1.—KNITTING.

Plain knitting is but little noticed since knitting machines were invented. At present crochet work has taken its place, and fancy tatting. It will not be necessary for us to give any especial directions for these kinds of work, as nearly all our magazines give new directions in every number. But both crochet and tatting require eyesight. If a child is taught in early youth to knit well, all common knitting can be done without eyesight. We can think better if our hands are employed on plain knitting. If our eyes have been overtasked, and cannot bear the light, we can knit in the dark. We always keep some common knitting, such as strips for a blanket, or stockings for the poor, on hand; and it is astonishing the amount of work accomplished in this way, as we can knit, if a neighbor calls, for it does not prevent our conversing freely, also we can knit and read.

We earnestly advise our young readers to learn to knit. Many persons in the present era are afflicted with weak eyes, and dislike to be idle; the knowledge of knitting would be a pleasure, also of netting, as that requires less eyesight than other branches of work. We will give the directions for knitting a few fancy articles, also the directions for knitting a common stocking, so that our young girls can knit substantial stockings for the poor. During the last war, when our young ladies were called upon to knit stockings, how few knew how! So many, who earnestly desiring to do their part, were obliged to learn the rudiments of knitting!

2.—HOW TO KNIT A STOCKING.

First select four smooth steel needles of a size suitable for the woollen or cotton yarn you intend to use. If you cannot tell yourself, the person of whom you purchase your yarn can select suitable needles. Your stitches should be cast on with double yarn. Knitting them on is preferable; first form a loop on one needle, then by knitting that loop with another needle, the required stitches can be formed. Some persons prefer a little elastic roll at the top; this is formed by knitting eight or ten rows round plain, then turn directly back and knit on the wrong side a few times.

But the most common mode is purl every two stitches. This is done by knitting two stitches and purling two. It is well to continue this for a gentleman’s stocking or a boy’s all the way to the heel, as they cling better to the leg, or purl two and knit two for a half a finger, then knit a finger and a half plain, and end the leg part by purling two and two again at the ankle for an inch. If the stocking is for a lady, after knitting four or five inches from the top (the first inch being purled every two stitches), the narrowing should be commenced. In plain knitting, one needle is called the seam needle, for the centre stitch should be purled, and one must be taken to purl that same stitch the whole length of the leg. The narrowing of the leg should be done on each side of the seam stitch. Then knit five or six rows before narrowing again. The leg should be narrowed thus seven or eight times to form a good shaped leg.

No rules for length, or the number of stitches to be cast on a needle, can be given, as nearly every person differs in size. The only sure way is to measure by some old stocking. The heel must contain just half the stitches in the whole stocking. Take off the stitches, for the heel, on to one needle. A long heel makes a better shaped stocking than a short one. When nearly done, narrow five or six times on each side of the purl; for, in taking off the stitches for the heel, the purl stitch must be in the centre of the heel needle. The heel is knit backwards and forwards like a garter, only it is purled all across on the wrong side. The narrowing must all be done on the plain knitting side. Some persons knit the heel with double yarn; others, on the purling side, slip a stitch and knit a stitch all across, and the next time the purling side is knit, slip the stitch you knit before. This makes a strong heel, almost equal to running a heel after it is knit. To bind off the heel, you must place half the stitches on one needle and half on another, then place them side by side, and knit two stitches together with a third needle, slip the first stitch knit with the third needle over the second stitch all across, never leaving but one stitch on the needle. Some finish the heel differently; they take just half the stitches of the heel in the middle of the needle, leaving a quarter on one side and a quarter on the other, and only knit the middle, but each time take up one stitch from the side, and narrow it with one on the middle, until all the stitches on the side are gone.

The foot is formed by taking up the loops on each side of the heel (these loops are formed in knitting the heel, by always slipping the first stitch, as in a garter). In knitting round the first time, it is necessary to widen on the heel every third stitch, by taking up an additional loop. It should then be narrowed on the corner of the side needles, by narrowing two together of the four last stitches on the first needle, then on the other side needle knit two plain, slip a stitch and knit a stitch, and put the slipped stitch over the knitted stitch, until the foot is small enough. After the first few times around, it shapes the instep better to narrow, then knit around without slipping and binding. The next time knit past the narrowing side plain, and slip and bind, therefore the size is only lessened one stitch every row, forming a long gore. The toe is formed by narrowing at the beginning and end of each needle; first knit two plain and narrow, then leave four at the end of the needle, narrow the first two, and knit the other two plain; before narrowing, see that the stitches on each needle number the same. Knit around three times plain, then narrow as directed. Knit three plain rounds between the narrowing three times. Then knit twice around plain, three times between the narrowing; then once, then narrow every time till there are only four stitches; break off your yarn, leaving sufficient to draw through the four stitches, and with a darning needle fasten it strong.

Another way to narrow a toe off, is to narrow every seven stitches when you begin the toe; knit seven times around, and narrow every six stitches; knit six rows and narrow every five stitches; knit five rows and narrow every four stitches, so on to the end.

3.—BABY’S KNITTED JACKET.

Cast on two hundred stitches on good sized steel needles, knit quarter stitch eleven purls, that is twenty-two times across; then, with colored split worsted, knit three purls, then narrow every time, putting the worsted twice over the needle each time to make holes; knit three purls, then commence with the white worsted; knit fourteen purls; divide the stitches into three parts, fifty on each side, one hundred in the middle. Commence with the middle, knit twenty-two purls, then narrow each side of the needle every other time, making twenty-two purls, bind off. Knit the fronts the same way, narrowing only on one side.

SLEEVES.

Cast on sixty-five stitches, knit thirty-six purls, narrowing each side of the needle every eighth purl; knit three purls with color, make holes, then three more purls, bind off fifty-four stitches, then sew up the shoulders, take up the stitches round the neck, knit the same with the colored worsted, as the border on the sleeves, take up stitches down each side of the front, knit the same border, only have one purl before making the holes, then knit two purls.

BORDER.

Cast on eighteen stitches, and knit the same as border for blanket, making seven holes instead of four. Split worsted is preferable.

4.—BABY’S BLANKET.

Commence with thirty stitches on a needle, and knit Brioche stitch. Knit till you can count twenty-four loops, then change the color (the stitch to be knit, is slip a stitch, put thread in front and narrow, all across, on both sides the same). You must always join the color on the same side, and have a colored square in each corner of your blanket. Knit seven squares in each strip, and seven strips form the inside of the blanket.

5.—BORDER TO BLANKET.

Cast on ten stitches, knit two plain, put your worsted in front and narrow all the rest, but knit the last stitch plain; that is, put your thread in front and narrow two together, till there are two left; then put your thread in front and knit one stitch; then the last one plain; knit back plain; then knit three stitches, and the same as before, only add a stitch every other time across, till you have nineteen stitches; then knit twice plain, and knit eight, and narrow; then put your thread in front and narrow four times; knit last stitch plain always, knit back always plain; decrease one every other time till you have ten, then knit a plain row to join your other color. All the scallops are knit the same, and it needs thirty-two blocks of edging to go round the blanket. The colored point of each corner must be gathered up to the point close, thus making the white come on each side of the colored square.

It takes eight ounces of common zephyr worsted, four ounces of each color.

This enlarged, makes very handsome carriage blankets, with a palm leaf worked in each square; but instead of a knitted border, it is better to tie in a heavy fringe of worsted.

6.—KNITTED BED-QUILTS.

This requires a whole box of the red and white Saxony yarn.

This should be knit with the finest ivory needles. Cast on forty stitches. Knit the stripes garter stitch; that is, knit backwards and forwards plain knitting, slipping always the first stitch on the needle. Knitting it thus, it makes every other time across look like purling. The stripes must be four hundred purls in length; it needs eleven stripes, red and white alternately. These stripes must be sewed together, and the ends finished off with a fringe, or knit a border. The directions given for the border to the first baby’s blanket, knit it broader by knitting six or seven stitches plain before you widen or narrow to make holes.

A “couvre-pied” can be knit in the same manner, only knit the stripes three hundred and ten purls in length.

7.—BABY’S BLANKET.

A beautiful blanket can be knit with stripes, alternating pink and white. Knit plain garter stitch, each stripe a yard long; the white stripes should be the narrowest, eighteen stitches for the white and twenty-two for the pink. When finished, then work in the white stripes, a pink rose-bud and a green leaf, as small as possible, then sew all together, making the blanket a square yard.

BORDER.

Cast on sixteen stitches.

First row. Knit three, turn over twice, purl two together, knit two, turn over twice, knit two together, turn over twice, knit two together, knit five.

Second row. Knit seven, purl one, knit two, purl one, knit two, turn over twice, purl two together, knit three.

Third row. Knit three, turn over twice, purl two together, knit thirteen.

Fourth row. Knit thirteen, turn over twice, purl two together, knit three.

Fifth row. Knit three, turn over twice, purl two together, knit two, turn over twice, knit two together, turn over twice, knit two together, turn over twice, knit two together, knit five.

Sixth row. Knit seven, purl one, knit two, purl one, knit three, purl one, knit two, turn over twice, purl two together, knit three.

Seventh row. Knit three, turn over twice, purl two together, knit six, turn.

Eighth row. Cast off five, knit ten, turn over twice, purl two together, knit three.

8.—SOFA CUSHION.

Cast by knitting sixteen stitches, knit plain four rows like a garter, knit eight stitches, turn and purl four, knitting heel stitch (that is, plain in front, and purl on the back side), ten times on the four stitches. Then slip the four stitches from the needle while you take up the next four, then return them again and knit the remaining four, turn and knit twelve stitches, then take up the last loop on the roll, and narrow it off with the first stitch of the last four, then knit the last three plain. Then knit four rows plain (which makes three rows of purling on the right side between each roll). Now commence another roll, same as before. It takes seven ounces of tapestry worsted, or double zephyr, one ounce to a stripe. Be careful and select colors that will harmonize together.

9.—TABLE MATS.

Table mats, made of coarse white tidy yarn—with the plain crochet stitch and a scallop border—are easily worked, and do not strain the eyes.

10.—CARRIAGE OR BED-ROOM MAT.

A very pretty carriage or bed-room mat may be made in knitting. Collect as much flannel list, or flannel and woollen cloth as you can; cut it into short lengths, and knit a few rows, for a foundation, in twine. Then take a piece of list, put it across the string, and knit it in tightly; knit the pieces of list in this way all across; then knit a row plain; then knit in a row with the list. If you knit an edge of scarlet flannel, say six rows first, and six stitches at the beginning and end of each row, of pieces of the scarlet, and six rows of scarlet at the ending, your mat will be improved, particularly if the centre is knit entirely of gray list, as the gray and scarlet are very effective. When completed, line it with a nice coarse brown cloth. Pretty mats can be knit entirely of old pieces of cloth of any kind, by cutting it in narrow strips and sewing each strip together; knit it with large needles either in strips or squares, and sew them firmly together; take your pieces at odd times and strip them up, and as you sew them together, roll them into balls ready for knitting, then arrange your colors to harmonize together.

11.—KNITTED MOSS.

Cast on about fifty stitches of light green Berlin wool; slip a stitch on your needle without knitting, and knit the next row. Continue the same until you have finished two skeins of wool, taking care never to knit the first stitch of each line. Then knit on it, in the same manner, two skeins of the next shade darker of color, and continue in the same manner until you have knitted up five shades of green; join on a rich brown, and a faded moss-colored wool, and then cast off. Wet your knitting through with clear water, then dry it over a furnace register, or cover it with a paper or cloth, and press it with a hot iron. Let it remain for a few hours untouched, then unfasten the last stitch, and pull it out. It will unravel easily, from the first stitch of each row not having been knitted, and you will have a good curling imitation of moss to sew on to baskets or for borders of mats.

12.—PLAIN NEEDLE-WORK, AND USEFUL HINTS FOR YOUNG LADIES.

Our young ladies formerly were educated thoroughly in needle-work. Plain sewing was taught in the primary schools; but, alas! these times seem past; it is rare to find a little girl of even ten years old who can hem a pocket-handkerchief well. The children of our mechanics grow up with but little knowledge of useful work. Their mothers, with mistaken love, mend, dress, and make their wearing apparel. Often they marry wholly ignorant of the accomplishments necessary for a true wife and helpmeet—that is, the knowledge of housekeeping, plain sewing, and cutting out the simplest garment.

Who is to blame for this? The excuse of many a hard-working mother is, “I have not had time to teach my daughters;” and of our ladies of wealth, “I did not suppose my daughters would ever be poor, or require such knowledge!”

It is a very great pity sewing is not taught in our common schools. It is quite as important to our girls as reading, writing, spelling, &c. There is no country in the world where a practical education is so necessary as in ours, the fluctuations of fortune are so great. The rich man of to-day may be the poor man of to-morrow. Therefore every boy and girl in the land should have a useful and practical education. Our girls especially, rich or poor, need a knowledge of practical housekeeping; it is not possible for any lady to be a good housekeeper unless she knows how things should be done herself, as a trained servant in our free country is rarely found.

Plain sewing is also very important to be learned in early youth. In these days of machinery much of the old plain work is done by the swift needle of the sewing machine, rather than by hand; and it is expected, by and by, that hemming, stitching, over-hand work, and gathering will be as much forgotten as the old tambour stitch and embroidery of our ancestors. But we maintain that a person to work well on a machine should first be taught to sew well, and it is quite possible work may be required when no machine is to be hired. If young ladies are always able to hire their sewing, it may be pleasant to work for the poor. We hope our young readers may be induced, of their own desire, to become good sempstresses. If any one reading this book is induced to obtain practical knowledge on the subject, we shall feel repaid, and we would gladly hear from them. We will now give a few directions as an assistance, at the same time begging our young readers to remember that one lesson from a good sempstress is worth a dozen pages of print.

A hem should be, generally, narrow and very even; if it is to be wide, cut a measure the desired width, and be careful to have it exact; the stitches should be taken through, but so small as to be nearly invisible. A hem on clear muslin will look neater if it is finely run like the seam of a dress.

In over-hand sewing the stitches should be taken on the edge of the two sides, and should lay quite close to each other, so as to look like purling.

In stitching you should only take up two threads, both behind and before the needle.

Gathering is done on the needle, two threads taken up and four left, and the line should be kept very straight by a thread, if possible. The gathers, when finished, are drawn very tightly together on the thread, and stroked down smoothly with a strong needle or pin.

Darning is done by taking every other thread (in a stocking), and leaving a long loop at the end of each line. The darn is crossed by taking every other thread alternately, each way. It used to be called “weaving.” If muslin is to be darned, it is better to use ravellings of the same instead of thread.

Should you have a rent in a dress to repair, use ravellings of the same material; they are easily to be obtained from the turning in of the top of the skirt, if you have no pieces; but generally some are left by the dressmaker, and should be kept for such accidents. In mending by piecing, be careful that you do it very neatly; match stripes or patterns on the material artfully, and you will have the triumph of preventing the defacement of your dress.

Learn how to make and trim a bonnet, or make a graceful bow of ribbon. Young ladies of small means, who are ingenious and tasteful, often present a better appearance by making things for themselves, than those who, without taste or neatness, spend large sums at the milliners’. We advise you to try and make your own dresses.

In order to do this, rip up an old dress that fits you; lay the several portions of the body on a large sheet of brown paper, with the turnings turned in; trace the pattern carefully with a black pencil; then draw a line round the whole, including the turnings-in, and cut it out. Pin this pattern on your material, and cut out the dress, taking care that you do not get two fronts for the same side, if there is a right and wrong surface to it. To prevent the possibility of this mistake, it is well to fold the material and cut both at once. The same may be said with regard to the side bodies. Greater skill is required to put the skirt into a band, than in making a body, in order that it may hang gracefully; but as fashions change continually, we can only advise you to get a good pattern to copy from, and care and patience will insure you success. If your means render it unnecessary or not expedient for you to make your own dresses, you will find it pleasant to be able to make up the cotton dress you destine for some poor neighbor, whose want of time for needle-work will render her as much obliged for the labor bestowed, as for the material itself. Making clothes for poor children is active charity.

We know of a young lady so naturally industrious, that at the age of six years, she made entirely every part of a day shirt for her father. It is not as likely, at the present day, that your labors will be required for shirt-making for your male relatives; they generally prefer buying their linen ready made. Every woman ought to know how to put one together.

Any child or young lady who can make a shirt well, can easily manufacture all female undergarments; patterns for cutting out will be all that will be required. Both cotton and linen cloth should be scalded in soap-suds, dried and pressed without rinsing, before you work on them, in order to render them soft enough for the needle to pass through easily. But should you be unable to have this done, rub the parts you are going to sew or hem with a cake of white soap, or make a strong suds and brush the parts. Your needle will move easily, and will run no risk of breaking.

We advise young ladies who have the care of their own linen, and perhaps have their own allowance for dress, to take a few hours on one fixed day, weekly, to look over their clothes, and make any small repairs that may be wanted. They will find the truth of the old adage,—“A stitch in time saves nine,”—and will make their linen last as long again as it would otherwise do. Gloves should be neatly mended, and no rip suffered to remain a day. White and light-colored gloves can be nicely cleaned by rubbing them with a flannel dipped in milk and white hard soap. When dry they will need to be pulled till they are soft and in shape.

Cultivate, we beseech of you, habits of neatness in early youth. Dresses should never be put away dirty, or with spots that can be removed, or thrown down in a heap. Benzine or chloroform will remove nearly all kinds of spots, but it must be quickly rubbed dry, or it will leave a spot. Wax spots from candles can be removed from any material by placing over the spot some brown or blotting paper, and place over it an iron sufficiently hot to melt the grease; change the paper until all the grease is thus absorbed.

Our young readers may be assured that the little care bestowed on keeping their garments neat, clean, and whole, will give to their appearance that air of freshness which in itself is a charm, and will prove the truest economy. Moreover, the power of using the needle skilfully will give good manipulation for other and more artistic employments, and can never be aught but a blessing to the American girl.

13.—EMBROIDERY IN SPANGLES AND CANNETILLE.

Bullion, which is a large gold wire, of which officers’ epaulets are made, frisure, a smaller bullion, clanquant, which is a flat gold ribbon, are all classed under the denomination of cannetille. Leaf-shaped spangles are called laine.

Stretch the velvet, cloth, or silk which you intend to embroider in a frame, and tack over it your pattern, which must be nicely drawn on silver paper. Suppose your pattern is a wreath of grape-vine leaves and grapes; you must put bullion on for the centre stem. This is done by running a needle and thread through the tube, and fastening it with an occasional (strongly sewn) stitch or two. Take the smaller bullion, or frisure, for the outlines of the leaves and tendrils, fastening it on in the same manner as the large bullion; vein the leaves with fine gold thread.

Make your grapes of large spangles, and purple or green glass beads, thus: Pass your needle through the velvet from underneath, take a spangle on it, then take a purple bead; pass your needle again through the spangle and back through the velvet. Then begin another grape in the same way, and fasten carefully off when your silk is used up. A wreath of grapes and holly (the holly berries red beads) round the edge of a table cover would look very nice. The cover should be of dark cloth, and edged with gold cord all around.

14.—EMBROIDERY IN LAMÉ OF VELVET AND GOLD.

Fix your material in a frame. Tack over it your pattern drawn on silver paper, or sketch it lightly on the surface of the cloth or silk.

Work your stems and tendrils in frisure, your berries or little flowers in spangles.

You can purchase stamped velvet leaves, which you must fasten with strong gum to your velvet or silk, and then keep them firm by veining them with gold thread.

Petals of flowers may be cut out of colored velvet, and arranged on the cloth or velvet, if the young needlewoman has sufficient taste to form a flower.

The work may be done entirely of cachemire and gold on cloth, if a more expensive material is beyond the worker’s means.

15.—EMBROIDERY IN FEATHERS.

Stretch your material for the ground on a frame. Cover the back or under side of your feathers with thin gum, to keep the tiny plumage together, and let them dry. Take a sharp pair of scissors, and cut the feathers into the shape of the petals you require; lay them separately on your pattern, and tack them firmly on the silk or cloth with sewing silk of the same color. Work stems, tendrils, and centres with silk of the color required. Of course you must arrange your petals or leaves according to your pattern.

Any white feathers dyed are suitable for this work.

16.—CORK WORK.

Very beautiful articles can be made by ingenious boys and girls, from cork bark. Those of our readers who have only seen cork work in the shape of common bottle corks, will not be attracted by the title of this chapter. But all who have seen, either at home or abroad, the exquisite models of castles, old ruins, churches, and many other picturesque objects, made entirely from this material, will welcome a few simple directions for this work.

We will first speak of the cork bark, as it may not be generally known that cork is not indigenous, but is the soft, elastic bark of a species of oak tree, that grows abundantly in the northern part of France, Spain, and Italy. When the tree is fifteen years old the barking is commenced, and is repeated at intervals of eight years, the bark improving with every operation. The cork is stripped from the tree in July and August; it is then piled up in water under heavy stones, to flatten it, after which it is fire dried, and packed in bales for exportation. The cork cutters divide the sheets of cork in narrow strips, and after cutting them the proper length, round them with a thin, sharp-bladed knife into a cylindrical form. The cork tree and uses of its bark were known to the Greeks and Romans.

Cork bark can be obtained at any of the numerous cork factories; it is not expensive, and the refuse bark can be used in making many pretty models.

The beginner should select the simplest subjects for his first work, such as a rustic cottage, bridge, or simple ruins.

When a certain amount of proficiency has been attained, it will be easy to advance to higher themes, until the most elaborate designs may be attempted without fear of failure.

In this art, models or pictures, with some description of the proportions, are sufficient guides.

In this work no tools are required except a sharp penknife and a glue-pot.

The walls of buildings must be cut from the cork block. The proper thickness for the cork used in making walls is about one half, or even one quarter of an inch, and the smoothest cork should always be selected for this work.

When the required size has been obtained, square it smoothly to the shape called for, making the two side walls exactly alike. Next mark with a black lead pencil the shapes of the windows, doors, &c. Then cut the windows with a penknife, making the opening smaller on the inner side, but slanting outwardly, especially in the sill the slope is very considerable, and in gothic windows should never be flat or square. The waste and refuse pieces of common cork will all be of use in making the trimmings and ornamental work. For the mouldings around the windows, cut small rims of cork, like your model, and glue them on at proper distances from the outer edges. Thin sheets of mica glued on the inside of the windows, are excellent substitutes for glass; the appearance of stained glass can be given by gumming paper of the color you desire to represent, on the inside, over the mica. All ornaments can be formed of tiny shavings of cork. The gables, doors, &c., are prepared as the model may require. The most suitable base, on which to glue your building, is a board covered with green cloth or baize. The four walls can now be glued together and placed on the green cloth board. If not firm, small splints of wood, shaved so as to fit into the inner corners, will strengthen the edifice. The roof comes next, and can be made of smooth seasoned wood, about a sixteenth of an inch thick.

Cut the board large enough to extend well over the edges, so as to form eaves; glue one side firmly along the gable ends, then fit the peak of the other side. A roof with a high pitch adds much to the tasteful appearance of a rustic church. If there is to be a steeple, or spire, the tower, or base of the building should be formed of small pieces, cut so as to fit the slopes of the roof, and built as a mason joins bricks or square blocks in a wall. When the base is formed square and flat on top, the tapering spire should start from this foundation, with a round, or eight-sided piece of cork, whose four opposite sides are exactly the size of the square base on which it is to be glued; on this place another cork a trifle smaller; this in turn will be covered with another still less; so on until it tapers to a point.

Common bottle corks, of various sizes, are best to use for spires and columns.

The best way to make spires or columns, is to glue them in proper shape separately from the building; when all are joined, shave them carefully, so as to form the proper slope for the spire, and the columns can be cut with a knife to imitate fluted sides, or in any desirable way. When they are finished, glue them in the proper place on your buildings.

The outside ornaments, such as a cross or vane for the point of the spire, the caps of the columns, the buttresses, eaves, moulding around the doors, porches over the entrance, cornices, &c., may now be added. The roof may be colored with a little vandyke brown or burned umber, mixed either in turpentine or oil; a single coat will be sufficient, and if a rough appearance is desired, dust some fine sand over it before the paint is dry.

If you glue moss on to the base board, it adds to the natural appearance of the building. If you design to represent a ruin, or Gothic church, a little green moss, neatly gummed on to represent ivy and other creeping vines, is an improvement. Time adds grace to all ruins, by its moss and vines, planted by divine Providence.

Landscapes, in the picture style, are often designed with cork; the finest shavings of cork can be used to cut into shapes to represent a castle, a light-house with rocks near by, a bridge, or whatever else may be selected to form the design. Some idea of perspective drawing will be necessary in this work; the object should be arranged and fastened with gum arabic on to a piece of white card-board, and the sky slightly tinted in water-colors for a back ground. Irregular edges increase the resemblance to distant hills, and sharp edges of thicker cork represent the objects in the foreground.

There is no attempt to imitate nature in the variety of color, for the picture wears the sombre shade of cork, but the general effect is pleasing; the light background, seen through the thin shavings of cork, give a good idea of brown autumnal forests.

Crosses to train ivy on can be made of cork.

We trust our readers will be induced to try this cork work. It is often difficult to know what to make for fairs or for Christmas presents. This work in our country is rarely seen, and it would sell well, or prove a pretty present, if neatly done; but, like all things worth doing, it requires time, practice, and patience to insure perfect success.

17.—BLACK LANDSCAPE.

Pass a card, or a piece of card-board, through the smoke of a candle till it is quite black.

Then take a penknife and scratch upon it any landscape or design you please.

Moonlight scenery is very effective in this way. In case of lack of pencils, &c., this is not a bad way of sketching a scene one desires to remember.

18.—VEGETABLE FLOWERS.

Boys and girls who live in the country will find it a pleasant winter evening pastime to make a bouquet of vegetable flowers.

First gather from the woods laurel leaves and other evergreens. Then by the exercise of taste, ingenuity, and a skilful use of the penknife, really beautiful bouquets can be compiled of these flowers, with the addition of sprigs of evergreen. White turnips, yellow turnips, beets, carrots, pumpkins, and portions of cabbages, can be used for the flowers.

Take a white turnip, neatly peeled, notched exactly down in leaf shape all round. Then fasten to a stem whittled from wood. Surround it with green leaves, and behold either an exquisite white camellia or a rose! Moss rose buds can be made by cutting turnips or beets into the proper shape, and placing real moss around them. Red roses, camellias, or dahlias can be made in the same way from beets. Yellow flowers from carrots and pumpkins. White or red flowers from white and red cabbages.

Beautify your houses, however poor or humble your lot; a bare, comfortless room does not excite home love.

19.—ORNAMENTAL SEED WORK.

We have seen exhibited at agricultural fairs some really beautiful frames and boxes ornamented with common garden seeds.

If our boys and girls will begin early in the summer, and collect every variety of seed possible, such as all kinds of beans, corn, melons, &c., they will have abundant material for this kind of ornamental work in the winter.

Every seed of size sufficient for handling should be saved; even small polished black or yellow seeds, like poppy seed, can be preserved to scatter over the ground-work. Dry all the seeds carefully, and place them in boxes ready for use. This work can be applied with excellent effect in ornamenting boxes, picture frames, hanging baskets, book racks, flower stands, small tables, brackets, &c. Get the frame of wood, of any article you intend to ornament with seed work; stain the wood with walnut staining materials, or varnish with asphaltum varnish. It is not desirable to have a high polish on the surface intended to be ornamented, as the glue will not adhere to a very smooth substance. Keep your woodwork in some dry place, until you are ready to glue on the seeds.

When you have a leisure day or evening, place your frame of wood before you, and the boxes of seeds around it. When your glue is hot, spread a little over a small space with a brush, and arrange your seeds in the form of some flower or other figure.

It is difficult to give explicit rules for the work. It is best for each person to exercise his or her taste and ingenuity in arranging the designs. As the work proceeds, an endless variety of shapes and styles of designs will suggest themselves.

An accurate resemblance to nature is not easily attainable in this kind of work.

When all the ornamental work is arranged, the small spaces left uncovered should be brushed over with a thin coat of varnish, and sprinkled with any small seeds. Black seeds are very desirable, as they form a good ground-work, and afford a proper relief to the designs. When the glue has become hard, apply to the whole work an even coat of copal varnish. If this is not sufficient, apply another coat; it is needed, as some seeds absorb more than others.

20.—HOW TO IMPRESS LEAVES ON VELVET.

This work is very easy and very pretty, requiring only great nicety and care, and some taste. Take a piece of white cotton velvet (such as undertakers use as a lining to burial caskets), white jean, or white linen, or fine, thin muslin; cut it out in the form of a tidy, mat, or whatever you wish to make. Then pin upon it carefully, with very minute pins, Ferns, Maiden’s Hair, or any graceful leaf, in the form of a wreath or bouquet.

Mix plenty of India ink the depth of color you require; take a fine comb and brush; dip the brush in the ink and pass it over the comb, thus splashing the ink all over your material until it is quite black. Let it dry thoroughly, and then unpin your flower; you will find its form left in white on the velvet or linen. Mark, with a fine brush, the veins and stems in it, and your work will be ready to make up as required.

All delicate leaves should be carefully pressed till dry before using them for this work.

21.—PAPER PILLOW.

Save all your scraps of writing paper, old notes of no use, old envelopes, old backs of notes, &c. Take a bag or some box to throw them in, instead of the fire or rag-bag, where they are usually placed. When a number has been collected, cut them into strips about half an inch wide or narrower, and two inches long; curl them wet by drawing them over the blade of an old penknife.

Make a pillow case of any material you have; fill it with your curled paper; mix with it a few shreds of old flannel.

Stuff it quite full, sew the end up, and cover it as you please. These pillows are invaluable in case of fevers, as they keep cool, and are cheap and good substitutes for feather pillows. If these pillows are not required for home use, our young ladies could make them for our hospitals, or the poor.

22.—IMITATION CARVED IVORY.

Take half an ounce of isinglass, boiled gently in half a pint of water, till dissolved; then strain it, and add flake white, finely powdered, till it is as white as cream.

Take any article you desire to look like ivory, such as a wooden box, stand, or card-case.

Give the article three or four coats of this solution, letting each dry before the other is laid on; then smooth it carefully with a bit of damp rag.

When the composition is perfectly dry, you can put on the imitation carved ivory figures, which are made as follows: Boil half a pound of best rice in one quart of water, till the grains are soft enough to bruise into a paste; when cold mix it with starch powder till you make it as stiff as dough; roll it out about as thick as a shilling. Cut it into pieces two inches square, and let it dry before a moderate fire. These cakes will keep many months, and be fit for use, if kept dry and free from dust.

When required for use, get a coarse cloth, make it thoroughly wet, then squeeze out the water and put it on a large dish four times double; place the rice cakes in rows between this damp cloth, and when sufficiently soft to knead into the consistency of new bread, make it into a small lump; if too wet, mix with it more starch powder, but it must be sufficiently kneaded to lose all appearance of this powder before you take the impression; to do which, you must procure some gutta percha half an inch thick, cut it into pieces about two inches square, and soften it in hot water; then get any real carved ivory you can, and take off the impression on your pieces of gutta percha, by pressing it carefully upon the carved ivory till a deep impression is taken.

When the moulds are quite dry and hard, and your paste in a proper state, with a camel’s hair brush lightly touch with sweet oil the inside of the mould you are going to use, and then press the rice paste into it; if the impression is quite correct on removing it, take a thin, sharp, small dinner knife and cut the paste smoothly, just so as to leave all the impression perfect; then with a sharp-pointed penknife smooth off all the rough edges, and with white cement place your figures on the box in large or small figures, just as your taste directs; the figures adhere better if put on before they are quite dry.

Sometimes, from frequent kneading, the paste gets discolored; these pieces should be set aside and used separately, as they can be painted in water colors to resemble tortoise shell or carved oak; this should be done after being fastened to the box.

Having completed your work, finish by varnishing it very carefully with ivory varnish, which should be almost colorless.

This design so nearly resembles carved ivory, that it has been mistaken for it when nicely done, and it is very strong if carefully cemented.

Cover boxes simply with the flake white solution, and then paint on them in water colors representations of flowers, varnishing when dry with colorless varnish. Such boxes are very easily made.

From the readiness with which the material can be obtained, this is an elegant amusement for all who are of an ingenious disposition.

23.—DIAPHANIE, OR STAINED GLASS.

This simple, but really beautiful invention, can easily be acquired by carefully reading the following directions, and by practice, the effect of gorgeous stained glass can be given to common window glass, with moderate expense. The materials required are plates of clear glass, free from specks or bubbles, designs, groundings, and borderings which are printed expressly for the purpose, and in transparent colors; a roller which is employed to press the paper closely on the glass, so as to remove the bubbles of air; transfer varnish, to fasten the prints upon the glass; clearing liquid, which is used after the paper has been removed, to render the work transparent and brilliant; the washable varnish, which protects the designs from damps, and renders them capable of being cleaned; and three camel’s hair brushes to apply the varnish, &c. There are three hundred sheets of designs published for this work, consisting of subjects, borderings, and groundings.

A window generally consists of parts of several sheets, as it should contain a medallion or subject, a border, and the whole of the remaining space filled up with grounding paper. Among some of the best subjects, we may mention “The Virgin and Child.” “The four Evangelists with architectural niches.” “The Adoration of the Magi, with architectural borders.” “St. Peter and St. Paul.” “The Annunciation.” “St. John the Baptist.” “St. Joseph.” “Mater Admirabilis.” “Adoration of the Magi.” “Boar hunt.” “Deer reposing.” “Two marine views.” “The Laborer’s Return.” “Winter scenes,” &c. For these suitable groundings and borderings must be selected according to the taste of the worker, who must, however, remember that the beauty of the work depends upon perfect harmony in coloring and design.

The materials being all collected, thoroughly cleanse and dry your sheet of glass, and lay it flat upon a folded cloth. Then cut out the medallion, or subject (unless the paper is to be applied in one piece), and fasten it to the glass by thoroughly damping it on the wrong side with a wet sponge, giving it a plentiful coating of transfer varnish on the printed side, laying it face downwards upon the glass, and firmly pressing it down with the roller, commencing at the centre, and gradually passing over the edges.

The border must be the next fixed. Then damp the printed side of the grounding paper, and lay it over; raise one end of the glass, so that the light passing through will enable you to see the position of the subject and border. Trace round them carefully with a pencil, remove the grounding paper, and cut it out a little within the line, so that the ground may slightly overlap the subject; give the coating of varnish, and apply it to the glass, as before described, pressing it down with the roller, so that no blisters are to be seen.

Take care to keep the back of the papers damp during this operation, and when it is finished wash them over with the sponge and water. It is well to interpose a piece of damp paper between the roller and the design, as this prevents the varnish adhering to it. The work now requires to be left for four-and-twenty hours, so that the varnish may become dry and hard; it is then ready for the next operation—rubbing off the paper. This is done by wetting and rubbing in a circular direction, with a sponge or the hand.

After this the work again must be allowed to dry; after which rub it with the hand so as to remove all loose particles, and give it a coating of the clearing liquid, which should be laid on with a flat brush. After again remaining for a day to harden, the washable varnish is applied, and the work is completed.

If these directions are carefully followed, a perfect transparency will be produced, which it will require an experienced eye to detect from real stained glass.

Transparencies in thin silk or muslin can be made by tightly stretching the material on to a frame. The designs are then subjected to two coatings of the clearing liquid applied on the wrong side, and when dry, one of the transfer varnish to the colored side. This is then well pressed down by the roller. When quite dry, if the picture appear at all cloudy, it will be necessary to apply the clearing liquid again, then varnish, and the transparency is finished. Be careful, however, not to remove the work from the frame until perfectly dry. This work is especially adapted for hall windows, by the side of the front door, or in the door.

We have seen beautiful specimens of this work done by a twelve-year-old miss.

24.—PAINTING ON GLASS.

Some of the works which profess to teach the art of painting on glass, contain directions for staining large windows in churches and halls; others merely give the process of producing the more common paintings, such as are carried about the streets for sale. These seem to have been much in vogue about a century since, as all the “Young Artists’ Assistants” of that day contain the mode of painting them. They direct us to fix a mezzotinto print upon the back of a sheet of glass, and to remove the paper by wetting and rubbing, leaving the impression of the print, which is afterwards to be painted in broadwashes, the ink of the print giving the shadows. The picture being then turned over, the glazed side becomes the front, and the colors first laid on, are, of course, nearest the eye. This mode of painting resembles the style of Grecian painting, that being painted from the back, and the shading is the ink of the engraving.

The methods by which glass is stained are scientific; they require some knowledge of chemistry, and such apparatus as must preclude the practice of this branch of art as an amusement. It may be interesting, however, to know something of the process. The glass being at first colorless, a drawing is made upon it, and the painting is laid on with mineral substances, the vehicle being a volatile oil, which soon evaporates. The sheets of glass are then exposed to a powerful heat, until they are so far melted that they receive the colors into their own substances. Enamel painting is done on the same principle. This is a time of great anxiety to the artist, as with all possible care valuable paintings, both in glass and enamel, are frequently spoiled in the proving, or vitrification. The art seems to have been lost during several centuries; but it has of late been successfully revived; and large windows have been executed for churches and Gothic halls, which almost vie with the fine old specimens in the cathedrals in point of color, while they far excel them in other respects.

The branch of the art which may be treated as an accomplishment, is the decoration of glass, flower-stands, lamp-shades, and similar articles, with light and elegant designs. Flowers, birds, butterflies, and pleasing landscapes afford an extensive range of subjects, which are suitable to this style of ornamental painting. The glasses may be procured ready ground. The outline may be sketched in with a black lead pencil; the lead can be washed off with a sponge when the colors are dry. The whole of the colors employed must be transparent, and ground in oil; opaque, or body colors, will not answer the purpose.

They may be purchased in small bladders, only requiring to be tempered with fine copal or mastic varnish, and a very little nut oil, to be ready for use. Blue is produced by Prussian blue; red, by scarlet or crimson lake; yellow, by yellow lake or gamboge; green, by verdigris, or mineral green, or a mixture of Prussian blue and gamboge; purple, by a mixture of lake and Prussian blue; reddish brown, by burnt sienna; and all the other tints may be obtained by combinations; for white, or such parts as are required to be transparent, without color, the varnish only should be employed. A very chaste and pleasing effect may be produced by painting the whole design in varnish, without color.

It is an advantage to this style of painting that but few colors are required; as from the nature of the subjects, and their purpose as ornaments, brilliancy is more desirable than a nice gradation of tints. The work must, of course, be carefully dried, but may afterwards be cleaned with a sponge and cold water.

25.—PAINTING ON VELVET.

Painting on velvet as well as on glass is an old art revived. No art that is really beautiful in itself will pass away entirely. As these paintings are very pleasing to the eye, and easy of execution, it is well to know how to paint them. The following directions are taken from a reliable English work.

The colors for this style of painting are sold at the drawing material warehouses in a liquid state, and prepared for use. In addition to these, a brilliant rose-color is obtained from the pink saucers, by dropping a little weak gum water upon the color, and rubbing it with a brush. A deep yellow may also be produced by pouring a few drops of boiling water upon a small quantity of hay saffron.

It is necessary to mix gum water with all the colors made, to prevent their spreading into each other; gum dragon is the best for this purpose. The brushes used are called scrubs; they consist of a small stick, with a camel’s-hair brush cut off quite short at one end, and at the other, a brush of bristles of a much harder description. A small box of black lead is necessary, and a piece of list rolled tightly round, to the diameter of about two inches, to be used as a sort of brush with the black lead, for making outlines in the manner we shall presently direct. A piece of linen rag, to wipe the brushes on, should also be provided.

The most brilliant flowers, fruits, shells, birds, &c., are well adapted to this style of painting. The outline of the subject may be sketched in pencil on the velvet, which is of such a very delicate nature, that the greatest nicety is necessary to keep it in a state of neatness. Care should also be taken that the sketch is correctly made, as an error cannot be effaced by rubbing out, as on paper. It is a safer method, however, to make the sketch on drawing-paper, and to prick the outline very closely with a fine needle; then, the velvet being previously nailed on a flat piece of wood of a proper size, the pricked pattern may be laid over it, the roll of list dipped into the black lead powder, and rubbed regularly over the pattern from side to side; be careful to touch every part, and on removing the pattern, a perfect outline in black dots will appear on the velvet.

Where a set of articles of the same pattern is undertaken, this is a very good plan, as it insures accuracy, and saves the trouble of making separate sketches.

Even those who have no knowledge of drawing on paper, may produce a design on velvet with ease and correctness, by tracing off against a window, or by means of tracing paper, any drawing or print which they wish to copy, and pricking the tracing on the velvet in the manner just described. In order to keep the margin of the velvet from being soiled in the progress of painting, a piece of thick paper should be laid over the whole, and an aperture cut in the middle, sufficiently large to expose the part to be worked on. Each brush should be kept for that color alone, to which it has once been appropriated.

A small quantity of the color about to be used should be poured into a little cup, and a drop of gum-water added, and stirred with the stick of a pencil prior to its being taken on the brush. The mode of its application is so simple, that a short description of the execution of a single flower will suffice to give an idea of the process of painting almost any other subject on velvet. A very small portion of color is to be taken upon the brush, and the darkest part of the leaf touched with it; the brush is then to be dipped in water, and the color gradually softened to the edge; each leaf ought to be colored separately, and the darkest parts in the centre of the flowers may be finished with a small brush without softening. India ink is used to make the dark shadows of crimson flowers. The veins, and all the petals of flowers, and all the fine lines, should be done with a pen. Each leaf, as it is shadowed, should be brushed with the hard end of a brush that way of the velvet in which the pile runs most easily, and then in the contrary direction, so as to set it up again to become dry. A deeper shade should never be added to a leaf or flower until the color previously laid on is perfectly set, or the two colors will spread, and run into each other; this will be prevented by the gum, if sufficient time can be allowed for each shade to dry before a subsequent one is applied.

When the piece is finished, and quite dry, it should be brushed over with a small, round brush, about two inches in diameter, with hard bristles of an equal length, to raise up such parts of the pile as may have been flattened in the process of painting.

Toilet sets, sofa cushions, fancy tables, pincushions, and a variety of articles may be ornamented in this way.

26.—CASTING IN PLASTER, SULPHUR, &c.

Taking the impression of coins, metals, &c., is, independently of its utility, a most interesting amusement. This art is of considerable importance to collectors of antique coins, &c. It is often difficult and always expensive to purchase superior specimens, of which, however, exact models may be obtained by casting, without the slightest injury to the originals. The mould is made in the following manner:—

Take a strip of paper, a quarter or third of an inch wide; roll it twice tight around the rim of the coin or gem, of which a cast is intended to be taken, and fasten the end with very stiff gum-water, which will hold it instantly. Rub a very little oil, with a camel’s-hair pencil, over the coin, in order to prevent the plaster from sticking; then mix some fine plaster of Paris, with as much water as will make it almost as thick as treacle; apply it quickly to the coin, on which it will be held by the paper rim. It sets almost instantly, and may be taken off in a few hours; but the longer it remains undisturbed the better. The mould which is thus obtained is the reverse of the coin; that is, the impression is concave, like a seal. When the moulds are so dry that they will not wrinkle a piece of paper laid flat upon the surface, let them be well saturated with the best boiled linseed oil, placing the moulds with their surface upward, that the whole of the oil may be absorbed. They must be covered from dust, and nothing should touch their surface, lest they suffer injury. Moulds, well prepared in this manner, and dried about two days after being oiled, will stand a long time for the casting of either plaster or sulphur. When used, either Florence oil or a little hog’s lard (the latter to be preferred) should be applied very tenderly over the mould with a little of the finest cotton wool, and the cotton wool, without lard, afterwards passed lightly over the surface, to leave as little as possible of the unctuous matter upon the mould, that the casts may be the finer. Put paper around them, as was before done to the coin; pour on plaster in the same manner, and a facsimile of the original will be produced.

Good casts may be made of sulphur, melted in an iron ladle, either pure, or colored with a little red lead or vermilion, powdered and stirred up with it. The moulds and casts are made in the same manner as with plaster of Paris, only that the sulphur must be poured on the mould when hot, and water, instead of oil, must be used, to prevent adhesion. Sulphur makes the best moulds for plaster casts, and vice versa—as similar substances can seldom be prevented, by either water or oil, from adhering, in some degree, to each other. Plaster cannot be used twice; that is, old or spoiled casts cannot be powdered and again employed; for the moment the material is moistened, being a species of lime, it is no longer plaster without being reburnt.

Another way of making casts of almost any color, is with a strong solution of isinglass; it must be used when quite hot; and it is so thin that a box, exactly fitting the rim of the coin, is required, otherwise it will escape. It may be colored with saffron, wood, &c.

Very beautiful impressions may be taken by pouring melted wax upon the metal, which comes off easily when the wax and metal are perfectly cold; but any one attempting this had better try it first upon a penny, or other coin of little value.

Impressions may also be taken in wax, which, for this purpose, should be rendered pliable by kneading it with the hand before the fire, a little oil having been previously mixed with it. When softened to about the consistency of putty, lay it and press it close down on the coin, the form of which will then be perfectly obtained.

The following is another mode of taking impressions: Procure tin or lead foil as thin as possible, place it on the coin, and with a pin’s head, or any small, smooth instrument, work it into every part; then take it off, revert it into a shallow box, and pour plaster into its concave side; a durable plaster cast is thus obtained, covered with tin foil, which will resemble silver.

27.—ENGRAVED BOXES.

The box should be white or light straw-color, in order to show the faint impression to advantage. It should be varnished five or six times in succession, and suffered to dry thoroughly each time. While the last coat of varnish is yet so fresh that your finger will adhere to it, the engraving must be put on, the picture side next to the varnish. The engraving must be prepared in the following manner:—

All the white paper must be cut off close to the edges of the engraving, which must be laid on a clean table, with the picture downward, and moistened all over with a clean sponge. It must then be placed between two leaves of blotting paper, to dry it a little. Before putting it on the box, take great care to have it even, and determine exactly where you wish it to be. Lay one edge of the print, picture downward, upon the varnish, and gradually drop it to its place, passing the hand successively over the back of the print in such a manner as to drive out all the air, and prevent the formation of blisters. Then carefully touch it all over with a linen cloth, so as to be sure every part adheres to the varnish. Leave it until it is thoroughly dry. Then moisten the back of the engraving with a clean sponge, and rub it lightly backward and forward with the fingers, so as to remove the moistened paper in small rolls. When the picture begins to appear, take great care lest you rub through, and take off some of the impression. As soon as you perceive there is danger of this, leave it to dry. In drying, the engraving will disappear, because it is still covered by a slight film of paper. You might think it mere white paper; but give it a coat of varnish, and it will become quite transparent. Should you by accident have removed any part of the engraving, touch it with India ink and gum-water, in order that no white spots may appear; but when you put on your second coat of varnish, you must take care to pass very lightly over the spots you have retouched. The box should be varnished as many as three times after the engraving has been placed on it, and suffered to dry thoroughly each time. The white alcoholic varnish is the best. It should be put on in the sunshine, or near a warm stove. After the last coat is well dried, sift a little pulverized rotten stone through coarse muslin, and rub it on with linseed oil and a soft rag; after being well rubbed, cleanse the box thoroughly with an old silk handkerchief or soft linen rag. Some persons say that a very thin sizing of nice glue should be put on the box before it is varnished at all; others say it is not necessary. This work requires great patience and care; but the effect is very beautiful, and pays for the trouble.

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