 4x5 inches.
Poseidon or cord, J yard.
Have the children draw a picture of a crescent moon and a star (see
Fig. 35). If the un-glazed card is used, draw at once upon it, as
mistakes are easily erased; otherwise, the sketch may first be made
upon a slip of paper. Cut on the line sketched and remove the moon
and star. These may be pasted on another card if cut away without
being torn. On the other side paste the yellow tissue paper and make
two holes at the top for the cord. This transparency may be hung in
the window. Any other designs may be cut from the card in a similar
way.
II- Paper Accordion
Materials. 2 strips of paper, 2 yards x i| inches.
The paper accordions afford a great deal of amusement to very young
children. They may be made of newspaper or any scraps of colored
paper red, white, and blue are especially pleasing. If made of the
colors, the strips must be pasted together first, so that the accordion
is started with two long pieces one and one-half inches wide. Lap strip
a on strip b (see Fig. 36), so that a square is formed at c. The
accordion
is built up on this square. Fold b over a on the square c, fold a over b;
continue until the strips have all been folded.
If made of color, the accordions are a pleasing Christmas-tree
decoration. They may be made of strips of any width, and any number
of yards may be put in each. For young children do not cut the strips
too narrow.
III- Pin-Wheel
Materials. 1 square of paper, dowel-stick, 8 inches.
Find the center of the paper and place a dot. Fold the square corner to
corner, both ways, to crease the diagonals. Cut on these lines from
each corner of the square to within half an inch of the center (see Fig.
37). After cutting, there will be eight points, two at each corner of the
square. Every other point is to be lapped over the center and the pin
put through the five thicknesses, A small square of paper of another
color may be put on before the pin is put through the pin-wheel and
pressed into the end of the stick.
Pin-wheels may be made of two thicknesses of paper and of two
colors; they are then cut together and one color forms the lining. They
run better when made in this way.
IV- Paper Dolls
Materials. 1 strip of paper, 1 yard by 4 inches.
Fold the paper so that the two short edges will lie together. This will
make the strip half a yard in length, but of two thicknesses. Fold again
in a similar way, making four thicknesses. Continue until the strip is
folded to about a width of one and one-half inches. With the scissors
cut in a free way the outline of the doll; if necessary, sketch it before
cutting (see Fig. 38). Care must be taken not to cut through the folds
at a and b of the sketch, as the dolls will not be joined if the folds are
cut. The father doll and children may also be made in a similar way.
Animals make an interesting variation (see Plate V, No. 6).
V- Designs for Stencils
Materials. Strips of heavy paraffine or oiled paper.
Plate V, No. 3, shows a stencil which has been made from a strip of
paper three by ten inches. Ordinary heavy brown paper may be used if
no oiled paper is available. Fold in the same manner as the strip for
the paper dolls, and cut the design free-hand. It is impossible to
determine before cutting what the design is to be, and the surprises
when the strip is unfolded are often very satisfactory.
The stencil may be used as a strip where a repetition of units is
desired, or one unit may be cut away and used in the decoration of
objects. India-ink or water-colors may be used with the stencil on the
gray mat paper.
Mats, sofa-cushions, screens, curtains, etc., may be decorated by use
of the stencil with paints or dyes.
VI- Free Cutting of Conventional Designs
Materials. Squares of paper of any color.
Place the square on the table so that it lies with the corner toward you.
Turn the corner nearest you until it lies on the one opposite, a-b is the
folded edge toward you (see Fig. 39). Fold again so that point b lies on
a. The triangle is then prepared for cutting; this may be done in any
free way.
Plate VI, No. 3, shows several results of this conventional cutting. The
pieces cut may be used in the decoration of boxes or other objects.
VII- Free Cutting or Tearing of Objects
Materials. White or black paper.
Either the glazed or unglazed paper may be used for this purpose. The
object to be copied may be placed before the children, or free range
given to the imagination if objects are not available. No directions
should be given, as they should be allowed to cut or tear in a free way.
Astonishing results are often obtained. Single objects or scenes may
be portrayed, and profiles of friends and classmates made en
silhouette. This work is interesting to the older children, and the
results are very pleasing (see Plate V, No. 6).
VIII- Picture-Frame
Materials, 1 square of paper, 8x8 inches.3 pieces of Poseidon or
ribbon, 6 inches each. 1 piece of Poseidon, 10 inches.
Find the center of the paper and fold all four corners until they meet at
that center (see Fig. 40 a-b). Fold the same corners back to the side of
square first formed.
Holes may be punched through the double thicknesses
and small bows tied in three corners (see Plate VI, No. 4). The longest
ribbon is used for the hanger at the fourth corner.
Wall-paper, if it is a plain color, cartridge, or bogus paper may be used
for folding.
IX- Newspaper-Holder or Wall-Pocket
Materials. 1 square of cardboard, 8x8 inches. 1 piece of Poseidon or
ribbon, 8 inches. 1 piece of Poseidon or ribbon, 10 inches.
One inch from the two opposite corners a and b make holes with a
punch or scissors (see Fig. 41-1). Fold a and b until the holes lie on
top of each other. Tie the eight-inch piece of ribbon through the two
holes and around the card to hold it securely in place (see Fig. 41-2).
At c and d of sketch 2, make holes through the two thicknesses and
put the ten-inch ribbon through for a hanger (see Plate VI, No. 5).
X- Office-Card
Materials. 1 gray card, 8x8 inches. 2 pieces white cardboard, 6 x ij
inches.
Four slits are to be cut in the square card to enable the free passage of
the white cardboard strips. From the upper right-hand corner measure
down one and three-quarter inches and place a dot. Measure in from
the dot to the edge of the paper two and one-half inches and place
another dot; from this dot cut with a penknife, using a ruler for guide,
a slit one and three-eighths inches long and parallel to the edge of the
card. Two inches below the end of this slit cut another, one and threeeighths
inches long, and also parallel to the edge. Three inches to the
left of both slits cut two more, exactly parallel to them and two and
one-half inches from the left-hand edge.
The words "In" and " Out" are to be printed in the middle of the white
strips, and the strips turned, as occasion demands. This makes a
useful article to hang in the hallway. It is possible to have the name of
the person using it printed above the upper strip or between the two.
Make two holes at the top for the ribbon hanger.
XI- Screen for Doll's House
Materials. Gray mounting paper, 6x9 inches.
Divide the oblong into three sections of three by six inches. Rule the
division lines lightly, lengthwise of the cardboard. With a horseshoenail
score the cardboard, using a ruler for guide; bend and fold in
thirds. At the bottom and top of each section, remove a piece of
cardboard, two by one-half inches to make the feet and finish for the
top of the screen. In order to do so accurately, measure in from each
edge one-half an inch and down one-half an inch and cut out (see Fig.
42).
The screen may be decorated with the stenciled design, or left
perfectly plain.
XII- Envelopes
Materials. Cartridge paper, or any suitable kind for fancy or plain
envelopes.
The envelopes may be made of any dimension, according to the size
desired. For note-paper and the children's use in
class, have them cut the paper six by eight inches and divide it into
two-inch squares. Rule lightly, so that the lines may not show on the
finished envelope.
Remove the four corner squares (see Fig. 43). Draw lines connecting
point b with i and 2, a with i and 4, c with 2 and 3, d with 3 and 4. Cut
out the envelope on the lines just drawn. Fold down the two sharp
points b and d. Point a is folded over them and glued where the two
edges cover each other, the fourth side is for sealing.
XIII- Square Box with Cover
Materials. Gray cardboard. 1- 4-inch sheet of colored kindergarten
paper.
Draw a three and one-half inch square. From each corner continue the
lines one and one-half inches. Connect the lines drawn to form the
sides of the box. After it is cut, it is to be folded into shape, but some
allowance must be made for pasting the corners before the outline of
the box is cut (see Fig. 44). In every corner make an allowance of
one-quarter of an inch according to the dotted lines. Cut out the box
with care, especially where the allowance has been
made for the turnings. Score, fold into shape, and glue the corners.
Cover. Draw a square three and three-quarter inches. Continue the
lines from the corner one inch in both directions. Connect the lines to
form the sides of the cover (see Fig. 44). Make the corner allowances
for pasting, the same as the bottom of the box.
The cover may be decorated with the sheet of kindergarten paper. Fold
it as described under Conventional Cutting, and make a free-hand
form.
XIV- Lamp or Candle Shade, No 1
Materials. Gray cardboard.3 yards of Poseidon or baby ribbon.
This shade is composed of five pieces of similar shape, tied together.
One piece must be drawn according to dimensions, and the others cut
the same size.
Draw a line four inches long and bisect it. From the point of bisection
erect a perpendicular line two and one-half inches long. On each side
of the perpendicular draw a line one inch in length and parallel to the
four-inch line. Connect the , ends of the four-inch line with the ends of
the line drawn parallel to it (see Fig. 45). Cut out the form and make
four other pieces like it. Sketch the same simple design on all. After
drawing the design, the outline may be pricked with a pin and the
portion of cardboard inside the outline perforated with pinholes. Use a
large pin and have the rough side of the pricking for the outside in
other words, prick from the inside toward the outside. The perforations
allow the light to shine through. In each angle of all five pieces make a
hole with a punch and tie them into shape. The four-inch sides of the
forms make the bottom of the shade.
XV- Lamp Shade, No. 2
Materials. Cardboard. Rice paper. India-ink.
This shade is made up of four sides, and a portion of each is cut away
and rice paper used for the transparency.
Draw an eight-inch line and bisect it. Erect a perpendicular from the
point of bisection, four inches in length. On each side of the end of the
perpendicular erected, and at right angles to it, draw a two inch line.
Connect the ends of the two-inch lines with the ends of the eight-inch
line. Cut out the form drawn, and make three others like it. Threequarters
of an inch inside of the edge of the forms made, draw another
outline parallel to it (see Fig. 46). With a penknife cut carefully on the
line just drawn and remove the piece of cardboard from the center of
the form. Cut four
pieces of rice paper a trifle smaller than the original form and make
some simple design on them, using India-ink. Paste one beneath each
piece of cardboard. Care must be taken to have the designs well
placed in the space from which the cardboard has been removed.
If this work is executed neatly a very attractive lampshade may be
made. After the four sides have been prepared, they may be pasted
together with paper hinges.
CHAPTER VI
SOME STORIES IN CLAY
CLAY offers another medium of free expression for the child. He has
the whole world and life about him bringing him daily impressions, and
as he expresses himself in various ways he learns to understand this
world of things. Many a story has been worked out and told on the
sands of the seashore and in the mud-pie period of childhood.
Clay modeling may be made of deep significance and educational
value. It cultivates careful attention and observation, and is of interest
to the child. The work of young children will necessarily be crudebut it
is still the childish expression, and high art is not the aim of this work.
Potters' gray clay is the best material for this purpose. It should be as
free from lumps as possible, and not too brittle when presented for
use. It should be kept moist in tin boxes, or in an iron pail covered
with a rubber cloth, to prevent evaporation.
Old slates or squares of oil-cloth for protection of the desks may be
used, but if these are not available, heavy glazed paper will answer. It
is not necessary to have many tools for this simple work. Knittingneedles,
hairpins, wooden toothpicks, slate-pencils and small pieces of
string or wire, will be found of much help. The handle of a spoon
makes a good tool. Kindergarten supply places offer tools for sale;
they are helpful, but one can manage without them, if money is not
available for the purpose.
Before presenting the clay to the child, the teacher should see that it is
in a favorable condition. It should be soft, and yield easily to the
pressure of the thumb, but not sticky.
The object to be modeled should, if possible, be placed before the
child, but if certain stories are to be worked out, the teacher may in a
measure rely upon his imaginative genius. Clay will be found a very
helpful medium used in connection with stories of primitive life, and
truly deepens the childish impressions of things in days that are past.

I- Bird Life
Materials. Potters' clay.
A simple story may be told by the teacher or mother, illustrating the
building of the bird's nest, the laying and hatching of the eggs, and the
flight of the young birds. In one lesson the nest and eggs, with mother
and father bird may be made, and in the second, the eggs removed
and the small birds substituted.
Take a small lump of clay about the size of a large egg. Make a small
indentation toward the center with the pressure of the thumb.
Gradually work around with the thumb and hold the clay in the palm of
the left hand until a small cup shape is formed. Roughen the outside of
the nest with a piece of wire or a toothpick. Take three or four small
pieces of the clay and form into egg shapes by rolling them around
between the palms. The teacher will find the real objects of great
assistance, and the children can readily copy them. Small birds may be
made of any size by rolling the small lump of clay, as for the eggs, and
then pinching the sides to form wings (see Plate VII, No. i).
II- Plant Life
Materials. Potters' clay. Oak-leaves and acorns.
Give each child a small lump of clay. Press it into a plinth or slab
three-quarters of an inch in thickness. Lay the leaf on the clay and
press -it into it until the indentations of veins and shape are made. The
leaf may then be removed, or the outline shape cut with a knittingneedle
before displacing it. The small pieces of clay left may be formed
into acorns. Roll a small lump of clay between the palms. Each child
may be given an acorn to copy and the shaping and roughness of the
acorn-cup made with a hairpin or piece of wood.
Impressions of various leaves and flowers, coins, etc., may be made in
a similar way. If impressions are made of flowers, they may be colored
after the clay is dry. This makes a very pleasant variation (see Plate
VII, No. 2).
III- Seashore Life
Materials. Potters' clay. Shells. Pictures of fish.
A story of seashore life may be told by the teacher, and the children
each given a shell to copy. A lump of clay about half the size of an egg
may be rolled between the palms. Place the clay within the shell to get
the impression. After this has been made and the shell used as a
cutter for the shape, make the finishing markings of the shell with the
wire tool or hairpin.
The picture of a fish may be placed before the children. Make a plinth
three-quarters of an inch thick and about 2x4 inches. With the wire,
mark an outline of a fish on the clay (see Fig. 47). Use the wire for
cutting out the fish and roughening the fins.
A basket for fish and shells may also be made. Make the basket of
coils of clay. These may be rolled between the palms and made about
the thickness of a peppermint stick. Coil the roll to form the bottom,
and when that is sufficiently large, the sides may be formed by
allowing one coil to overlap another (see Fig. 48). A twisted coil of clay
may be made for the handle and pressed against the sides of the
basket until securely placed (see Plate VII, No. 3).
IV- Vegetable Life
Materials. Potters clay. Potato, tomato, and carrot.
Have the children bring a vegetable from home, or the teacher may
supply one for general observation.
Give each child a lump of clay and a piece of wood or wire for a tool
and allow him to copy the shape of the vegetable placed before the
class. Only one object at a time should be given. About one-quarter of
a pound is needed for each piece. Such lessons are most interesting
around Thanksgiving time, when stories of the harvest are most
appropriate (see Plate VII, No. 4).
V- Animal Life
Materials. Potters' clay. Pictures of butterfly, cocoon, and worm, and, if
possible, the real objects, as the teacher tells the story.
The worm is the first thing to be made in the natural order of
sequence. This may be made by rolling a small lump into an oblong
roll. Small pieces of clay may be removed where the eyes of the worm
should appear, and the under surface roughened with the w?ire tool.
The chrysalis stage is easily made by the children, but the butterfly is
more difficult for little fingers. To begin it, make a roll of clay about the
size of the worm; roughen the under part. Take two small lumps of
clay, flatten them and form into the shape of wings, using the wire
tool. It is expected that the results will be crude. The worm may be
colored green, and the butterfly an appropriate color, after the clay is
dry.
This will probably take two or three lessons to work out.
The butterfly may also be made on a plinth. The outline must first be
drawn with the wire tool. Small pieces of clay may then be added to
form the wings in relief, but this work will be found a little more
difficult for young children.
The beehive and bee makes an easy and attractive lesson. Pictures of
a hive are easily obtainable, and the small mounds readily made. The
foundation is a small lump formed into a round ball between the
palms. It may then be flattened on one side by placing it on the slate
and the rest of the moulding and markings made according to the
pictures. Very small pieces of clay may be made into bees by rolling
the clay into small balls and pinching the sides for wings (see Plate
VII, No. 9).
VI- Home Life
Materials. Potters' clay. Home objects.
The children may play that they are housekeepers and have a loaf of
bread to make. The teacher or mother may tell a story of how this is
done. The children may make the bowl, rolling-pin, and finished loaf of
bread. These are easily formed from the real objects, but, of course,
made miniature in size.
A lesson in this connection may be given when the story of buttermaking
is told and the simple churn modelled in the clay (see Plate
VII, No. 6).
VII- Pictures in Clay
Many interesting lessons may be given by having the children draw on
the clay with the wire tool. The aim is, of course, free expression, as in
the drawing on paper or blackboard. A plinth about three-quarters of
an inch thick and 6x4 inches makes a good size. Care should be taken
to have the corners well formed. Any story of interest in connection
with the work of the class, or any story the mother may tell can be
drawn upon the clay (see Plate VII, No. 7). For instance, a story of the
sea and a boat may be drawn, and the water colored blue and the sails
white, or the sketch may be drawn without coloring.
VIII- Other Objects in Clay
There are many objects used in the children's daily life which may be
copied by them. These may be placed before the class and the children
allowed to work them out in an individual way. As the work becomes
more difficult, the children may be taught to make a bowl by coiling
and smoothing the coils.
This is perhaps not so easy, but it offers a variation in method of
working. The bowl is started with a coil at the bottom, and as each row
is added it is smoothed downward both inside and out, and the surface
finished in this way (see Fig. 49). A simple design in line may be made
around the top with a wire (see Plate VII, No. 8).
CHAPTER VII
WEAVING
THERE is no industrial history quite so interesting as that of the
development of weaving. Few people think of the evolution of this
wonderful art, or of the many processes through which a garment has
actually passed. It is probably the first art which primitive people
practised.
Weaving can be traced to early biblical times. The Israelites were well
versed in it, as well as in spinning and dyeing. For centuries weaving
has been practised in Egypt, China, and India.
Until within the last one hundred and fifty years, the style of loom
employed was very primitive, and even to-day in British India and in
America among the Indians, very simple looms are still in use. The
Egyptians are generally accredited with the invention of the loom.
In the most primitive ones there are two beams or sticks. Between
these the warp threads are strung, and the woof woven under and
over with the fingers. A step in advance of this is the use of a stick as
shuttle, upon which the woof is wound. The evolution of warp and
cloth rollers and of batten and shuttle is most interesting, and in the
wonderful Jacquard loom of to-day, with its grea't facilities for
beautiful pattern weaving, one hardly recognizes the primitive friend of
centuries ago.
With the introduction of steam power and modern inventions, many of
the hand-looms of colonial times were stored in the attics. During the
past few years, the revival of handicrafts has brought them from their
hiding-places. Many beautiful specimens of hand weaving made on
such looms, may be seen at the arts and crafts shops in the leading
cities.
Weaving as a school or home subject may be made most interesting to
children. It offers so many opportunities for originality in the way of
designing, and is easily executed by the youngest children in the
grades. In connection with the study of primitive life, there is nothing
more fascinating to the child than the weaving of a stockade of splints,
a mat of rushes for the house, or the Indian blanket on a tiny loom,
which he has made. As the study of weaving progresses, simple looms
may be made out of paper boxes, and the heddle of the Zuni Indian
studied. Still another step may be introduced with the warp and cloth
rollers and the material actually woven and rolled from one to the
other. The study of heddle and treadle weaving makes an interesting
problem for the upper grades or high-school children. Circular weaving
is an interesting variation, and numerous small articles may be made
from the woven circles.
Many materials may be utilized in this work: Germantown wool, carpet
yarn, raffia, silkoline, rags, and candle-wicking may all serve the
purpose. In the early stages of the work, the paper weaving of the
kindergarten may be given, as well as the weaving of splints.
Macrame cord makes a good foundation for the warp when
Germantown wools or carpet yarns are used as woof.
Weaving develops a dexterity of hand and tends to increase thought
with skill. The child is trained in perseverance and patience, and there
is joy in actually producing the woven fabric.
Community feeling may be developed by having the children work for
a common object. A number of the small rugs woven by them may be
sewed together, and a large one for the class-room made. The work
may be planned in such a way that certain children weave the borders
and others the plain part of the rug.
Weaving offers many opportunities for the introduction of simple and
pleasing designs. These may be worked out in the drawing period, and
utilized when opportunity presents itself.
I- Splint Weaving
Materials. 8 pieces of 1/4-inch flat rattan or splint 8 inches long.
Have the children point both ends of each piece of splint, with the
scissors. Lay four splints side by side on the table, with the ends
pointing up and down. Take the fifth splint in the right hand and weave
over No. i, under No. 2, over No. 3, and under No. 4. Hold them flat
with the palm of the left hand. Take splint No. 6 and weave under No.
i, over No. 2, under No. 3, and over No. 4. No. 7 is woven like No. 5
and No. 8 like No. 6. This may be called a mat, stockade, or fence. If
utilized for portion of a fence on the sand table, the two upper splints
may be moved together and the two lower ones, to form a rail (see
Fig. 50, a and b).
This simple work should teach the principle of weaving; which is over
and under every other splint.
II- Paper Weaving
Materials. 1 kindergarten mat and strips. Small piece of cotton
wadding.
It is hardly necessary to describe the familiar kindergarten weaving.
This may be done in a very coarse way on mats of bogus paper before
the more delicate papers are utilized. This weaving offers many
opportunities for variation of design and change of color, and many
attractive articles can be made from the mats. After weaving a square
mat, it may be folded in a triangular shape and a sheet of wadding
with sachet placed inside. The edges may then be pasted together.
This is a very simple article for the child to make.
III- Woven Hammock
Materials. Carpet yarn or Germantown wool. Macrame cord or twine.
Pasteboard, 6x8 inches.2 brass rings.
In the card, 6x8 inches, punch two rows of holes about one quarter of
an inch apart. These rows may be placed one inch from the top and
bottom of the card, and a margin of one inch left on each side of the
rows. Plate No. 8 will show the arrangement of the rows of holes. In
the middle of the back
of the card sew loosely the two brass rings which have previously
been tied together (see Fig. 51). The warp threads of the hammock
will be the long cords on the right side of the cardboard. The wool is
the thread, which is continuous and is put in to form the woven
material and selvage. Tie one end of the macrame cord through brass
ring No. 1. Put the other end of cord through the first hole of the lower
row, bring it through to the right side, and draw it through hole No. 1
on the upper row and down on the wrong side to the second brass
ring. Pass it through the ring and back to the second hole on the upper
row, then through the second hole on the lower row and through ring
No. 1 again. Sixteen or seventeen holes make a very good width for
the small hammock, and there should, consequently, be seventeen
warp cords.
The wool thread is continuous, and so forms the selvage by passing
around the outside warp threads. The weaving is simple weaving, over
and under one, back and forth. Bands of another color may be
introduced to form stripes in the hammock. When the weaving has
been finished, it should extend from row to row of holes. The ends of
the finishing, and also the beginning of the woof, may be run in
underneath so as to be hidden.
The cardboard may then be cut away and the hammock cords bound
below the brass rings.
If it is desirable to save the cardboard, the ends of the cords which
passed around the rings may be cut and looped around the rings
afterward and bound. In order to preserve the cardboard, the rows of
holes may be cut at the edge of the cardboard and the cords passed
through the indentations. It will not be necessary then to cut the
cords. The hammock in Plate VIII, No. 3, has been made in this way.
Mats may also be woven in a similar manner, but it is not necessary to
have the warp long on the wrong side of the card. Pass the cord from
hole No. i on the lower row up on the right side of the card through
hole No. i on the upper row. Pass it through hole No. 2 on the upper
row from the wrong to the right side, and down again to hole No. 2 on
the lower row. The ends may be cut on the wrong side after the mat is
finished, and a fringe tied with the ends.
Simple designs may be introduced, but it is not advisable until the
children have had some experience in weaving and putting in bands of
color. Plaids and stripes may be made by having some of the warp
threads of different colors. Plate VIII, No-. 7, shows some plaids
woven in this manner. This is a very simple loom, and very
inexpensive.
IV- Rug Weaving
Materials. Macrame cord, No. 6.Germantown wool, or carpet yarn.
Another step in the history of weaving is taken when some method of
raising and lowering the alternate sets of threads is introduced. The
teacher should begin this work with a development lesson in weaving
and a talk about loom construction. The history of the Zuni Indian
method of raising the threads is very interesting to children. Simple
looms may be made of a pasteboard or cigar-box. If the candy-box is
used, make a row of holes in each end of the box and near to the top;
if a cigar-box serves the purpose, a row of nails must be placed along
the edge of each end of the box (Plate IX, No. i and No. 2, shows two
such looms). In loom weaving of this description the children must
understand the parts thoroughly before beginning the construction.
Warp and woof must be well understood. The shuttle may be a piece
of cardboard around which the woof is wound before it is passed
between the threads; it may be simply a stick, or the fingers may be
used as a

shuttle for passing the woof. The arrangement for alternating the
threads is called a heddle. The Zuni Indian system was a simple one
(see Fig. 52). Thread No. 1 is passed through the first slit and can
then move up and down. No. 2 is passed through a hole and is held.
No. 3 moves, and No. 4 is held, and so on across the warp. When the
heddle is raised all the threads in the holes are drawn up and the other
alternate ones are lowered. The shuttle is then passed between this
division. When the heddle is lowered the threads in the holes go down
and those in the slits all up together. The shuttle is then passed
through this other division. This is a simple device for alternating the
threads and is, of course, labor saving when there are many in the
warp.
To string up the box: Make the heddle of a piece of cardboard
according to the width of the cloth desired. If sixteen warp threads are
used, there will be eight holes and eight slits in the heddle. Tie the
warp cord to nail No. 1 on the lower row. Pass it through slit No. i of
the heddle and around nail No. 1 on the upper row. Bring the cord
back through hole No. 1 of the heddle and around nail No. 2 on the
lower row. Continue until the loom is strung up. Wind the woof yarn on
a piece of cardboard. Hold the heddle in the left hand, raise it and pass
the shuttle between the threads. Lower the heddle and pass the
shuttle in return. On so small a loom the fingers can be used in place
of a shuttle.
The heddle also serves as a batten, which is used to push the woof
threads together and so to make a more closely woven cloth or rug.
Continue until the rug is woven. This method makes an interesting
problem, and is easily executed when once the principle is understood.
The rug may be removed by cutting the cords at the ends, as in the
paper box, or removing them from around the nail heads in the
wooden box. The ends may be tied into a fringe, or a fringe of wool or
yarn made and put in (see Fig. 29). Plate VIII, No. 8, shows a rug
made on the cigar-box loom.
If it is desired to have a stripe woven in the rug, it may be introduced
by carrying the original color wool along the selvage, and working the
color of the stripe around it in passing the woof. When it is necessary
to work with the original color, it may be used, and the color of the
stripe carried along the selvage until it is necessary to introduce
another stripe.
V- Another Loom
Materials. Two flat sticks, 9 x J inches. Two flat sticks, 7 x J inches.
One flat stick, 6 x i inches. One stick, 5 x J inches. Germantown wool.
Nails.
Make an oblong frame of the two 9-inch sticks and the two 7-inch
sticks of half-inch width. These may be cut from a cigar-box or pine
sticks. Nail the frame at the corners. Hammer ten small nails across
the top bar of the frame and ten across the lower, having them exactly
opposite each other. Place them about one-half inch apart (see Plate
IX, No. 3). Attach the warp yarn to the first nail on the lower row;
wind it around the first nail on the upper row; pass it to nail No. 2 on
the upper row, around it and down to nail No. 2 on the lower row.
Continue until the warp is arranged.
The stick 7 inches long by 1\4 of an inch wide is to be used for the
heddle. Cut a slight groove one-half inch from each end of the stick.
Tie a piece of cord in the groove at one end. Lay the stick on top of
the warp threads; pass the cord tied to
the stick around the first warp thread, and then around the stick. Skip
the second thread and pass the cord around the third warp thread.
Continue until every other warp thread has been attached to this
heddle stick. Make each of these loops about one inch in length. This is
for raising the alternate threads. The shuttle is made of the stick 5 x
1\2 inches (see Fig- 53)- Wind the wool for the woof around the
shuttle.
Another stick is necessary for obtaining the other division of the
threads; this is called a batten, and is to be made of the stick 6xi
inches, and is flat and slightly rounded at the ends. The batten is used
to push the woof threads together and to batten the rug so that it will
be more firm in construction.
Raise the heddle and pass the shuttle between the division of threads.
Pick up the alternate threads with the batten, and again pass the
shuttle across. Continue until the rug is woven. This is the principle of
the Navajo Indian rug weaving. The real method used by the Indians is
very much more complicated. The warp is made before it is attached
to the loom, and the Indians have a method of introducing selvage
cords, and of attaching the heddle rod, which is quite intricate and too
difficult for children.
Take four natural sticks, cross and tie them at the corners (see Plate
IX, No. 4). The cord is wound back and forth around the upper and
lower rods of the frame to form the warp. Simple weaving may be put
in with the fingers, without any heddle, or a simple heddle and batten
arrangement may be made, as in the above description.
In making a pattern care must be taken to overlap the threads of the
background and of the pattern introduced (see Fig. 54).
VI- Loom for Continuous Weaving
Materials. Cigar-box.2 wooden rollers. Nails.Yarn.
This loom will be found too difficult for very young children to
construct, but it can be made by those of the sixth or seventh grade.
The principle must first be understood and the children allowed to
work out their own ideas. One roller is used for the warp threads and
the other is the roller upon which the cloth is wound after being
woven. The warp threads are first attached to the cloth roller, then
passed through the heddle, and finally fastened to the warp roller and
wound upon it. The threads may be cut any length desired for the
continuous piece of cloth. The weaving is done in the same manner as
in the preceding looms. As the cloth is woven it may be wound upon
the cloth roller, and the warp unwound from the warp roller. The plate
shows the small wire handles attached to the rollers for this purpose.
Plate IX, No. 5, shows such a loom made from a cigar-box. The Zuni
heddle is used (see Fig. 52) and a piece of cardboard for shuttle. Plate
IX, No. 7, also shows another method of construction for a simple
frame and roller loom.
VII- Circular Weaving
Materials. Circle of cardboard. Raffia or rug yarn.
Plate VIII, Nos. 9, 10, and n, shows several examples of circular
weaving which have not been removed from the cardboards on which
they were made.
For a small rug cut a circle of cardboard six inches in diameter, and
one-quarter of an inch from the edge make a row of holes. It is
necessary to have an uneven number. Place them one-quarter of an
inch apart. In the center of the cardboard cut a hole one-quarter of an
inch in diameter.
Wind the warp threads, beginning at the center hole. Hold the warp in
position, pass it over the upper side of the card, through a hole at the
edge, around the back of the card and through the center. Continue to
wind back and forth, passing through the outer row of holes in regular
order and back again each time through the center hole.
Begin to weave at the center on the upper side of the card and work
toward the edge of the circle. Be careful not to draw the woof too
tightly in going over and under the warp.
When the weaving has been completed, cut the threads on the back,
half-way between the edge and the center of the cardboard. The ends
at the outer edge are tied together to form a fringe, and those at the
center are fastened by running them into the weaving on the wrong
side of the mat.
Small pockets may be made by weaving on both sides of the
cardboard and using raffia instead of wool. In making them it is
impossible to pass the warp threads of raffia through the center hole;
instead, a brass ring is placed in the center of .each side, and the warp
is passed from side to side through the brass rings at the center and
over the outside edge. It is not necessary to have a row of holes at the
outer edge as in the circular mat. In winding the warp only two-thirds
of the circle is utilized, and in the weaving the woof is turned at the
outside thread of the segment of circle covered (see Fig. 55). Both
sides of the circle are woven in this way, and the cardboard broken for
removal. A braid of raffia may be made and attached to the sides for a
handle.
Weaving may also be done, in a similar manner, over a square of
cardboard. Plate VIII, No. 12, shows a bag in process of making.
Arrange a row of pins across the top of the card, about one-quarter of
an inch apart, allowing half of the pin to extend on each side of the
card. The warp threads are wound lengthwise of the card, each time
passing around the portion of the pin on the opposite side. There are
thus two sets of warp threads and the bag is woven
round and round the card. When the row of pins is reached, remove
them, and a set of loops will hold the woof at the top and complete the
finish of the bag. Remove the cardboard. A draw-string of another
color may be introduced in the weaving about three-quarters of the
way up.


CHAPTER VIII
BEAD WORK
THERE is perhaps nothing that appeals to a child more than the brightcolored
beads which can be obtained in such a variety of color and
size. Primitive people use beads for decoration on many of their
implements of peace and war. We can turn to our American Indians for
inspiration, as to color, design, and the articles to be made. Their
manner of working and their methods are simple, and easily carried
out by the child. The simplest form is that worked on chamois or
buckskin, where the beads are strung on thread and sewed down at
intervals.
I- Moccasins
Materials. Chamois-skin. Beads, Nos. 2-0, several colors. Linen thread,
No. 70.Needles, No. 8.Thimbles.
These moccasins can be made in any size desired, the shape being the
same in all sizes (see Fig. 56). If the children are to make them to fit
themselves, take a piece of paper about twelve inches square, fold it in
half and crease. Open it and lay it on the floor.
Have the child place the center of his foot along the line creased, with
the heel one and one-half inches from the edge of the paper. Draw
around the foot with a pencil. Put the paper on the desk, and from the
curve of the instep around the toe allow one inch. From the instep
draw a straight line to the outside of the square, both sides. From the
heel draw a curved line to the edge of the paper about two inches up
from the crease. , Parallel with the top of the moccasin cut an inch slit
where the line from the toe and the straight line meet. This forms the
lap in front. The tongue is a straight strip with one end rounded to fit
into the toe. To find the length for this, measure from the toe, one
inch from the end of the foot, to the top of the shoe, and for width,
across the top of the foot at the instep. This should be about two and
one-half inches. You will now have a perfect pattern to work from. Cut
out the paper, lay it on the chamois, and cut two pieces from each
part of the pattern. The bead work is done on the tongue only. Decide
on the pattern, which may cover the whole lower part of the tongue,
or be placed in the center of the rounded end. Thread the needle and
bring it through to the upper side.
If the pattern is to have a border, put that on first. Put as many beads
as are necessary to make the width on the needle; put the needle
through to the wrong side again, on a direct line from where it came
out and far enough in advance to make the beads lie flat. Bring the
needle again to the outside, making a short stitch on the wrong;
thread on the same number of beads and put the needle in close to
where it
came out on the first row. Continue working like this all around the
toe. At the round end the lines of beads will be slightly crowded
together on the inside and fanned out on the outside of the curve (see
Fig. 57),
To fill the center, start at the upper end of the border and work across
to the other side. From one to one and one-half inches of beads may
be placed on the needle at once and sewed to the chamois-skin in
sections. A small back stitch is taken on the wrong side in order to
make the break in the line of beads show less. After the bead work is
finished, gather the round end of the largest piece and draw it up until
it fits the round end of the tongue. Measure from the straight end of
the tongue the length of the side of the moccasin and begin sewing
from that point. The tongue is sewed in on the wrong side, using an
overhanding stitch (see Fig. 31). The back of the moccasin is then
sewed in the same manner. Cut a row of slits around the ankle and
run in strips of chamois for ties. These moccasins can also be made for
dolls or for babies.
II- Bead Belt
Materials. Chamois-skin 1 1\2 x 23 inches. Beads Nos. 2-0, several
colors. Linen thread, No. 70.Needle, No. 8. Thimble.
This Indian belt may be made for the children to wear. Cut a strip of
chamois-skin one and one-half inches wide and long enough to go
around the waist. Find the center and measure out each way about
two inches. This gives the space to be filled with beads. Make a design
that will fit in that space, and sew the beads on in a manner similar to
the moccasins. The design may cover the entire width, or, if in the
form of a diamond or other device, it may be placed in the center
without using a background of beads. This last method is simpler, and
does not require so much time to accomplish. The ends of the belt
may have narrow strips of chamois, sewed or tied in, to fasten the belt
together.
Indian dolls may have their clothing decorated with this same style of
bead work, and it may also be applied to tepees and bags.
III- Egyptian Chains
Materials. Raffia, 3 strands. Beads E, 3 strings.
These little chains are very attractive and make good work for children
in the fourth or fifth grade. The original Egyptian chains were strung
on fine strands of braided leather, but raffia makes a very good
substitute
Take one strand of raffia, plain or colored, and divide it in thirds,
lengthwise. From the fine end begin stringing on the beads until they
cover about eight inches on each strand. Care should be taken not to
wet the raffia, as the stiff end will pass through the beads much more
readily. Push ten beads to within one and one-half inches of the large
end of the raffia, and leaving out one bead, thread that end through
the remaining nine. Do this to each strand and fasten them together at
the base of these beads to form a tassel. Begin braiding, holding the
strands out at right angles. Braid for one-quarter of an inch and push
up a bead on each outside strand. Hold them in place and continue
braiding, pushing up two beads every quarter of an inch (see Fig. 58).
When the raffia requires piecing push the large end up through the
beads that remain on the strand to be pieced, and lapping the ends,
continue braiding; these ends are cut off afterward. When the chain is
from one and one-half to two yards long, finish the end in the same
manner as the start of the chain. These two tassels may be fastened
together afterward.
IV- Bead Curtain
Materials. Macrame cord, No. 16, 3 1/2 yards. Large glass beads.
Tapestry needle, No. 19.
Cut the cord into twelve lengths and thread one end of a piece into the
needle and in the other make a knot. String on one bead and hold in
place with an overhand knot. About one inch from the knot place
another knot, and string on another bead. Continue in this way until
within three inches of the end, then form a loop to slip on to the
curtain-pole. Make each cord in the same way. Patterns may be
worked out by spacing the beads and knots at different intervals. Slip
all the strings on the pole, which may be made of a; dowel-stick or of
large rattan. Tie-backs may be made of a smaller cord braided with
beads, the same as in the Egyptian chain.


V- Bead Chain, No. 1
Materials. Four or five strings of beads, E. Linen thread, No. 70.
Needles, No. 8.
This is simple work and can be done by young children. Thread two
needles with linen thread, from one and one-half to two yards in each
length. Tie the ends of the threads together, and begin stringing the
beads on one needle. After you have fifteen or twenty beads on one
thread drop that needle, and with the other string on three beads. Put
that needle through the fourth bead on the other string, and again
string on three beads (see Fig. 59). . Continue in this manner until the
chain is long enough.
A variation may be made by stringing six beads on one string and
three on the other,
and then putting the needle on the last string,through the last three
beads on the first string. Continue working until the chain is of
sufficient length. The threads change place at each loop, the righthand
one becoming the left (see Fig. 60). Two colors may be
introduced by using one color for the side strings and another for the
bar across the chain.
VI- Bead Chain, No 2
Materials. Corset lace, 1. Four or Five strings of beads, No. 2-0. Linen
thread, No. 70. Needle, No. 8 or No. 9.
This chain is very pretty, and is simple work. It differs from the two
described, being round instead of flat. Thread the needle with the linen
thread and fasten it to one end of the lace and on it string ten beads;
put the needle through the second bead and string on three more; put
the needle through the fourth bead ahead of the last one it passed
through. Continue in this manner until the chain is the desired length.
If two colors are used, have the last three beads of the first row of
contrasting color, and put on three each row around, beginning one
bead ahead each time. This will make the stripe twist. To finish the
chain, bring the two ends of the lace together and sew firmly, then
work the beads over this end. A tassel of beads may be used for a
finish, or the chains may be mounted by a jeweller.
VII- Bead Chain, No 3
Materials. Six strings of beads, No. 2-0.Linen thread, No. 70 and No.
100. Milliner's needle, No. 10.Thimble. Slate frame or loom.
Almost everyone has seen or made one of the woven bead chains that
have been worn so much lately. An endless variety of these chains
may be made, but the underlying principles are the same in all. Cut an
even number of strings of No. 70 linen thread, from one and one-half
to two yards long six or eight strings for a narrow chain, and from
eighteen to twenty-two for a fob. Fasten these strings together and if a
loom is used slip one into each notch or between the nails; if a slate or
caning frame, fasten them securely to one side and carry them directly
across to the opposite side and tie them there. Fasten the end of No.
100 thread, which has been threaded in the needle, with the others,
which we will call the warp threads. Place the beads for the first row
on the needle (one less bead than the number of warp threads), and
hold the needle under the warp threads, a bead between each. Hold
the beads in position with the first finger of the left hand and draw the
needle through them; put it back through the beads in the opposite
direction and on top of the warp threads. It is better to work from right
to left first, and then from left to right. It is always best to have an
uneven number of beads so as to give a center for the pattern.
An attractive method of starting a fob is with a piece of chamois-skin
about six inches long and one inch at one end, slanting to one-quarter
of an inch at the other (see Fig. 61). The warp threads for the fob are
cut about four inches longer than twice the desired length of the
finished fob, and are sewed into the chamois-skin at the wide end. A
turn of about one-eighth of an inch is made at that end and each
thread is brought up through this and taken back again, leaving the
space for a bead between. To finish the fob, thread each warp thread
in the needle and string on beads for fringe,
VIII- Daisy Chains
Materials. Chalk-white beads, No. 2-0, 3 or 4 strings. Blue beads, No.
2-0, 3 or 4 strings. Yellow beads, No. 2-0, 2 or 3 strings. Linen thread,
No. 70. Long eye needle, No. 9 or No. 10.
In this very artistic chain the principle is different from the preceding
ones, as all the work is done with one thread. If the following
directions are carefully noted very little trouble will be found. When
piecing the thread it is best to do so where the needle goes through
the entire daisy. The new thread should be joined to the old with a
weaver's knot (see Plate I, No. 9), and as close to the beads as
possible.
Thread the needle and wax the thread, but do not have it too long. Put
on three white beads and one yellow, then put the needle through the
first white bead; put on four white beads, then pass the needle
through all the beads of the daisy. Take up two blue, then one white
and put the needle through the blue next to the white bead. Take up
one blue bead and put the needle through the white bead of the daisy
XX. Turn the chain and put on one blue, pass the needle through the
blue, and put on one white, pass the needle
through the white. Turn the chain and put on two white and one
yellow, pass the needle through* the white. Put on one blue, and pass
the needle through the blue. Turn the chain and put on one blue, pass
the needle through the blue, and put on one white, pass the needle
through the yellow. Turn the chain and put on three white and pass
the needle through all the beads of the daisy (see Fig. 62). Then put
on one blue, pass the needle through the blue, and turn the chain over
to begin a new daisy. Put on one white, and pass the needle through
the blue to start a new daisy. Put on one blue, and pass the needle
through one white of the old daisy. Repeat from XX.
It is well in putting away the chain to stop work at the beginning of a
new daisy, as it is easier to pick out the directions from that point.
CHAPTER IX
HOW TO FURNISH A DOLL'S HOUSE
Is there anything that appeals to the heart of a child more than a doll's
house? If the furniture, rugs, curtains, pictures, and other decoration,
as well as the house, can be made by the children, the pleasure they
will derive will be even greater than in one furnished by someone else.
All children love to play at doing the same as their elders, whether it is
mother and house-keeping, or father at the store, on the farm, or at
the office. In furnishing the house many things may be taught.
Economy, hygienic furnishing, and decoration play a part in the
scheme, that can be used to teach the children the useful lessons that
will mean much to them in after life.
I- The House
Materials. 1 large box or 2 small ones. A few wire nails. Moulding.
Hammer and saw.
Obtain a wooden box, about 36 x 18 inches, from a grocery or a drygoods
store, or, if a large one is not to be had, two small ones of even
size. Get one of the older boys to fit a partition which will divide the
house into two rooms. Cut a doorway in this partition, for we must
have communication between the rooms. Cut one or two windows in
each room, and, if the boys are very ambitious, let them fit them with
glass; this will make the house more realistic. Purchase enough narrow
moulding to go around the top of the house; this makes a very nice
finish and does not add very much to the expense. Your house is now
ready to paint or stain on the outside and to be papered on the inside.
In choosing your box pick out one that is smoothly finished, as this will
save trouble later. The stain or paint for the outside may be obtained
at any paint store for about fifteen cents, and the children, especially
the boys, will enjoy painting it. A soft green or brown will be found the
best for this purpose.
After the house is finished on the outside choose a neutral color for the
wall decoration. An ingrain paper will do nicely, and the children can
design and stencil a border for the top. When the floors are stained the
house will be finished and ready to be furnished. For the rugs, see the
chapter on Weaving; for curtains, see the description of lace curtains
and Bagdad portiere, also lined portiere, in the chapter on Upholstery.
In the chapter on Coarse Sewing the cushions and table-covers have

been described. In the chapter on Paper Folding a description of a
paper screen is given; this will be found an attractive addition to the
doll's house. This leaves the furniture and wall decoration to be
considered in this chapter.
II Doll's Bed
Materials. Pasteboard box. Colored cambric. Dotted Swiss muslin.
Unbleached muslin. Long cloth. White flannel. Cotton batting. Colored
wool and San silk. Needles, No. 8.Crewel needles, No. 3. Thimbles.
The foregoing list seems rather formidable, but so little of each thing is
needed that the expense is very small. Choose a box that will be in
good proportion to the room. This is to be covered by pasting the
colored cambric on the sides and cover. Stand the cover up at one end
of the box and sew it firmly (see Fig. 63).
This forms the bedstead. Make a ruffle of the dotted muslin, the hem
of which may be run with the mercerized cotton to form a decoration,
and sew it around the box at the top. Cut a piece of muslin about four
inches wide, and long enough to go over the cover and drop to the
bottom of the box. This is to be hemmed all around, using the same
width hem and decoration as on the ruffle. This piece will form the
curtains, and is to be fastened in plaits at the top of the cover and
drawn down and fastened at the sides where box and cover join. The
bed is now ready for the mattress, pillow, and bedding. Measure the
box and cut two pieces of unbleached muslin the exact size. Seam
these together, leaving an opening at one side, turn, and fill with
cotton; sew up the opening. Make the pillow in the same manner. The
sheets are to be made of the long cloth, or any other soft-finished
cotton. Cut them about two inches larger than the box, to allow for
hems and tucking in at the sides. Put narrow hems on each side and
one end, and a one-half inch hem at the other. The blankets are made
of soft white flannel cut the same size as the finished sheet and
worked around the edge with an even or uneven blanket-stitch (see
Fig. 23), using the colored wool or Poseidon. The pillow-case is cut
twice the width of the pillow, with the seams allowed, and about one
and one-half inches longer. Turn a seam on each side of the muslin
and overhand it together, explaining to the child that pillow-cases are
usually made of material just the right width, and therefore the
selvages are overhanded together. Make a narrow seam at the top,
using two runs and a back stitch, and overcast it; a half-inch hem is
put in the other end. A little white spread may be made by using a
piece of an old towel, and either hemming it or tying in a fringe as
described under Table-Cover (Chapter IV). The doll's initials might be
worked in with cross-stitch, using red or blue marking cotton.
This little bed makes very good cooperative work, as several children
can be working on it at the same time.
III- Toilet-Table
Materials. Pasteboard box, 4x5 inches. Colored cambric. Dotted Swiss
muslin. Colored San silk. White cotton, No. 80.Needle, No. 8, and
crewel needle, No. 4.
Take the cover from the box and cover the outside of it with the
colored cambric, pasting it on and allowing it to run over the edge to
the inside of the cover. Fasten the cover to the box, which has been
turned on end (see Fig. 64). Cover the top of the table with a piece of
dotted Swiss, sewing it to the lower edge of the cover. Make a ruffle
deep enough to fall from the upper edge to the floor, and finish it with
a hem, decorated to match the valance on the bed. The muslin ruffle
should have about once and a half of fullness. A straight piece of the
colored cambric, large enough to go across the front and ends of the
top, and the depth of the ruffle, is then cut; this can be hemmed at
the bottom or cut in small points. Gather the ruffle with a narrow
heading at the top, turn in the cambric, and fasten them together. This
is then sewed to the upper edge of the cover, and the table is finished.
A little pin-cushion of cambric covered with muslin, and having a ruffle
of lace around it, may be added to the top. The size of the box may
vary with the size of the house. Always try to keep the right
proportions between the house and its furnishings.
IV- Box Couch, for Dolls' Dresses
Materials. Pasteboard box, 3x7 inches. Cretonne or silkoline. Colored
cambric. White cotton, No. 80. Needles, No. 8.Cotton batting.
Thimbles.
Choose rather a heavy box and take the sides and ends off the cover.
Lay several thicknesses of the batting on top and cover it with the
cretonne, both sides. For this cut the piece a little more than twice the
width and enough longer to turn in at the ends. Turn the material from
the top over to the under side of the cover. Turn in the other edges
and overhand together at the ends and one side, the other side having
no seam. Line the inside of the box with cambric, pasting it in place.
Let this rim over the upper edge to the outside, and it will give
something to which the valance may be fastened. Cut a piece of
cretonne the depth of the box, allowing a one-half inch hem and three
times the measure of the entire top of the box. After this is hemmed,
plait it in small box-plaits and fasten it to the top of the box. The lid
which was covered first is now tacked on at the back of the box, so
that it will open; this can be done by making several button-holed
loops. Make some small sofa-cushions of the cretonne to place on the
couch.
V- Arm-Chair
Materials. Cardboard. Cretonne. Cotton batting. White thread, No.
80.Needles, No. 8.Thimbles.
Cut two pieces of cardboard (see Fig. 65 a and 6) and two pieces of
heavy paper to match. Cut four pieces of cretonne the same shape as
the cardboard and one-quarter of an inch larger all around. Lay several
thicknesses of cotton over the cardboard, and lay one set of the
cretonne pieces on these and fasten them by using long stitches at the
back (see Pin Ball, Chapter IV). Fasten the other pieces of cretonne to
the paper in like manner. The back and seat of the chair having the
cotton padding may be tufted before putting the pieces together. Lay
the two sets with the wrong sides together and with an overhand
stitch sew around both pieces. Cut a little strip of the cretonne three
inches deep and nine
inches long, hem it at the bottom and sides, box-plait it, and sew it to
the front of the piece for the seat. Tack the back of the seat to the
middle back of the chair with a few strong stitches. Bring the arms
around, and fasten them to the front of the seat. The shape of this
chair may be varied by changing the dimensions of the diagram.
VI Wicker Table
Materials. No. 3 rattan, 6 pieces, 22 inches. No. 3 rattan, i piece, 12
inches. No. 2 rattan, i weaver. A few strands of raffia.
Any child who has woven a mat with rattan can make a table for the
house, as the principle is the same. Cross the six pieces of No. 3
rattan in the center, three and three, and lay the twelve-inch piece
between one set. Take the weaver of No. 2, which has been well
soaked to make it pliable, and hold it beneath the under set of spokes
and then bring it over the upper set. Pass it under the next set and
over the next, keeping it as close to the crossing as possible. Do this
twice around, and then begin to separate the spokes and work them
singly (see Fig. 66). If this is done carefully the weaving will come out
in the correct way, i.e., the weaver will pass over the spoke it went
under before, and under the spoke it went over before. Continue in
this manner until the mat is about three and one-half inches in
diameter. Make a border in the following manner: Bring spoke No. i
over the next spoke to the right and push it through the weaving on
the under side of the mat for about three or four rows. Do the same
thing with spoke No. 2, and continue it around the entire mat. The last
spoke will go through the loop
formed by the first one. When all the spokes are through to the wrong
side, pull them taut; this will tighten the border and make it more
firm. These spokes are to form the legs of the table. Decide whether
you are to have three or four legs and group the spokes accordingly.
The extra one can be cut away or bound in with one of the groups.
Even the legs before you begin to finish them.. Take a weaver of
rattan, begin at the top close to the mat and wind over the entire
length of the group, leaving a small space between each winding. At
the lower end take a half hitch (see Fig. 5) and wind back to the top;
filling in the spaces, fasten it off by running the rattan into the
weaving. Do this to each leg or group. If the table .has four legs, a
smaller mat may be made, and
fastened in, lower down, to form a shelf. If it has three legs, it is well
to bind them together, part of the way down, as that will make the
table more firm.
Stools, and stands for flowers, may be made in the same manner, by
cutting the spokes a few inches shorter, and making the mat smaller in
diameter. It is well in these to bind a ring of rattan inside of the legs
about half-way down; this will help to strengthen them. Chairs may
also be made by cutting one of the spokes about seven inches longer
than the others and, instead of binding it in with the rest to form the
legs, bring the two long ends to the right side of the mat and use them
for the back of the chair. Insert three extra spokes of No. 3 rattan
between these, and with a weaver No. 2, weave back and forth, until
within one and one-half inches of the top of the side spokes. Push the
end of the weaver down beside a spoke to hold it, bend the two
outside spokes over so that they cross at the center, and push the
ends down at the outside* The three center spokes are to be cut off
even with the weaving.
Braided raffia makes a pretty weaver and is a little easier for children
to use; a fine three-strand braid is the best for this purpose.
VII- Arm-Chair
Materials. No. 5 rattan, i piece, 8 inches. No. 5 rattan, 2 pieces, 5
inches. No. 1 rattan, 6 pieces, 9 inches. No. 1 rattan, 28 pieces,
graduated, 2 of each from 10 to 18 inches. No. 1 rattan, 3 weavers.
This little chair is more difficult to make than the preceding one, and
therefore will be better work for older children, especially boys.
Bend the eight-inch piece of No. 5 rattan to form a bow, and tie the
ends together with a piece of raffia (see Fig. 67 a). Tie the six nineinch
pieces to the curve or back of the bow in the following manner;
Bring one end over the piece of No. 5 rattan, then around it and over
itself; hold the short end in place and fasten on the next one, which
will go over the first end and hold it in position (see Fig. 67 b).
Continue until you have tied on five in this manner. In tying on the
sixth one the short end is brought over in the opposite way and the
end worked into the knots formed by the others. Take a weaver of No.
i rattan, double it about ten inches from one end, put the loop thus
formed around one outside spoke, and work across once with paired
weaving (see Fig. 14). After this, use plain weaving until the seat is
finished, i.e., until the ends of the No. 5 rattan are reached. Bend
down the ends of the long spokes, and put in the twenty-eight
pieces of No. 1 rattan. These are to graduate from ten inches to
eighteen inches, and are to form the back and arms of the chair; they
must be put in with that idea in view. Begin with the shortest, and
gradually increase the height until the middle of the back is reached,
and then decrease toward the front. These extra spokes are pushed
down between the weaving close to the piece which forms the edge of
the seat, and are spaced alternately first one weaver apart, then two
weavers. They are pulled through even with the spokes which form the
front of the chair. Insert the two five-inch pieces of No. 5 rattan at
each side of the front. Take a weaver of No. i rattan, double it in the
center and slip it over one of these spokes. Put four rows of paired
weaving, enclosing two spokes at a time, except across the front
where the spokes are worked separately; fasten off the weavers by
working them into the weaving. Insert an extra spoke at the side of
each of the front ones, pushing it well up into the weaving. One-half
inch below the last row put in two more rows of pairing. Cross the
spokes (see Fig. 68) and weave two more rows to form the base of the
chair. Finish the base with the following border: Take two spokes
together and put them over the next group to the right and then inside
of the base; do this all around, bringing the last set through the loop
formed by the first set. After the chair is dry, cut these spokes off to
within one-half inch of the border. For the arms and back, cross the
spokes in the same way as for the base; double a weaver of No. 1
rattan, slip it over one of the uprights at the front of the chair, and put
two rows of pairing about
one inch from the seat. When the opposite upright is reached turn the
weavers, and weave back,
gradually separating them from the first row to form the high back
(see Fig. 69). Before coming back with the third row cross the spokes
again and separate the rows as before, the fourth row is pressed down
close to the third. The same set of weavers is used all through the
upper part of the chair, as they turn and come back each time.
The top is to be finished with the following border: Take each group
and put it back of the next group to the right and out; do this all
around the top. At the end bring the last pair all the way around, and
place it under the next group to the right and up. Continue similarly
across the border. When the rattan is dry cut the ends to within onehalf
inch of the weaving.
VIII- The Pictures
Materials. Perry pictures. Glass. Cardboard. Black or white paper for
binding.
The Perry pictures, make very attractive decoration on the walls of the
doll's house. They can be framed in the following manner:
Have a piece of glass cut the exact size of the picture, and cut a piece
of cardboard the same size. The strips to bind the edges should be
about one-half inch wide. The passe-partout binding that comes
prepared for mounting is about one inch wide; this can be cut in half,
and is easier to use than that which is cut from a sheet of paper. Cut
two strips the exact length of the longest way of the picture. Have the
glass, picture, and cardboard fitted carefully together and lay them
glass upward on the table or desk. Put the paste on one strip and lay it
on the glass, one-eighth of an inch on the edge of the glass and the
rest of the paper extending over the edge.
Press it down carefully, then raise the glass, picture, and cardboard,
and put the paper down on the wrong side, pressing it over the edge
as snugly as possible. Take a cloth and rub it quickly but lightly, the
whole length, for several times. This gives a good finish to the edge.
Do the opposite side of the picture in the same manner. This will hold
the materials together firmly. Next cut two pieces which will exactly fit
the short sides. Before putting on the paste lay them on the glass so
that they match the binding on the other sides, and mark the corners
to form mitres. Cut off this small point, and one a little larger from the
other side of the strip (see Fig. 70). Paste these strips on in the same
manner as the first two. The corners are the most particular part of
the work, but if care is taken in cutting the strips to have them the
exact length of the glass, very little trouble will be found. Always paste
the strips of paper on the two long sides first.
CHAPTER X
SIMPLE UPHOLSTERY FOR HOME USE
Teachers in schools have for some years been teaching the children to
become home-makers. Simple work in upholstery, when presented in
an interesting way, offers unusual facilities in this direction, and
certainly develops an amount of interest in home things which cannot
fail to make the child more helpful and useful later on in life. The work
may be learned in a very simple way, in relation to furnishings for a
doll's house. Simplicity in furnishings, cleanliness in relation to choice
and arrangement of materials, adaptation of things to use, planning
with relation to economy of time and energy in their cleaning, may be
incidentally taught in connection with the upholstery work.
I- Lace Curtains
Materials. Cream-white Brussels net. Unbleached mercerized cotton.
Piece of rattan for pole.
Measure the windows of the house for the length and width of the
curtains. Turn a half-inch hem along the length on one side, and a
quarter-inch on the other. Use the mercerized cotton double, and
catch the hems down with the running or a fancy stitch. Turn a oneinch
hem at the bottom, and finish in like manner. The top may be
finished with a frill, in which case turn over one inch, turn in onequarter
of an inch, and fasten with a running-stitch done with No. 60
cotton.
Put another row of stitches one-quarter of an inch from the last, to
form a casing for the pole. Run the curtains on the pole, and make the
tie-backs of cord and tassels. If no frill is desired, a casing that will
admit the pole easily is made at the top. Care must be taken to have
the curtains made in pairs; the cost will depend on the size.
II- Bagdad Curtain
Materials. Java canvas, 2 1\2 x 14 inches, 5 or 7 colors.2 skeins
Poseidon cotton. Chenille needles, No. 2. Thimbles.
This article makes excellent cooperative work, as five or seven children
can work in a group, each making a stripe for the curtain, which can
be sewed together with an overhanding stitch by the teacher.
Turn over the long edges of each strip one-quarter of an inch, baste,
and fasten it down with an overcasting stitch (Fig. 32) done in
Poseidon cotton. Work the length of the strip, then turn and come
back, crossing the stitches; this forms a border on each side. The
decorations through the center should be left as far as possible to the
children, as they will surely make some primitive designs. These
designs may be worked with simple stitches: running, back-stitching,
and the cross-stitch adapt themselves nicely to this style of
decoration.
Care should be taken in choosing the colors of the Java canvas to be
placed together, and also in the arrangement of colors for decoration;
a little black may be used effectively.
In joining the stripes together to form the curtain, arrange them so
that the colors harmonize.
When finished, this may be used as a couch-cover or a door-curtain in
the doll's house.
III- Lined Portiere
Materials. Burlap or denim, 15 x 20 inches. Single-faced Canton
flannel, 13 x 18 inches. Sateen, 15 x 20 inches. Heavy mercerized
cotton. Black San silk.6 small brass rings. No. 60 white cotton. No. 8
needles. No. 6 crewel needles.
The measures given above make a curtain of good proportions ; but if
it is to be used in a certain place, let the children take their own
measurements.
The decoration can be of denim applied and couched on (see Bag,
Chapter III), or the design may be simply couched on the material,
using the heavy mercerized cotton and San silk. In making the design
for the curtain there are several things to
be considered, such as appropriateness, space, size, and use;
combination of color is very important, and harmony with the
surroundings.
After the decoration has been placed on the curtain, put it face down
on the desk or table, and lay the piece of Canton flannel on top,
leaving a one-inch margin all around. Turn over the edge of the
outside material, pin and sew down to the interlining with a coarse
slanting stitch. The corners should be mitered (Fig. 71). Lay the sateen
over the interlining, turn in the edges, leaving a half-inch margin; pin,
baste, and hem down. Finish at the top by laying six plaits, and sew on
the brass rings so that the top of the ring touches the top of the
curtain. Rods to hang them on can be made of dowel-sticks cut the
length of the door-casing and stained to match the wood of the house.
Use brass screw-eyes for brackets; a brass-headed nail will make a
nice finish for the ends of the rods.
IV- Slip-covers
Materials.9 inches of narrow striped furniture-linen. 1 piece of one-half
inch tape. No. 80 cotton. No. 8 needles. Thimbles.
Covers for small chairs may be made in the same manner as largesized
ones. Measure the depth and width of the chair-seat at the front
and back, and cut a piece of paper a little larger. Measure the back,
and if the chair has arms measure those also, and cut a pattern from
paper. There must be two pieces for the back and each arm, one the
exact size and width for the inside, and the other enough longer to fall
below the seat nearly to the floor, for the outside. The same amount
must be added to the front of the seat, and can either be cut on or
joined with a seam. This will give the approximate size and shape of
the cover. To get an exact fit for the chair, cut out the pieces of linen,
using the pattern (care should be exercised here to have children cut
economically). Baste the short back- and arm-pieces to the back and
sides of the seat, and the front piece, if that has been cut separately.
Put on the chair, and pin the long pieces for the back and arms to the
other pieces, and fit around any irregularities in the chair. Cut the back
up through the center, and if there is width enough lap it a little at the
top. Finish the cover all around with a binding of narrow tape, and sew
three sets of tapes on the opening at the back, in order to tie it
together. Where the pieces are joined to the seat, the seams are on
the wrong side of the material and should be back-stitched; all the
other seams are on the right side and are covered by the tape. If this
article is made by older children the tape may be sewed on the
machine; this makes an excellent lesson in stitching.
V- Mattress for Doll's Bed
Materials. Art-ticking or cretonne. 1 piece of 1/2-inch tape. Fine cord
for tufting. Heavy cable-cord for tufts. Cotton or hair. Long, slim
needle. Thimbles.
Take the measure of the bedstead, and cut two pieces of cretonne the
exact size. Cut a strip one inch wide and twice the length of the first
piece, plus twice the width. This forms what is called the box of the
mattress, and is to be basted around one of the first pieces cut, with
the seam on the right side. Join the strip on one corner with the seam
on the inside. Baste on the second piece, leaving an opening of about
three inches, where the stuffing is to be put in. Bind the seams with
tape; stitch it on the machine or run it on by hand.
The mattress may be filled with hair, cotton, or excelsior; it should be
stuffed as full as possible, and as evenly, especially at the corners.
Join the opening and bind it. Before the tufts are put in, divide the
mattress and space the marks for the tufts evenly; these may be put
in in diamonds or squares. Cut the cable-cord into inch lengths; it will
take about two pieces for each tuft. Thread a long piece of string into
the needle, and put it through at the first mark for a tuft; bring it back
again to the place where it went in, but leave a short stitch on the
opposite side to keep the string from pulling through. Tie the ends
once, pull as snug as possible, lay in a tuft, and tie with the square
knot (see Chapter II). Continue until all the tufts have been laid in; for
a mattress 9 x 7 inches, twenty tufts will be enough.
The sides are held in place in the following manner: Thread a needle
with a long string, and start it at the corner tuft.
Put the needle in on the slant, bringing it out in the box (or side) halfway
to the next tuft; put it in again, leaving a short stitch, and come
out at the next tuft. This is done all around the mattress. A double row
of these stitches may be put in, one row on each side; this is not
necessary, however, where they are small. Upholsterers use a doublepointed
needle, but these would be rather difficult for children to
handle. These mattresses make excellent work for older boys.
VI- Cushion for Chair or Seat
Materials. Unbleached muslin. Denim. Excelsior or cotton batting.
Buttons for tufting. Long, slim needle. No. 50 white cotton. Silk to
match denim.
This little cushion may be used for several purposes, such as windowseats,
chair-cushions, and cosey-corners. The measures are taken the
same as for the mattress, and the pad made in like manner, using
unbleached muslin in place of ticking, and sewing the seams on the
inside instead of the outside. Use excelsior or cotton for filling, and
tuft, using linen thread in place of string. Tie the ends together without
using the tuft of cable-cord, as this is done simply to indicate the
position of the buttons, which are put on after the outer covering is in
place. Do not put the tufts as close together as in the mattress. After
the pad is finished, take the measures for the outside. These consist of
twice the width, the length, and twice the height of the box. Allow one
inch on all measures for the tuck which is to be taken all around the
edge of the cushion. Twice the height of the box must also be added to
the length. Begin at the short side, and take up a one-quarter inch
fold, baste, leaving a piece for the box, and tuck at each end (Fig. 72).
From the basting, measure out the width of the cushion, allow onequarter
of an inch tuck and baste; then measure out the width of the
box, again allow a tuck and baste; then the width of the cushion, and
again allow a tuck and baste. This gives the covering for the two sides,
and the boxes at the side. To fit the cushion to the pad exactly,
measure on the long side the height of the box, allow a tuck and baste
only between the tucks formed by the top of the cushion. From the
basting measure the length of the cushion; allow a tuck at the other
end and baste. These tucks should be stitched or run after they are
basted; the corners should be cut out, and the edges turned in and
stitched together. Where the two end-pieces meet they can be slipstitched.
Also use the same finish at the side. The buttons are put in at
the last. Thread a long, slim needle with a fine string or linen thread,
put it through the cushion from the under side where the tufts have
been made; put the needle through the cloth shank of the button and
down through the pad again, and tie the ends with a square or hard
knot (see Hard Knot, Chapter II).
VII- Cover for Pillows
Materials. Holland linen. Tape or buttons. White cotton, No. 80.
Needles, No. 8. Thimble.
These covers may be made in any size desired. They are to cover sofapillows,
in order to keep them clean in summer, or when the room is
being swept. Take a piece of linen the width of the pillow and twice its
length; allow one-half inch on the width for seams, and about five
inches on the length for hems and lap (these measures are given for
full-size pillows). Fold an inch hem at both ends of the strip, and stitch
or hem by hand. Lay the strip together wrong side out, letting one end
extend three inches beyond the other, and sew together with onequarter
inch seams. Put a narrow hem corresponding to the width of
the seam on the three-inch lap for a finish. Turn the case right side out
and sew on three sets of tapes to tie, or make three or four buttonholes
in the lap and place buttons on the case.
CHAPTER XI
CROCHETING AND KNITTING
WHEN our grandmothers were young all little girls were taught to knit
and crochet, for all the family stockings and mittens had to be made at
home. It was not possible to go to the stores and buy them, as one
can at present. Little children in foreign countries are still taught to
knit, and it is quite a common sight in Holland to see them playing in
the streets with their knitting in their hands.
In the following chapter it is impossible to mention all the many
articles that can be made with simple knitting and crocheting, so only
a few suggestions are given, which will prove interesting to the
children. Any directions for large-sized articles may be used for dolls
by making them just half size.
I- Doll's Tam-o'-Shanter
Materials. Columbia yarn, 1/2 hank. Bone crochet-hook, No. 4.
If the children have made the chain-stitch in the cord-work, it will be
very easy to show them the connection between it and crocheting. The
stitch is the same, but a needle or hook is used in drawing the loop
through, in place of the fingers., Set up a chain of five stitches and
join in a circle by drawing the last loop through the first one made.
Then begin widening by putting two stitches in every stitch for two
rows around. On the third row widen every other stitch. After that
widen only occasionally in order to keep it flat and round. It may be
worked in points by increasing the number of plain stitches between
the widenings, by one extra stitch each row. The needle may be put
through one side of the stitch only or both, the latter will make it a
little firmer. When the Tarn is large enough, make two rows of plain
crocheting without widening, then begin to narrow. This is done by
placing the needle through two loops instead of one, and pulling the
new loop through both at once. Narrow every third stitch until the
head size is the right proportion for the top, then crochet three or four
rows plain. Finish by pulling the finishing end through the last loop,
and working it into the crocheting. A little ball may be made for trie
top in the following manner: Cut two circles of cardboard about one
inch in diameter. Make a hole in the center with the scissors and sew
the wool from the center around the outside of the cardboard (see Fig.
73). Fill as full as possible, then cut the wool around the outside edge,
separate the cardboards, and tie a piece of wool around the center.
Tear out the cardboard and trim the ball into shape. Sew it to the top
of the Tarn with the end of wool which was used to tie it at the center.
These Tarns may be made to fit the children by following the same
directions and working them out to the proper size.
II- Doll's Slipper
Materials. Columbia yarn, 1\2 hank. Lining to match wool. Eider-down
flannel, white. Cardboard. Needle, No. 8.White cotton, No. 70.
Thimble.
These little slippers will teach a slightly different method of work from
the Tarn just described, as the work is done from side to side instead
of around in a circle.
Set up a chain of six stitches, leave out the last stitch made, and
crochet into the next two, then widen in the next and then make two
more plain stitches. Take an extra stitch at the end of each row. Turn
the work and crochet back, widening in the center stitch each time. In
order to form the rib, take up the side of the stitch away from you
each row. Make five ribs or ten rows of crocheting; this forms the
vamp of the slipper. On the eleventh row, crochet only eight stitches,
and rib back and forth for thirteen ribs, or until the slipper is the size
desired. Join this finished end to the opposite side of the vamp. With a
double crochet, i.e., throwing the thread around the needle once,
pulling it through one loop, and then through two (see Fig. 74), work
around the upper edge of the slipper, catching it into each rib; put a
single stitch between each double one. This forms the beading for a
ribbon or cord and tassel.
For the border put four double crochet stitches in each space and catch
them down with a single stitch.
In order to cut the sole, shape the crocheted slipper in the form of a
foot, lay it on the cardboard, and draw around the outside (see Fig.
75). Cut it out on this line; cut the eider-down the same size, and the
lining one-quarter of an inch larger all around. Put a row
of gathering around the lining, slip in the cardboard and sew in the
same way as the pin-ball (Chapter IV). Paste the eiderdown flannel on
it and sew the slipper to the sole from the wrong side. Turn it, and
finish at the top with a ribbon bow and elastic, or with cord and balls.
If these are to be made for the children to wear, set up more stitches
in starting, and increase the number of rows in the vamp also the
number of stitches at the side and the number of rows.
III- Doll's Undervest
Materials. Saxony, threefold, 1/2 hank. Bone crochet-hook, No. 2.
White baby-ribbon, 1\2 yard.
This little undervest is very attractive when finished, and will provide
good work for the children in teaching them to work from printed or

written directions, which can be dictated or written on the board. If the
directions given below are followed carefully, the work will be found
quite easy.
Set up eighty-six stitches. Make six rows of single crochet, taking up
the back of the stitch and working lengthwise of the vest. Work one
side first, making thirty-eight stitches of single crochet. Make nineteen
rows and fasten off. Leave ten stitches on the long band for the neck
and crochet thirty-eight stitches. Crochet nineteen rows; at the end of
the nineteenth row make a chain of ten stitches for the neck. Join it to
the other side and make six rows to match the other shoulder. Crochet
the sides together, leaving one and one-half inches for the armhole.
To finish the sleeve: Make one double crochet Into the second stitch,
and one double crochet into the first stitch, all around the opening.
Then finish all around the sleeve by making one single crochet, two
chain, two double crochet in the same stitch.
Neck: One double crochet, one chain-stitch over every rib, and then
finish like the sleeve.
IV- Cover for Scissors-Protector
Materials. Florence knitting-silk. Steel crochet-hook. Small cork.
Set up a chain of three stitches, join it same as the Tam-o'-Shanter.
Crochet several rows, widening to keep it flat, and taking it through
both sides of the stitch at once. Make this piece large enough to cover
the small end of the cork; then work around without widening until it is
deep enough for the side. Finish it off by drawing the last stitch
through, leaving an end of silk long enough to run through the last row
of crocheting. This is to draw the case up after placing it over the cork.
Make a little tassel of silk and sew it on where the work was started.
Slip the case over the cork, draw up the silk and fasten off with a few
stitches; work the end into the crocheting.
V- Baby-Doll's Sack
Materials. White Saxony, 1\2 hank. Colored Saxony, 1\6 hank. Bone
crochet-hook.
The yoke of this little sack is to be made with the color, and the lower
part with the white.
Make a chain of thirty-three stitches. Three rows plain, single crochet,
taking up back of stitch to form rib. In the fourth row widen on eighth
and tenth stitches, and have thirteen stitches between, on back of
yoke. Also widen on the eighth and tenth stitches from the opposite
front.
Widen every row, having first two stitches between the widenings,
then four, six, eight, ten, twelve.
Always keep thirteen stitches between the widenings on the back, and
the first widenings on the eighth and tenth stitches from the fronts.
Jacket: Begin with a shell of four double crochet in every third stitch of
the yoke, until you reach the first point of the yoke; then make a chain
of nine stitches and carry it on to the other point of the yoke, with a
shell in every third stitch until you reach the third point of the yoke.
Make a chain of nine stitches, carry it to the fourth point of the yoke,
join with a shell and make a shell in every third stitch across the
second front. Make a chain of three and turn and put shell on shell
until you reach the chain on which you put three shells; then shell on
shell across back, thr^e shells on second chain, and so on across the
second front. Make the jacket eight shells deep.
Sleeve: Join in the wool under the arm, and make shell on shell on
jacket, and a shell in every third stitch of the yoke from the first row,
seven or eight shells in all. Then six rows, shell on shell.
Around the bottom of the jacket and sleeves put a row of fivie doublecrochet
shells. Around the neck put a row of holes for a ribbon, formed
by one double crochet and one chain; repeat across the neck and
finish with a row of five double-crochet shells. A row of color may be
carried all around the jacket by using a single crochet in each stitch of
the shell.
VI- Spool-Knitting
Materials. Empty spool. Pins or nails, 5 or 7.Wire hairpin. Colored wool.
Take a large empty spool and place the pins at regular intervals
around the hole at one end. Push these in securely, as quite a little
strain will come on them. Thin nails with small heads may be used in
place of pins.
Take the odd pieces of worsted that are left from other work, tie them
together and wind in a ball. Pass one end through the hole from the
end where the pins are, and wind the worsted twice around the pins,
going in front of one and back of the next each time (see Fig. 76).
Then pass the worsted outside of all the pins. Take the loop that is on
each pin and slip it over the head; use the hairpin for this purpose.
Keep passing the worsted around the outside of the pins and slipping
the stitches off in regular order. This knitting may be made in long
strips and used for horse-reins and mats, or in short strips and used
for doll's golf-stockings. To finish it off: Break the worsted, leaving
about ten inches; thread the end in the needle and take up the
stitches from pins. Draw them up and fasten securely.
VII- Wash-Cloth
Materials. Dexter knitting-cotton, No. 12. 2 bone knitting-needles, No.
4.
Set up forty stitches in the following manner: Make a loop, slip it on
the left-hand needle, and slip the right-hand needle into the loop from
front to back. Put the cotton over the point of the needle from
underneath and draw it through the loop. Slip the loop from the righthand
needle on to the left. Put the right needle through the second
loop and do the same again. Continue until enough stitches are on the
left-hand needle (see Fig. 77, a). Having the required number of
stitches on the left-hand needle, put the right-hand needle into the
back of the first loop, from the front toward the back. Throw the cotton
over the needle and take up the stitch on the right-hand needle,
slipping the stitch from the left-hand one (see Fig. 77, b). Repeat until
all the stitches are on the right-hand needle, then change needles and
proceed as before. In plain knitting always slip off the first stitch. In
order to slip a stitch, slip from one needle to the other without
knitting. Knit back and forth until you have a square, then bind off in
the following manner: Slip the first stitch, knit the second, and with
the point of the left-hand needle slip the first stitch
over the second, leaving one stitch on the needle each time. Knit the
next stitch and slip the one on the needle over it Continue until all the
stitches are bound off. This should be done rather loosely or the edge
will draw.
Put an edge of one double and one single crochet all around. Then
make a scallop of four or five double-crochet stitches in each space,
catching them down with one single crochet-stitch between each
group.
Little afghans may be made in the same manner by using two colors in
Saxony yarn, and knitting two squares the same size. These are
placed together and a scallop put around the edge.
VIII- Doll's Hood
Materials. Shetland wool, 1 hank. 2 bone knitting-needles, No. 6.
Set up forty-five stitches and knit back and forth plain for thirty rows.
Bind off loosely. Fold the two sides to meet in the center, sew them
together, and then fold the sides together and sew at both ends
through four thicknesses (see Fig. 78, a, b, and c). Catch together the
points of the two seams just sewed, and turn so that the seams are on
the inside. Fold back the front of the cap and run in a ribbon at the
back to draw it in at the nape of the neck and to form the strings.
Place a little bow on the top.
IX- Wristlets
Materials. Columbia yarn, 1\2 hank.2 bone needles, No. 4.
Set up thirty-six stitches, knit two and purl two. To purl, bring the
wool from the back of the needle to the front; take up a stitch with the
right-hand needle, putting it in from the right side or toward the
knitter. Throw the wool over the needle from the back toward the
front, draw it through and slip off the stitch. Be careful always to carry
the wool back of the needle before beginning to knit plain again after
purling. After finishing one row, turn the work and begin the next row
by slipping the first stitch and knitting the second, then purl two and
continue as in the first row. When the wristlet is about four inches
deep bind it off loosely and sew it together on the sides.
Two colors may be used, putting in the second color as a border, top
and bottom.
X- Doll's Sweater
Materials. White Saxony, 1/2 hank. Colored Saxony, 1\4 hank. 2 bone
knitting-needles, No. 4 or No. 2.2 steel needles, No. 16.
This little sweater is very attractive and, although more complicated
than the preceding articles, can be made by older children with very
little trouble if the following directions are carefully noted:
Set up thirty-two stitches, knit two, purl two, for fifty rows.
Fifty-first row: Knit two, purl two for eight stitches, bind off sixteen
stitches, knit two, purl two for eight stitches. Knit the first eight
stitches back and forth in rib style, two and two for seven rows. With
an extra needle, knit on the opposite side eight stitches until you have
four rows; bind off. Cast on the extra needle eight stitches, knit back
and forth with rib of two and two until you have four rows. Join this
small piece to the body by casting on sixteen stitches to correspond to
sixteen stitches which were bound off. Continue with rib of two until
you have fifty rows.
Collar: Pick up the stitches around the neck, and with color knit one,
purl one, using smaller needles for two rows, then use white for two
rows, until you have three rows white and three rows color; the last
row of color will make three rows; then bind off.
Sleeve: Divide the body in half, take up two loops on each side, knit
two and purl two, using both sides of the stitch, making eight stitches.
At the end of the row pick up another stitch and in this loop make two
stitches, knitting across again with a rib; pick up the loop on the other
side, making in it two stitches to correspond with opposite side.
Continue thus, picking up a loop and making two stitches at the end of
every row until you have thirty-two stitches on the needle, then
continue plain rib of two and two until you have twenty rows. With
color and small needles knit one, purl one, knit two together, and so
on across the needle, turn and rib one and one using color, same as in
the collar. The sleeve may also be made by taking up the thirty-two
stitches at once, and knitting twenty rows; this will make a sleeve
without any fullness at the top. Close the seam from the edge of the
cuff to the bottom of the body on both sides. Crochet loops and place
the buttons on the shoulder.
CHAPTER XII
SOME SPECIAL WORK FOR BOYS
BOYS' occupations must at times differ essentially from those
presented to girls. This chapter offers some special suggestions for
them, but they may also be worked out by the girls. The penknife is
particularly appealing because it presents such a wide field for
experiment and exploration. Scissors, and the mucilage-pot follow in
order, and help to add to the intensity of interest.
The nearer the approach made to real life in the articles produced, the
greater is the degree of attention which is developed in the boy. With
wood, hammer, and nails, the scope of the work can be made very
broad.
The following articles are suggestive and very easily made. It is well,
as far as possible, to allow the boys to carry out their original ideas in
regard to construction and decoration.
L Jacob's Ladder
Materials. 1 strip of heavy paper, 3 yards x 6 inches.
The Jacob's ladder, as illustrated in Plate XIV, No. 1, was a favorite
pastime of children a decade or more ago. It is easily made, and a
particular delight to boys.
Roll the strip of paper, which may be composed of a number of colors
pasted together, into a hard cylindrical roll. Paste the end to keep it in
place. With a sharp penknife cut the roll, as shown in Fig. 79. Care
must be taken to cut only half
way through, or, in other words, only to the center of the cylindrical
roll. Bend it in half, as in 6, Fig. 79, and open until the center of the
roll is visible. Take hold of the topmost layer of paper in the center and
pull up the ladder, which is formed by the successive layers of paper.
II The Palm-Tree
Materials. 1 strip of heavy paper, 3 yards x 6 inches.
The paper tree is made in a manner similar to the Jacob's ladder. Roll
the long Strip of paper until it forms a tight cylindrical roll. After the
end of the strip has been glued, the roll is prepared for cutting. This is
done from the end instead of the middle, and only one cut is
necessary. Fig. 80 shows the roll and the line marked for cut-ting. The
length of the cut should be half the depth of the whole roll.
Turn the pieces cut back in position (see Fig. 80 b) and pull out the
tree by taking hold of the innermost layer of paper. Plate XIV, No. 2,
shows a tree which has been made from newspaper.
III- Soldier Hat and Epaulets
Materials. Sheets of colored paper or newspaper.
Hat: Take two sheets of paper, sixteen by twelve inches, and place
one exactly on top of the other. The hat is stronger because of the two
thicknesses, but it may be made of only one. If a larger hat is desired,
the proportions must be the same; it may be decreased in a similar
way. After placing the two pieces exactly together so that it appears as
one double sheet, fold it until the two twelve-inch edges lie on each
other. Place the paper so that the folded edge is away from the
worker. The right- and left-hand corners of this folded edge are to be
turned down (see Fig. 81 a). After folding the point of the hat in this
way, turn up the finishing band at the bottom to complete the fold.
This band is folded over twice, and half is turned to each side of the
hat (see Fig. 81 b). The ends may be finished by gluing them together
or pinning them in place.
A pompon may be added by taking a strip of paper and clipping it with
the scissors to make a fringe. This can then be rolled in a cylinder to
form the pompon. Pin or sew to the point of the hat.
Epaulets: Cut a pattern according to the size of the epaulets desired.
The shape should be similar to Fig. 82.
After cutting the correct size, prepare several thicknesses of the same
shape for each epaulet. Sew through the middle of each with a
herringbone - stitch, using some bright worsted, and clip the fringe
with the scissors (see Fig. 82).
IV- A Baseball Cover
Materials. Heavy felt. Waxed twine or thread.
There are several ways of covering a ball, but only two of the more
simple methods are described below.
Measure the circumference of the ball and cut a paper pattern
according to the shape in Fig. 83 a, using three-fourths of this
measurement for the length and one-fourth for the width in the center.
Two such pieces
will be necessary for the cover, and the pattern will have to be fitted
until it exactly covers the surface of the ball (see Fig- 83 a). The cover
is then ready to be sewed.
Another way to prepare it is to cut two circles of felt and one strip,
which must exactly measure the circumference of the ball. One-third
of the circumference will give the diameter for the circles. Cut the strip
from two to two and one-half inches wide, or according to the size of
the ball. Sew it together first and then add the circles.
The drawing-in stitch is used for the sewing of both covers. This is a
simple alternating stitch and ha? the effect of a lacing. For the cover it
is taken in a slanting way and a space of one-quarter of an inch is left
between the stitches on each side of the edge (see Fig. 84). The
needle is put under the edge first to the right and then to the left of
the opening, pointing it toward the worker.
V- Paper Kite
Materials.2 flat sticks, 11 x 1/4- inches. 1 flat stick, 8 x 1/4 inches. 1
sheet of newspaper or heavy brown paper. Twine and glue.
The three sticks must be bound together in such a way that the kite
will be well balanced. The proportion is about one-third above and
two-thirds below the crossing of the third stick (see Fig. 85). Two may
be tied together first and the shorter one bound to the others. In the
end of each stick cut a slight groove and bind the sticks together with
a cord
(see Fig. 85). When the frame is ready, lay it on the paper and cut out
the kite covering, allow one inch on all sides for turnings. Fold this
allowance over the cord and paste it down. For the tail a number of
rolls of paper two and one-half inches in length may be tied together,
leaving a space of about two inches between each roll. The tail is
attached to the center of the balance cord at the bottom of the kite.
This cord is put on by making holes in the paper and tying the string
around the two bottom sticks; about twelve inches
of cord are required for this purpose (see Fig. 86). The cord for flying
must be attached as follows: One inch from the top of the kite tie the
upper cord a; this is six inches in length, and the ends are attached to
the two upper sticks. Cord 6 is attached to the two lower sticks, and is
a trifle longer than cord a. Eight inches is a good length in proportion.
Attach a and b with cord c, which is six inches in length, and allows for
the pulling of the kite. The fly string is attached to c, and should be
put on with a slipknot, so that the kite may be balanced in flying. This
will depend on the weight of the tail (see Fig. 86).
VI- Indian Tents
Materials. Unbleached muslin. 3 sticks. Water-color paints.
For the small tent shown in Plate XV, No. 4, three sticks, ten inches in
length, have been used. These may be bound together loosely four
inches from the top.
A circle of muslin, sixteen inches in diameter, will make two tents. Cut
the circle in half and remove a small segment from each side of the
half (see Fig. 87). Cut a small semicircular piece from the center of the
original circle, according to Fig. 87. The tent shape is then prepared
ready for decoration. The design may be sketched in pencil on the
muslin and decorated with water-colors. Plate XV, No. 4,shows a
simple decoration made by a child. The tent may be laced together for
a short distance at the top with a strip of unbleached muslin.
The tents may be made any size by piecing the muslin in strips
according to the width desired. Three breadths of unbleached muslin,
three yards in length, will make a good-size tent. They are, of course,
only play tents, but afford much pleasure. Cut five poles about five
feet in height. Point the large ends and stick them in the ground so
that they meet at the top. Drape the cloth about them, and lace at the
top as described.
VII- Indian Head-Dress
Materials. 1 strip of Turkey-red, 1 yard x 4 inches. Chicken feathers.
Large beads, 2 strings.
Prepare the strip of Turkey-red by folding under the raw edges until
they lap. Baste, until the sewing of the beads holds them in place.
Measure the head size of the child by putting the prepared band
around the forehead, and crossing it in the back. The extra length is
allowed to hang.
For the decoration, old ostrich plumes or chicken feathers may be
used, or even an old feather-duster. Sew the feathers close together
and put the ends of the quills on the inside of the band. Decorate the
band with the beads. String from six to ten of assorted colors on a
strong thread and then take a stitch through the material. This Indian
method of work has been described in the chapter on Bead-work (Fig.
57).
Any extra decoration of bead-work, or other arrangement of feathers
may be used. The strip may be made two or three yards in length, and
the feathers sewed so as to form a headdress which will extend to the
feet.
A belt may be made in a similar way, by measuring the size of the
waist and having the feathers arranged to hang down about it.

VIII- Indian Doll
Materials. Unbleached muslin. Sawdust. Paint-box.
Cut a pattern for the shape of the doll by doubling a sheet of paper
and cutting a doll as described in the chapter on Paper-cutting. Cut
two pieces of unbleached muslin the shape of the pattern, and sew
them together all around except on the upper side of one arm and one
side of the head. Turn inside out and stuff with sawdust. Sew up the
opening le^t, with an overhand stitch.
Paint the face light brown, and the eyes, eyebrows, etc.,
black. The doll is now ready to be dressed. The trousers are cut from a
square piece of material (see Fig. 88). Cut two squares of the same
size and remove the pieces of material at the inner curve of the leg.
Sew the two thicknesses together around the curve and turn. Sew up
the outside seam with running stitches taken one inch from the edge
and on the right side of the trousers. Fringe the outside and bottom of
each leg and decorate with colored paint.
The coat is also made from a square piece of unbleached cloth. Cut a
pattern from paper first (see Fig. 89) to fit the size of the doll.
Cut the muslin according to the pattern. A and b of the figure are the
sleeve portions, and the coat is to be folded on
the dotted line. Sew the sleeves and under-arm seam on the right
side, one inch from the edge. Clip with the scissors to form a fringe all
around the coat, with the exception of the neck and down the front. A
red yarn may be used for further decoration, and the fringe and coat
painted with the water-colors to match the trousers. Cut out the neck
size and punch three or four holes along each front of the coat and
lace with the yarn.
The head-dress is made of a strip of muslin clipped to form a fringe
and then painted. The strip is sewed around the dolPs forehead.
IX- Marble Bag
Materials. Denim, 16 x 5-1/2 inches. Poseidon, or ribbon, 1/2 yard.
Double the oblong of denim so that the two right sides of the material
are together. Seam both sides to within two and three-quarter inches
of the top, allowing one-quarter of an inch for seams and using a
stitching stitch (see Fig. 33). Turn the bag right side out. Bring one
and one-half inches of the heading to the right side and seam for one
inch at each end. There will be four such seams. Turn the four seams
just sewed inside out so that the raw edges come within. Turn the bag
again to the wrong side and hem, after making a turning of onequarter
of an inch. One-quarter of an inch above the hemming make a
row of running stitches to form a casing. Run in the cord and tie the
ends with an overhand knot. A marble bag has only one draw-string.
X- Bow and Arrow
Materials. 1 piece of ½ inch pine, 20 inches. 1 piece of flat ash, 28 x
1/8 x 3/4 inches.
The Indians, in calculating for the length of their bows measure eight
times the span of the hand. This measurement is from the end of the
thumb across the palm to the end of the little finger. The arrow is the
length of the arm from the thumb-nail to the armpit. Find the middle
of the twenty-eight-inch piece of ash which is for the bow. With a knife
gradually narrow the width of the stick from the center toward each
end. Do not make it less than one-quartet of an inch in width at the
narrowest part. Cut some kind of a fancy shape at each end of the bow
(see Fig. 90), and use sand-paper to smooth the surface. After
finishing the outline, the upper side may be decorated with fancy
cutting, or paints used to make it more ornate. Tie a string around the
neck formed at one end and bend the bow to the right curve. Measure
the length of the cord necessary to cross the bow and make a loop at
the other end. The loop may be slipped around the neck at the
opposite end when it is curved, or removed when the bow is not in
use.
The arrow: Whittle the four edges of the twenty-inch stick until it is
round. The diameter of the stick at one end for about two inches in
length should be one-half of an inch, and gradually slope to the
diameter of one-quarter of an inch for the other eighteen inches.
Smooth with sand-paper and cut a slight groove in the small end for
the cord.
XI- Sail-boat Furnishings
Any sail-boat which is available may be rigged and equipped by the
children. It makes excellent cooperative work.
The pattern must first be cut the size of the sails desired. These are
made of cotton tape from one to one and one-half inches in width.
Baste the tape to the pattern in rows, having the edge of the tape on
the outside of the sail pattern the side away from the mast. Baste the
other rows parallel to the first and lap each successive one one-fourth
of an inch over the previous row. Hem all the rows flat. Remove the
bastings, turn the sail to the other side and hem. This is called
counter-hemming. Three sides of the large sail are to be hemmed with
one-eighth of an inch hem; the fourth side is the selvage. The jib may
be prepared in a similar way to the main-sail.
The boat may be furnished with sand-bags for ballast, cushions, and
bumpers. They should be made in proportion to the size of the boat.
The cushions should be cut 3 square and a stitching stitch used in
sewing the seams. They can then be stuffed with cotton and
overhanded on the fourth side. The sand-bags are oblong in shape and
sewed in the same way. Stuff them with sand and overhand the fourth
edge.
The bumpers are made of a square of muslin. Sew two of the opposite
sides together to make a hollow cylinder. Cut disks of muslin to fit the
ends and overhand one to each end of the cylinder. Before sewing in
the second one, run in a cord and fill with sand (see Fig. 91).
The captain of the boat may also be made of muslin. There are four
rolls, one for the head and trunk which is about three-fourths of an
inch in diameter, and three thinner rolls to form the arms and legs.
In preparing the rolls, they must be wound very tightly and sewed. In
rolling, double the roll itself after winding a few times, so as to make it
very firm. Sew them according to Fig. 92. Cut patterns for the clothes.
Suggestive patterns are offered in Fig. 93; the size will depend on the
doll and boat.
Mark the face of the doll with ink, and sew some wool or darningcotton
to the top of the roll for hair.
CHAPTER XIII
HOW TO USE NATURE'S MATERIALS
NATURE is very liberal in giving us materials that can be used by the
children in their work or play with very little expense. In fact, we
hardly realize how much we have ready at hand unless our attention is
especially called to it.
The materials vary in different parts of the country; for instance, in the
South there are the pine-needles, the palmetto, the corn-husks, the
blue grass of Kentucky, the wistaria, grape-vines, and the rushes. An
ingenious teacher, mother, or child will find many others when the
possibilities of those mentioned above are learned. As one goes farther
North, one finds more beautiful grasses, rushes, birch bark, twigs from
the trees, willows, grape-vines, and also the corn-husks, which have
very beautiful coloring. Nature is indeed good to us if we know how to
use her wealth.
I- Chains
Very attractive chains can be made by the little people from materials
which they have gathered. The haws from the wild-rose bushes may
be strung together, using a large needle and rather coarse thread. Red
ears of corn, dried and shelled, supply excellent material for another
style of chain. Dried peas and squash or pumpkin-seeds, used
together, and strung in different combinations (see Fig. 94), are
exceedingly pretty. Acorns and maple wings alternated with pieces of
coarse grass about one and one-half inches long (see Fig. 94) form
another chain. Horse-chestnuts of small size can also be used, with or
without the coarse grass. We might enumerate any number more, but
from these suggestions the children will find something that may be
used to form the bright pretty chains that they all love so well.
II- Fruit-Basket
Materials. Grape-vines.
All through Italy and Switzerland, as the trains pull into the stations,
the hot and dusty traveller sees bands of little children with trays rilled
with the daintiest baskets, full of the luscious grapes of those
countries. These baskets are made of grape-vines, and are woven in
the following manner:
Cut five four-inch pieces of the heavier vine; take two of these and
split them in the center for about one and one-half inches (see Fig.
95). Slip the other three through this slit. Take a long slim piece of the
vine and, beginning at the smallest end, wind it over and under the
crossed spokes, going twice around. Then insert another weaver of
about the same size and make three rows of pairing (see Fig. 14);
fasten the ends by working them into the weaving. Do not try to press
the weavers close together, as in rattan weaving. These three rows
should make the bottom about three inches in diameter. At the side of
each spoke insert a spoke of vine about sixteen inches long. If the
pieces are rather small two
may be put in together. The largest end of the vine is pushed in at the
side of the spoke. Bring each spoke, or group of spokes, under the one
to the right, over the next, and under the next, and down to the lower
edge of the basket, leaving a loop which stands up about four inches.
Continue in this manner all around the basket; the last two spokes will
have to go under, over, and under the first two groups that were used.
When all the spokes are down at the bottom, finish them with the
following border: Take the first spoke and place it under the next one
to the right, over the -next one, and back. Do this all around the
basket, working the last spokes in through the loops formed by the
first. Cut off the ends that are left.
Cut two lengths of vine about seventeen inches, and push them into
the bottom nearly to the center, on opposite sides of the basket. These
pieces are to form the handle. Bring them up on the outside to the top
of the basket, twist the ends together, and then bring them over to
the opposite side from where they started. Tie them by working the
small end in and out of the weaving and around the handle itself (see
Fig. 96). This finishes the basket. Fill it with a grape-leaf and a bunch
of grapes, and you will have a very artistic combination.
III- Hanging-Basket for Ferns
Take six twigs of some pliable wood, rather green, and about a yard
long. Tie them together at the small ends,using the end of one and
wrapping it around the others, two or three times; fasten by slipping it
into the wrapping. Take each end in turn and place it under the one to
the left and out. Continue working in this manner, increasing the
spaces between the twists or ties each time, to make the basket larger
at the top (see Fig. 97). When you have sixteen or eighteen rows, if
the basket is as deep as you desire it, push the last spoke through the
same loop that the first one of that row went under. To complete the
basket, cut off the twigs rather close to where they are fastened. A
handle may be added: Take a long pliable twig, double it in the center
and pass it through the weaving on one side a couple of rows from the
top; twist the long ends together and bring them over to the opposite
side, where they must be fastened to make a strong finish. Line the
inside of the basket with moss, and plant a fern in it. A hoop of wire
may be attached to one side in place of the handle.
IV- Jar Covered with Wistaria
Materials. Small colored jardiniere, or earthen flower-pot. Wistaria
vine.
This idea is borrowed from the Japanese, who have the wistaria vine in
great abundance, and who have learned how well it is adapted to this
artistic use. Take six long, slim pieces of the vine and cross them three
and three in the center. Tie them, and place on the bottom of the jar
to find the diameter of the bottom or where the weaving is to
commence.
Take another slim piece of vine, double it in the center, and slip it over
one of the spokes. Make three or four rows of paired weaving (see Fig.
14), drawing it in slightly to fit the jar. Cut off the weavers and fasten
them by pushing them into the weaving. Cut the spokes at the center
where they were tied, and make the following finish at the bottom
close to the weaving. Put each spoke over the one to the right and
inside. The last spoke goes through the loop formed by the first. Cut
off the ends. The tipper part is made by tying the upper part of the
spokes in knots: either the Solomon's knot or the sailor's knot may be
used, both are described in the chapter on Cord-work. Divide the
spokes into groups of four and tie a row of knots around the jar. Then
take two spokes from each knot, and tie another row about threefourths
of an inch above the first. Continue in this way, the knots
forming meshes, until within one-half of an inch of the top of the jar.
Insert a weaver and work with paired weaving to the top, where it
may be finished off with the following border. Put each spoke over the
one to the right and inside; the last spoke goes through the loop
formed by the first.
A long handle may be added in the same manner as described in the
fern-basket. The prettiest jars to cover are those which come in the
plain glazed colors, green, red, blue, and yellow being the most
attractive. If these cannot be obtained, flower-pots of unglazed
earthen-ware may be used to good advantage.
V- Birch-Bark
Birch-bark is another material which has many possibilities, and is
easily obtained in certain localities. It can be handled by small children
as it is quite tough and pliable.
A simple little picture-frame may be made in the following manner:
Cut two pieces of the bark three and one-half by three inches, or any
other dimensions desired. From one cut a piece from the center,
leaving a one-inch margin all around. Fasten them together at the four
corners with McGill fasteners No. A. A, 1, or with a little bow of
Poseidon cotton.
In connection with the study of primitive life, a little canoe may be
made. Take a piece of bark seven inches long and five inches wide.
Find the center of the two short sides, measure in from there toward
the center one inch, and draw a curved line from that point to the
outside edge at the corners (see Fig, 98). The long sides may be
slightly hollowed
in the same way. With a small punch make a row of holes one-fourth
of an inch from the edge on the two short sides. Double the bark
together and lace through the holes twice with a piece of raffia,
making the stitches cross. A decoration of some sort may be painted
on the canoe or worked with raffia.
Work for the older children may take the form of boxes or scrapbaskets.
For the box, cut two disks of bark, three and three-fourth
inches and one three and one-half inches in diameter, one strip two by
twelve inches, and one strip one-half by ten and one-half inches.
Punch a row of small holes on both edges of the widest strip, about
one-quarter of an inch from the edge and one-half inch apart, and at
one end make two rows of holes alternating them. On the edge of the
narrow strip put one row of holes, and four at one end. On the disks
punch a row the same distance from the edge and spaced in the same
way. On one of the larger disks put a second row just inside of the first
row punched. This is for the under side of the cover and is to have the
narrow strip laced to it to form an edge, which holds the cover on the
box. It is now ready to put together. Lap the widest strip one inch, and
sew it with raffia, using a herringbone-stitch. Fasten this to the bottom
of the box, i.e., the smaller disk, using a straight stitch connected by a
slanting one. This makes the sewing very strong, as each
stitch passes through the holes twice. The finish at the top is similar, a
thin piece of pliable wood or rattan being laid around on the inside of
the box, and held in place by the stitches. After working around the
top once, turn and come back, crossing each slanting stitch (see Fig.
99). A coil of sweet grass may be put around the top and bottom of
the box, and held in place by the stitches. For the cover, after lacing
the narrow strip to the disk with the two rows of holes, place the two
together and lace them around the outside edge in the same manner
as the top of the box. Make a small ring of raffia and fasten it to the
center of the cover. The birch-bark for these boxes must be of rather
heavy quality.
VI- Corn-Husk Hat
Materials. Square of brown paper. Corn-husks.
Take a square of paper the diameter of the hat desired,, fold it first in
half, then in quarters, forming a small square. Fold this on the
diagonal, and keep folding it in this way until the short side is on top.
Cut off the paper to the length of this short side. Measure down from
the point, one-sixth of the head size, and cut off. This will give the
brim for the hat. Cut a circle or disk for the top of the crown in the
same manner. These pieces and a straight piece for the side crown are
to be covered with the corn-husks. Cut the husks into one-inch strips
and point one end by folding the two corners to the center. Lay these
strips on the paper brim so that the points extend just beyond the
edge, and the strips overlap each other slightly at the outer edge;
bring them to the center, where they will lap considerably, and baste
to hold them in position. On the under side of the paper, the strips
may be wider, and the ends straight instead of pointed. Turn them
under and place them even with the outer edge of the paper; lap them
in the same way as on the upper side. Take the piece of paper for the
side crown and cover it with the husks in the same planner as the
upper brim, pointing one end of each strip and letting it extend about
one inch beyond the edge. The crown is made in the same manner,
the pieces meeting in the center, where the ends are covered with a
small circle of husk. After all the pieces are prepared, they are to be
stitched on the machine to hold them in place. Start in the center and
stitch around the crown, spacing the rows about three-eighths of an
inch apart. After the crown is stitched, put three or four rows on the
side crown. Then baste it to the brim, lapping the points the width that
they extend beyond the paper, stitch it in the same way as the crown.
Fasten the top of the crown and the side crown together by taking
several stitches between each point. Trim out the head size. These
hats are quite attractive when trimmed. If a machine is not available
for the finishing, some fancy stitch that will hold the husks in place
may be used.
VII- Corn-Husk Baskets
In some localities where corn-husks are very plentiful, they may be
used for baskets in place of raffia. The coiled basket described in
Chapter III works out very well with the husks, which may be split and
used for the sewing also. Several pieces are laid together and are
wrapped with an extra piece to form a coil. The short length of the
husk necessitates frequent piecing; always lap them with the small
end over the large one. To piece them for sewing tie them together
with an overhand knot.
Plate XVI, No. 8, shows a basket where the spokes are of rattan and
the weavers are of coiled corn-husks. Take eight pieces of No. 3
rattan, sixteen inches long, and one, nine inches long. Cross them four
and four in the center, and add the extra spoke either at the corner or
in the center of one side. Tie in place with a strand of raffia. Have
ready a coil of the husks about six yards long, and use it as a weaver,
passing it over and under one spoke each time. When the mat is about
four and one-half inches in diameter, bend the spokes up at the sides
and continue with the weaving until the sides are about one and onehalf
inches high. Cut off the coil and tie the ends to keep them from
unwinding. Take a weaver of No. 2 rattan, double it in the center and
make several rows of paired weaving (see Fig. 14) around the top of
the basket. Cut off the ends and work them into the weaving. Finish
the top with the following border, after the spokes have been soaked
to make them pliable. Place each spoke in succession back of the next
one to the right, in front of the next, and back of the next to the inside
of the basket. The last two spokes will be worked through the loops
formed by the first ones. After the border is dry, trim the ends of the
spokes to within one-half inch of the border.
VIII- Grass and Hemp Baskets
The most artistic use we can make of the materials that Nature offers
to us, is the grass basket sewed with hemp. These baskets are by far
the most difficult to execute of any that have been thus far described,
but are so charming when finished that they repay one for the time
and labor they demand. Hemp in its natural color may be bought at
any cordage company. It is a fiber which takes the dye easily, and
artistic colors may be obtained by the use of vegetable dyes. To
prepare it, divide it into hanks about as large as the wrist, and wrap it
in coils. It can be dampened before putting it in the dye, but it does
not need to be put in a mordant. To dry it, loosen the coil and hang it
up; after drying, it is best to coil it again, as it is a delicate fiber and
apt to become tangled and easily broken.
The grasses for these baskets should be gathered in the early part of
the summer, before they blossom; long, pliable leaves are the best for
the purpose. They should be thoroughly dried in a shady place as the
sun will take out some of the charming color. Grasses which grow in
swampy land will be found excellent for this purpose. Rushes, flag, and
the broad leaves of the prairie grasses may also be used. The stiff
grass which comes up the last of August, after the hay has been cut,
and which turns a soft brown with the first frost, makes a nice
variation in color. It is also good to use for filling, as it is very firm.
Rye straw sewed with yellow or green hemp is very artistic. The cornhusks
which are used to make a pattern in the baskets, may be found
in many colors yellow, red, and a reddish brown.
As the hemp is rather difficult for a beginner to manage, it is best to
sew the first basket made with raffia, using the hemp for the center,
and putting in the grasses around the edge for a finish.
Take a bunch of hemp about as large as the little finger (in dividing
the hemp always try to divide it where it separates naturally, and take
hold of it near the center, pulling it both ways), wrap the large end five
times with raffia of a contrasting color which has been threaded into a
large-eyed needle, spacing the wrappings about one-fourth of an inch
apart. Coil in a small circle and take one stitch through to hold it. Then
begin sewing the long end of the hemp down, taking a stitch in each of
the first five wrappings. The hemp is held in the left hand with the
thumb and second finger, the first finger being left free to hold each
stitch in place while the
raffia is being drawn through the coil; the long end of the hemp must
not be held by the hand, but be left loosely hanging to the left (see
Fig. 100). Each stitch is taken through the coil, the needle being put in
from the back toward the worker, and so that it passes under the
stitch in the last coil; before this stitch is pulled through, place it at the
desired angle, and hold it firmly with the first finger. This forms the
swirls. When the stitches get too far apart, new ones are added halfway
in the spaces. Do not have the stitches too close together, as it
will spoil the effect. Each stitch must be pulled tight before the next
one is put in, for upon this depends the beauty of the basket. As the
hemp becomes thin, another bunch may be added by separating the
old one and hiding the new ends between. Continue sewing until the
bottom is about three and one-half inches in diameter. Cut off the
ends of the hemp to within two and one-half or three inches of the last
stitch. Take a bunch of long green grass, about the same size as the
hemp, arrange it so that all the large ends are together and,
separating the hemp as before, hide the ends. Take one or two
stitches over both grass and hemp, and then gradually work the latter
to the wrong side of the basket, where it is cut off. In working with the
grass, the coil must be kept fullthis means adding grass frequently,
always working toward the small end and hiding the new large ends by
placing them in the center of the old ones.
When the bottom of the basket is large enough, begin building it up on
the sides. The same principle applies here as in coiled basket described
in the chapter on Raffia; the angle at which the coils are laid on one
another determines
the shape. The grass being stiffer than the raffia, it will be necessary
to shape it somewhat with the hands. In order to finish the basket at
the top, cut out some of the grass and lap the ends down on the
outside, sewing them firmly. This way of building up the sides is only
used where the inside of the basket is the right side.
In shaping a basket, where the sides are to curve out and then be
brought in, a different principle is used. When ready to turn it up,
bring the material with which you are sewing under the coil and turn
the basket around so that the grass extends toward the right instead
of the left. Place the needle through each stitch in the same direction
you have been working (see Fig. 101); this will change the slant of the
stitch but will bring the right side of the basket toward the worker.
A basket started with grass and sewed with hemp is more difficult to
manage on account of the quality of the hemp. This must be divided
into needlefuls before beginning to sew. Tie up each one separately,
and place them in some convenient spot where they will not become
tangled with the grass. A sail needle is the best to use, and each
needleful should be large enough to pass through the eye easily. Take
away all the short pieces, as they will only bother later, and thread in
the needle from the large end; if slightly dampened the hemp will work
better. To piece the hemp use a weaver's knot (see Plate I, No. 9) and
tie close to the last stitch. Follow the directions for sewing with the
raffia, being sure to hold each stitch down carefully with the first finger
while pulling the hemp through. Keep the coil of grass full, i.e., about
the size of the finger. When the bottom is large enough bring the
hemp under the coil to the outside, and continue sewing, building the
coils on top of one another. ' Better effects may be gained by using
heavier grasses for the upper part of the basket. Keep the grasses
parallel to each other, and do not let them twist.
It is well to make a design for the shape before beginning to work; any
pottery form will answer nicely. Plate XVI, No. 10, shows a plaque or
tray where the corn-husk is put in to form a pattern; the center is
started the same as the foregoing basket. After working until tfre
center is about three inches in diameter, start the pattern in the
following manner: Tear the corn-husk into strips about one inch wide
by three inches long, fold the long edges in slightly toward the center.
Gather one end together and slip it under the coil of grass to the
wrong side, close to the last stitch. Wrap the long end over the grass
and take two or three stitches, gradually working the other end over to
the wrong side of the basket; this should make both ends on the slant
(see Fig. 102). When exactly opposite where the first piece of husk
was put in, insert a second one in the same way, and sew it down with
the same number of stitches. This starts the pattern, which may be
worked out in any form desired, increasing and decreasing the spaces
covered by the husk.
In piecing the grass, it is well to do so under the husk as it will show
less. Bands of different colored grasses may be worked in with very
good effect. In finishing a large plaque or basket insert a stitch
between each swirl for the outside row.

IX- Blue Prints of Grasses
Materials. Blue print paper. Printing frame. Grasses or ferns.
These prints are very easy to make and are exceedingly attractive.
Gather the grasses, leaves, or ferns, and place them in the printing
frame between the glass and the paper. Expose them for about ten
minutes, and then wash the print in cold water.
The children can make interesting books by mounting the prints on
one page, and writing a description of the grass or leaf on the opposite
side.
THE END