Chapter I: Part 1

HOME ARTS
FOR
OLD AND YOUNG.

BY
MRS. CAROLINE L. SMITH.
(_AUNT CARRIE._)

ILLUSTRATED.

BOSTON:
LEE AND SHEPARD, PUBLISHERS.
NEW YORK:
LEE, SHEPARD AND DILLINGHAM.
1873.

Entered, according to Act of Congress, in the year 1873,
By LEE AND SHEPARD,
In the Office of the Librarian of Congress, at Washington.

CONTENTS.

CHRISTMAS.
PAGE
How to make a Christmas Tree 13
The Christmas Bran Pie 19
Twelfth Night 21
The Christmas Bag 22

AMUSEMENTS FOR CHRISTMAS HOLIDAYS.

Shakespeare Reading Clubs 23
Private Theatricals 27
Charades 30
Con ju-gate 32
Dumb-found 33
So-ro-sis 34
Lamentable 35
Proverbs 37
Tableaux Vivants 38
Tableaux of Statuary 39
Lights and Shades 41

VENTRILOQUISM.

What is Ventriloquism 44
The Theory of Ventriloquism 46
Practical Rules and Illustrations 50
Polyphonic Imitations 55
To Imitate an Echo 57
Concluding Remarks 57

NATURAL MAGIC.

Æolian Harp 61
Magic of Acoustics 62
To show how Sound Travels through a Solid 63
Theory of a Voice 63
Singular Example of Superstition 63

GARDENING, FLOWERS.

How to plant Seeds 70
The Queen of Flowers, the Rose 75
Flower Beds 83
Carnations 87
Fuchsias 87
Pansies 88
How to plant Hardy Bulbs 89
Japan Lilies 91
Cape Bulbs 92
How to grow Bulbs in Winter 93
Garden Insects 96
Some Useful Hints 99
Moss Baskets 101
Hanging Baskets 104
Artificial Rockeries 107
Ferneries 107
Ivies 109
Pressed Flowers 110
Strawberries 113
Grapes 115
How to arrange Sea Mosses 117

HOUSE AND HOME ARTS.

Knitting 120
How to knit a Stocking 121
Baby’s Knitted Shirt 124
Baby’s Blanket 125
Border to a Blanket 125
Knitted Bed-quilt 126
Baby’s Blanket 127
Sofa Cushion 128
Table Mats 128
Carriage, or Bed-room Mat 129
Knitted Moss 129
Plain Needle-work and Useful
Hints for Young Ladies 130
Embroidery in Spangles and Cannetille 135
Embroidery in Lamé of Velvet and Gold 136
Embroidery in Feathers 137
Cork Work 137
Black Landscape 142
Vegetable Flowers 142
Ornamental Seed Work 143
How to impress Leaves on Velvet 144
Paper Pillow 145
Imitation of Carved Ivory 146
Diaphanie or Stained Glass 148
Painting on Glass 151
Painting on Velvet 153
Casting in Plaster, Sulphur, &c. 156
Engraved Boxes 159

SOLITAIRE GAMES OF CARDS.

The Legitimist 161
The Sultan 163
French Solitaire 165
The Army Solitaire 166

THE TOILET.

The Bath 171
Complexion 174
Recipe to cure Freckles 175
A Cure for Freckles 176
A Cure for Freckles 176
A Cure for Pimples 176
Hair 176
Carrot Pomade 178
Bandoline 178
Cold Cream 179
Recipe for Camphor Ice 179
Cucumber Salve 180
To loosen Stoppers of Toilet Bottles 180
To remove a Tight Ring 180
Hair Wash 181
Cure for Poison 181

HOME READING. 182

THE SICK ROOM.

Cooking for the Sick 187
Port Wine Jelly 187
Toast Water 188
To prepare Rennet Whey 188
Flax-Seed Sirup 189
Mucilage of Sago 189
Applications for the Sick.--Refreshing
Lotion 189
Recipe for Croup 190
Remedy for Sore Throat 190
Burns 190

DIRECTIONS FOR MAKING BREAD, YEAST, &c.

Bread 191
Waffles 194
Cream Tomato Soup 195
Breakfast Cake 195
Molasses Gingerbread 195
Plain Cookies 196
Moonshine Crackers 196
New Year’s Cookies 196
Sponge Cake 197
Loaf Cake 197

POLITENESS. 198

HOME ARTS

FOR OLD AND YOUNG.

HOME ARTS.

=CHRISTMAS.=

We beseech all our youthful readers _not_ to pass by our Christmas chapter.

We wish we possessed an abler pen, that would induce every family in the land, rich or poor, to celebrate the birth of our Saviour Jesus Christ, who gave his life for us. Even if some learned men think the twenty-fifth of December is not the day Christ was born, what does it concern us? We know Christ brought love and charity into the world, therefore in gratitude we should celebrate his birth; the exact period is of but little consequence.

Seldon informs us that the Christian church, desirous of abolishing the Saturnalia of the Romans, a festival instituted in honor of Saturn, appointed a festival in honor of her Divine Master, Jesus Christ, to supersede it. But the observance of the day did not become general until about the year 500. The reason why the evening before Christmas day is celebrated, is, that in the primitive church the day was always observed as the Sabbath, and like it, preceded by an eve, or vigil. It was once believed that if we were to go into a cow-house at twelve o’clock, on the night before Christmas, all the cattle would be found kneeling. Many firmly believe the bees sing in their hives Christmas Eve, to welcome the approaching day.

We deck our houses and churches with evergreen, because at this sacred time the earth, then wrapped in darkness, was, as it were, clothed in living green by the birth of Jesus Christ, our Saviour; fit emblems are they, of the never-dying spirit of our Lord and Master.

The laurel is used with other evergreens at Christmas, because of its use among the ancient Romans, as the emblem of peace, joy, and victory. In the Christian sense it may be applied to the victory gained over the powers of evil by the coming of Christ. The mistletoe is used in all Christmas decorations by the English. Its berries and its green are very beautiful. It is a parasitic plant, and grows on the oak tree. A branch of mistletoe is often hung over a door-way on Christmas Eve, and if a gentleman can kiss a lady as she passes under the mistletoe, he has on _that_ evening a right to the privilege.

The evergreens mostly used in America are hemlock, spruce, laurel, and the varieties of ground pine. The bright red bitter sweet berries gathered in the fall add to the beauty of the wreaths.

Many have asked the meaning of initials affixed to crosses on that day, such as I. H. C., and I. H. S. The former stands for three Latin words: “Jesus Humanitatis Consolator”--Jesus the Consoler of mankind; the latter, “Jesus Hominum Salvator”--Jesus the Saviour of Men. On some very ancient crosses are found I. N. R. I., “Jesus Nazarenus, Rex Judæorum”--Jesus of Nazareth, King of the Jews.

“Yule” was a name anciently given to Christmas, and it was the custom to select a large log to burn on Christmas Eve, for in those days the old-fashioned fireplaces would hold very large logs of wood. The festivities of that night lasted until the log burned out. This log was called the “Yule log.”

The Scandinavians watched the declining rays of the sun from early spring even to December, with great anxiety, and erected slanting dolmens to detect the first certainty of its approaching return; and when informed that its face was once more turned towards their habitations, over which their enemy, the snow, had already usurped his authority, they brought the “Yule log” to the fire, and danced, and sung, and shouted, and drank, the grand carouse of all the year, making the frozen air jubilant with their Christmas carols under the mistletoe.

Our Pilgrim Fathers had suffered so much persecution from the Church of England, that they abolished all church festivities. Their persecutions made them austere in all things. They looked upon church festivals as devices of the evil spirits, forgetting that He who gave us the bright sun, lovely flowers, and sparkling streams, rejoices to see man cheerful as well as good.

Our Pilgrim Fathers suffered much for our good, and now our noble free country can afford to have many festivals.

The celebration of Christmas is fast winning its way, even in New England. The beautiful custom of decorating our homes and our churches yearly increases throughout the land. What can be more appropriate than to celebrate the birthday of our Saviour with garlands and songs, and the affectionate interchange of gifts.

God gave us his only begotten Son; we in humble imitation give gifts to our loved ones. God’s deeds seem consistent with this day. He, whose birth we celebrate, gave his life for us. Can we restrain our hands from relieving, our hearts from sympathizing with the poor, the bereaved, and the distressed?

The custom of giving presents at Christmas originated in Germany. It was derived from the ancient feast of Sol. The children of many Americans, who remember Christmas, hang up their stockings Christmas Eve, thinking “Santa Claus” will come in the night and fill them with gifts. Some, to avoid being roused at too early an hour, have taken a large bag, as a receptacle for presents, and the father or mother of the family in due time distribute the presents. Others have had a table spread with their gifts of love, or place their gifts carefully under the breakfast plates, or on the chairs at the table. But the German custom of Christmas trees is by far the most desirable. We wish it was universal here. The writer of this assisted in preparing almost the first tree in our portion of New England, but since then the Christmas tree has spread far and wide; a tree more productive of pleasure and fun was never before planted.

We will give some simple directions for the arrangement of the Christmas tree, hoping to induce some families, who have felt a Christmas tree was too expensive, to plant it this year. This tree is within the means of the poor as well as the rich, by the exercise of the united skill of any family.

We think all such festivals and family meetings assist in making “the home” the dearest spot on earth.

1.--HOW TO MAKE A CHRISTMAS TREE.

The first thing to be considered is how to obtain a suitable tree.

If you are not near any woods, and intend to purchase an evergreen from a nursery of trees, the “silver fir” is decidedly the best adapted for that purpose. In the large cities, trees of all kinds can be easily bought; they are carried through the streets for sale. If you go to the woods, the common spruce is the most suitable. The hemlock is the prettiest green, but its boughs are not sufficiently firm to bear any considerable weight. If a spruce cannot be found, hemlock can be used by nailing narrow slats of wood across the tree and under the branches, as a support. Paint the slats green, and they do not show; in that way candles and presents can be firmly fastened to its branches.

If the tree is not perfect in shape, nail on here and there an extra branch, until it becomes symmetrical.

Take a small round tub, or half of a small cask. Place your tree in the centre and brace it firmly, and fill the cask with sand. Cover the cask with green moss; it is the prettiest green for the purpose. It can be covered with little branches of hemlock if moss cannot be procured, or even a green floor mat can be placed around it. Another simple way to fasten a tree firmly, is to take a suitable block of wood, and have a hole made in the centre just to fit the stem of the tree, and cover the block with moss, or paint it. Then place your tree either in the centre or corner of your room where it is to be, first spreading a white cloth over the floor, which will not only protect your carpet, but add to the brilliancy of your tree when it is lighted. Some use a small tree, and place it in the centre of a table; the presents too large and heavy for the tree, are placed upon the table. When your tree is firmly placed in the right position, fasten on your candles with little tins, cut in the form of a diamond, with two very acute angles, and bent in the centre to form a right angle; push one point into your tree, and on the other fasten your candle or taper. The latter is the prettiest, and neatest to use. Buy the colored wax tapers. If you prefer you can cut up candles. Tapers or candles can be fastened also to your trees by wires, or by melting one end of the candle, and while hot, fasten it by the melted wax to the branch of the tree. Also you can purchase tins prepared to hold the tapers, made with a sharp point to fasten to the tree, and one to put in the taper; that point must be heated before fastening it to the candle. This tin has a hollow rim around it to catch the melted wax.

Trees can be lighted with gas, by unscrewing the centre gas chandelier, and fastening on a gas pipe reaching to the floor, with branches or arms of different lengths, according to the size of the tree, longer at the bottom, shorter at the top. Fasten your tree firmly close to the centre pipe; the branches of the tree should hide it. The branches of the gas-pipe should be wound with gold or green paper, and the branches of the tree placed, if possible, over them. This makes a brilliant tree, and is much easier to light, and does not require to be constantly watched. But wax tapers are more appropriate.

When your tree is firmly fastened and the lights all arranged, hang on your ornaments with wires and ribbons, commencing with the top of the tree first.

We will give a few simple directions for making ornaments, which may be useful to those who cannot afford to purchase.

To form gilded balls, take nuts, such as walnuts, filberts, and English walnuts (the latter nut can be opened and filled with anything you please, and then glued together again). Fasten a long tack or nail into the end of the walnut to hold it by, and afterwards to suspend to the tree. Wash the nut all over with the white of an egg, laid on with a feather. Then roll it in leaf gold till it is well covered. Be careful you do not breathe over the leaf gold, or it will fly away from you. A cheaper way is to take a sheet of gold paper, and cut a piece sufficiently large to cover the nut. Brush it with paste, then fasten it round the nut, rolling it over and over in your hand, to fill in every crevice. Apples covered with gold paper look very tempting; a smooth-skinned apple, of medium size, can be used, and the gold paper should be cut in sections, so that it will fit the apple smoothly.

Pretty little ornamental bags can be made of English walnuts. After the shells are well cleaned, varnish and paint or gild them in stripes, then bore holes in each half shell at the top and bottom, and fasten them together with narrow ribbon. Another prettier way is to take pieces of colored silk or ribbon, and fasten together at the side, then take half of one side of a nut, and glue the silk firmly all around the inside edge; hem the top of the silk and run in a string, or simply take strong saddlers’ silk and run all around, to draw it up. Thus is formed a pretty bag, which can be filled with candy; lace bags, filled with candy and parched corn, are ornamental. Take oblong pieces of coarse lace, run into the meshes bright colored worsted, then fasten them into a bag firm with the same worsted, and draw them up at the top with worsted. Birds’ nests add to the attraction of the tree. Take some halves of unboiled egg-shells; dip them in white of egg (but first you must have some moss ready), make a hollow of moss in your hand, and put the half shell in it. The moss will adhere to the outside. Take care that your moss be thick enough to hide the white of the shell. Line the inside with down or cotton wool, and put sugar-plum eggs in it. These nests look charming in the dark foliage of a tree. Small flags are a great addition; we would suggest that flags made to represent the national banner of other nations would be pleasant work for both boys and girls, illustrations of all of which can be found in any large atlas.

For horns of candy, get some white cartridge paper, cut squares, ornament them with pictures, mottoes, gold, silver, and fancy paper; shape them into a horn, and paste them firmly; cut off the top point and bind the rim with paper or ribbon, also paste on a loop of ribbon to fasten to the tree, and fill them with candy.

Glittering crystals, made of alum, are very pretty. To make them, dissolve alum in hot water until it will hold no more, then strain it off. Then take bonnet wire and form little baskets, sprays of leaves, little wreaths, or make the wreaths of tiny sprigs of spruce, fir, or take raisin stems (a slightly rough surface is necessary), suspend these by a network of string tied across the top of a deep basket; the dissolved alum must cover each article entirely; let them remain undisturbed over night. Remove them carefully the next morning, and you will find them glittering with minute crystals, resembling diamonds. If powdered turmeric is added to the hot alum solution, the crystals will be bright yellow. Litmus will cause them to be of a bright red. Logwood will turn them purple. The more muddy the solution the finer will be the crystals.

Sprays of mock coral, also tiny baskets of the same material, add to the tree’s beauty. To make them, take bright red sealing-wax, powder it, and dissolve it in alcohol. Then take your twigs, sprays, or anything you wish to imitate coral, and dip them in the above mixture until they are well dyed.

Baskets made of moss and filled with natural flowers, add a fresh beauty to the tree. Balls made of cake, and frosted all over, look like snow balls. Pop corn balls make quite a show. Bits of cotton wool, covered with diamond powder, and scattered over the tree, imitate snow.

Take gold paper, cut it in strips a quarter of an inch wide, and an inch and a half long. Take one of the strips and fasten together with paste, forming a ring; then take another strip and pass it through the ring just formed, and fasten it together with paste; continue this process until you have made a long chain. A number of these chains, festooned from branch to branch, resemble chains of gold.

Fairies always please children, and are easily made. Purchase some small, jointed wooden or china dolls, and different colored tarlatans for dresses, and form the wings of white tarlatan, or of white linen banking paper. Take butterfly wings for a pattern; sew on gold and silver spangles on dress and wings, or paste on tiny stars of gold and silver paper. Cut little strips of gold paper, and roll them up, as you do paper lamp-lighters, for the wands. Fasten them with thread or wire to the hand of the fairy. The crown of the queen can be made of gold paper, cut in strips long enough to go round the head, and cut it in points in front, and paste it round the head. Fasten wire round the waists of the fairies, leaving one long end to wind around the branches of the trees. Thus they look as if they were flying.

Many pretty things can be made from egg-shells, such as pitchers, bowls, goblets, and tiny cradles; ornament them with gold paper and little colored pictures.

There are hundreds of little glittering toys, which can be purchased for a few pennies, such as brass beads, little looking-glasses, glass balls, gilded toys, &c., too numerous to mention; odd bits of tin hung among the branches glitter very prettily.

Every member of a family preparing a Christmas tree, should use his or her wits to contrive little inexpensive ornaments; even the little ones, with some instruction, can make many pretty things, and it will add tenfold to their pleasure to feel they have assisted in ornamenting their precious tree; only let them _think_ they can do it, and most assuredly it will be done.

In making presents, every member of the family should strive to find out the wants and tastes of those to whom they intend to give presents, thinking only of giving pleasure, and not of personal gratification of their pride or love of show. The golden rule our blessed Saviour gave us should be ever uppermost in our minds. Love should be the presiding genius of every home festival.

God works upon our hearts in many and various ways. Often the simplest thing in life may awaken us to a right sense of his goodness and mercy. So in home influences, if a Christmas tree every year can add one link to the chain which binds us in love to one another, should we not be paid for weeks of labor? Every child thus early taught thoughtfulness for others, must feel the good effects through life.

2.--THE CHRISTMAS BRAN PIE.

The bran pie is often used in England, in place of the Christmas tree, or as an addition to the “Twelfth Night” party.

It is within the means of every family, as its contents can be inexpensive or expensive, according to the taste and means of the maker.

First, a large wooden bowl should be obtained, or any large tin pan or dish. This can be covered with white cloth or not, as the maker pleases; a wreath of evergreens around the edge is an improvement.

The contents of the pie may be sugar hearts, rings, kisses, or any bonbons, mock rings, or gold rings, indeed, any article which can be easily tied up in a small bundle. It is desirable that there should be many articles in this pie that will cause fun and laughter. Blanks, such as an empty box, or some trifle rolled up in many papers. A bright piece of silver, called a lucky piece, or a half-sixpence, enclosed in a nut-shell, and like all the rest of the articles, tied up in paper, adds to the sport. All these bundles should be placed in the large bowl or dish and covered with bran. A large spoon can be laid on the top of the pie.

This pie should be placed on the table, after a Christmas dinner or supper, the guests or family all remaining in their seats around the table. If there are many little ones, it can be arranged beforehand, and have a servant, or some member of the family, place the pie at the front door, and ring the bell furiously and blow a trumpet; also place a paper on the top of the pie, on which is written, “A present from Santa Claus.” As soon as the bell is rung, the ringer must disappear at once, as children are wide awake at Christmas. We had a bran pie brought in that way; the children rushed to the door, and in their eagerness to see Santa Claus, ran past the pie some distance, looking eagerly on all sides; when they returned, one little boy declared he saw him whisking round the corner of the street. When the pie is on the table, everybody is invited to partake. Each in turn takes a spoonful; whatever bundle the spoon touches is theirs; the bundle must be opened at once and exhibited before the next person dips. The very inappropriateness of some of the gifts helps to create laughter, and there is a good deal of amusement in the after exchanging, or refusing to exchange, when the pie is all distributed.

3.--TWELFTH NIGHT.

In England their festivities continue twelve days. Twelfth Night is sometimes called “Old Christmas,” as it was the day celebrated as Christmas before the almanac was changed. The change was made by Pope Gregory XIII., during the year 1752. Therefore Twelfth Night has its own peculiar festivities. In some portions of England they have a large gathering of friends. During the evening two dishes of little frosted cakes are passed round, one for the gentlemen and one for the ladies. In each there is one cake with a ring, and one with a broken sixpence. The two who get the ring will be married before the year is out. The broken sixpence indicates an old bachelor or an old maid; but if the two agree to join their broken sixpence, there is a chance for them. So says the old tradition.

A lady, whose early youth was spent in England, says where she lived Twelfth Night was celebrated especially by the children. At their social parties they selected a king and queen, who regulated the festivities of the evening. Sometimes the lady of the house prepared cards, with various figures written or drawn upon them, among them a king and queen. Each child drew a card on entering, which designated the character he or she was to represent. Of course the lady managed to slip the cards of king and queen into the hands of those best able to preside.

In one of our small cities, where there are several families who unite in keeping Twelfth Night every year, they have but one ring, and whoever gets it must give the party the next year.

4.--THE CHRISTMAS BAG.

Make a large bag of thin white paper or silver paper, fill it with sugar plums, and tie a string around the top, to keep it fast. Then suspend it from the ceiling, or from a large door frame, and provide a long, light stick. Each little child is blindfolded in turn, and the stick put into his or her hand. She is then led within reach of the bag, and told to strike it. If she succeeds in her aim and tears a hole in it, the sugar plums are scattered on the floor, and the little ones scramble for them; but it is by no means easy to strike a suspended object blindfolded; generally many attempts are made unsuccessfully. Each child is allowed three trials. The maker of the bag can put in it tiny books, pincushions, or any little toy, with the sugar plums. This bag would add to a child’s party; it is often used at birthday parties. An older person should always superintend, for some children would be greedy or rude.

=AMUSEMENTS FOR CHRISTMAS HOLIDAYS.=

ADAPTED TO ALL AGES.

Shakespeare reading clubs, private theatricals, charades, and tableaux are deservedly the popular home amusements of the present day. They certainly strengthen the lungs and memory, and improve the intellectual tastes. These amusements are peculiarly adapted to enliven long winter evenings. As some of our young friends may not understand the _modus operandi_ of these amusements, we will try and enlighten them.

1.--SHAKESPEARE READING CLUBS.

Some clubs read Shakespeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakespeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays, such as Sheridan Knowles’ plays. Also, it is an admirable way of learning to converse easily in German and French to read plays in the different languages. In reading these plays, the parts, in the beginning, should be given to different members.

The librettos of many excellent plays can be bought for a very small sum, such as “Ion,” “Hunchback,” “William Tell,” “Love’s Sacrifice,” and many other excellent old plays. These small books are less cumbersome to carry around. It is well before the club meets to read any play, to have each person read over his or her part, so as to be able to comprehend the character. Therefore the play to be read at each reading should be given out at the close of every meeting, and the parts selected, each member having an equal share. Such clubs are far more agreeable to its members, and less likely to cause unpleasant rivalries, than clubs for private theatricals, as private actors are often jealous, for human nature, alas! is weak.

We have known of some very successful clubs, where discord and jealousy never appeared, and where harmony reigned. We will give the manner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies, with a view of making home and winter evenings agreeable to their brothers. A committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the librettos of their plays. The following rules were signed by all the members:--

1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.

2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.

3. The one who selects the play has a right to the best character.

4. The club shall meet once a week at the houses of members, in alphabetical rotation.

5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.

6. No new member can be admitted without the vote of the majority.

7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.

At first they merely read the plays; but soon they partially acted them, and found them increased in enterest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them, or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.

There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they became familiar with the best plays, without wearying of them, and each member had an opportunity of consulting his own taste.

Before the winter closed the members of this club found they could so easily learn their parts, that they rarely were obliged to refer to their librettos. Constant practice improved their memories. Often those whose parts were associated together, would meet for private practice.

2.--PRIVATE THEATRICALS.

Private theatricals amuse a large circle of _friends_, and any club willing to undertake the presentation of plays deserve the thanks of their audience.

Even a simple farce requires much labor and frequent rehearsals to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the footlights, stage, &c., must be prepared. A few directions, with a list of easy farces, may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of towns and villages, we will give a short account of how such things can be managed.

Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor, a gas pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye), are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvas, by being strained when wet, over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.

Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, and under the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side marks age or emaciation.

A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, ravelled yarn, or gray-colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel, with tags of lion-skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.

Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the armholes in the sack must be fastened up on the inside) by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and, lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan; thunder, by rattling sheet iron; lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.

Dissolve crystals of nitrate of copper in spirits of wine, light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.

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The publishers of this book have printed a large number of small plays, adapted for private theatricals, called “The Amateur Drama.” We will mention a few of them that are good; the old comedies and farces are well known to all.

DRAMAS IN TWO ACTS.

Sylvia’s Soldier, 3 male, 2 female characters.
Once on a Time, 4 " 2 " "
Down by the Sea, 6 " 3 " "
Bread on the Waters, 5 " 3 " "
The Last Loaf, 5 " 3 " "

DRAMAS IN ONE ACT.

Stand by the Flag, 5 male characters.
The Tempter, 3 " 1 female character.

FARCES.--MALE AND FEMALE CHARACTERS.

We’re all Teetotallers, 4 male, 2 female characters.
A Drop too Much, 4 " 2 " "
Thirty Minutes for Refreshments, 4 " 3 " "
A Little more Cider, 5 " 3 " "

FARCES.--FEMALE CHARACTERS ONLY.

The greatest Plague in Life, 8 characters.
No Cure no Pay, 7 "
The Grecian Bend, 7 "

ALLEGORIES.--ARRANGED FOR MUSIC AND TABLEAUX.

Lightheart’s Pilgrimage, 8 female characters.
The War of the Roses, 8 " "
The Sculptor’s Triumph, 1 male, 4 female characters.

3.--CHARADES.

There is no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.

A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action, and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teach them ease of manner; but let them only act before a home circle.

A talented friend of ours has a very pleasant way of acting charades in her own family circle, which is well adapted for large family circles, such as assemble together on Thanksgiving, and during Christmas holidays. This lady unites her family with a few other pleasant friends.

For a good charade party, twelve or more persons are desirable, and two rooms, connecting by sliding or folding doors, are the most convenient, though two connecting by only a single door will do, if the party is not a large one.

First, two persons should be chosen managers; then the managers must choose sides, so that the company will be about equally divided. The sides then take separate rooms, to become, alternately, actors and audience; the managers draw lots to see which side shall act first. Those that are to begin, first choose a word, then proceed to represent it. A common way is to divide the word into syllables, and present one at each scene, then, after having gone through the word, if the other side cannot guess it, a scene is given to represent the whole word. When all is ready for a scene, the door is thrown open for the others to look in and guess it. Frequently a whole word is given at once in one scene. The manager must always announce whether one syllable or more is given. After giving the audience time to guess it or give it up, the parties change rooms, and the other side must act; they will, of course, have their word selected and all arrangements made, as they had sufficient time while waiting for the others.

In acting the word, each party must try to mystify the other, yet the syllable must be well represented; but there can be by-play to divert the audience from the real word. The party that guesses the whole word the soonest, are considered the conquering party. Care must be taken not to let the actors know if the audience guess the word before it is fully acted.

Sometimes in the place of words, proverbs are acted. Each word is acted in turn, or two words are acted in one scene; if the latter, before the scene is acted, some one of the actors can inform the audience that they will act two words of the proverb.

A few directions for acting certain words and proverbs, and a short list of words and proverbs easy to be acted, may be an assistance to our youthful readers.

If a word or syllable can be represented by action, it should be seldom spoken; but in some cases syllables must be spoken to give an idea of the word. Some prefer acting charades entirely in pantomime.

4.--CON-JU-GATE.

_Con._ Arrange a school, one of the actors dressing as a country schoolmaster; let the scholars all have books in their hands, conning their lessons in loud whispers.

_Ju._ The same school can be retained. One of the actors, dressed as a German Jew pedler, can come to the school to sell pens, pencils, paper, chalk, &c. He can talk in a broken Jewish manner. The _Jew_ should be prominent in this scene.

_Gate._ This syllable, instead of the common representation of a gate, made with a small clothes-frame, &c., can be represented by having the whole company of actors dress in odd garments, and walk about the room in couples, each with a different gait, hobbling, striding, pompous, &c.

_Conjugate._ Let the same schoolmaster assemble his unruly school, and give out verbs to be conjugated; the scholars, to make the scene ridiculous, should mix up languages and conjugations in a medley.

5.--DUMB-FOUND.

_Dumb._ Let a certain number of the actors be seated in a row, when the door opens, or the curtain is drawn aside; let them remain perfectly silent for two moments, then let them silently rise and walk out of the room. Or as they sit silent, some actor can come in and ask questions to each, receiving only a vacant stare in answer; he then can rush out of the room, calling them a stupid set; it would be too plain to call them dumb.

_Found._ This can be made very amusing by arranging a court scene, judge, jury, and lawyers, and a prisoner’s box, in which an actor, dressed as a servant-girl, can be seated as the criminal accused of stealing a pocket-book. Witnesses can be examined. After the court has gone over the case, and the lawyers make as much sport as possible in their examination, a boy, dressed as a ragged Irish boy, should rush in, pocket-book in hand, calling on the judge to hear him. After ordering him to be turned out, and much talk being made about turning him out, at last, in a broken Irish voice, he must scream out, “Plaase yer honor, it’s me that _found_ it,” holding aloft the pocket-book. The judge must request to see the pocket-book. (A young boy once acting this part, caused much laughter, by exclaiming, “Och, and indade is the court honest?”) The judge having examined the pocket-book, declares the girl innocent, and dismisses the court.

_Dumbfound._ The room should be partially darkened, and some of the actors seated around the room talking as they please. One of the actors can be dressed as a ghost. A giant ghost acted by dressing up an umbrella, or a broom, arranging it with long white drapery of sheets, and the person carrying it can raise the dressed-up umbrella or broom as they enter the room. The ghost can glide slowly around the room; its occupants should exhibit silent horror, either by crouching down, contortions of the face, or in any way possible, but not a sound should be uttered.

6.--SO-RO-SIS.

_So._ One of the actors should be dressed as a schoolmistress; some children can be seated by her with patchwork in their hands. The mistress can teach them sewing, while in another part of the room an actor must hold some papers of seeds, and pretend to be sewing the seeds in a box or pot of earth.

_Ro._ Place the actors all in a row; let them stand gazing at the audience a moment, then all at the same time make a low bow to the audience, and that scene is over.

_Sis._ Have a school, and the master should call “sis” to come and recite; any little girl can take the part of “sis,” or some boy can complain of his “sis” to the teacher.

_Sorosis._ Can be made very amusing by representing an assembly of strong-minded women. The gentlemen actors can dress in outlandish dresses, and act the part of women. They can choose a president, and other officers, &c.

7.--LAMENTABLE.

FRENCH CHARADE.

“L’amont” can be acted well in pantomime by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slyly and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows, and retires. Soon a loud knock is heard; she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat, and motions him to go. He leaves at one door, while _L’Aman_ enters at another. Then they act a lover-like scene, and the curtain drops.

_Table._ She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes, the young lover standing by, and now and then eating one of the cakes. They hear a heavy step, and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene.

_Lamentable._ The same actors appear, but the table is turned over, and, behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.

* * * * *

The following words are easy to be acted:--

Back-bite.
Com-fort.
In-fan-tile.
Pa-pa-cy.
Fare-well.
Car-pet.
Bond-age.
Ann-ounce.
Sin-cere.
No-bil-i-ty.
Pen-i-tent.
Bride-well.
Brace-let.
In-firm.
Spec-ta-cles.
Per-mu-ta-tion.
Rail-way.
Trans-mute.

8.--PROVERBS.

SAFE BIND, SAFE FIND.

_Safe._ An actor takes the part of a distracted mother, rushes around the room exclaiming, “My child is lost!” “He must be drowned!” &c. Soon one of the actors can rush in with a child, exclaiming, “Madam, your child is _safe_, but I found him in a little boat, floating out to sea;” other actors can rush in, all talking at once, some scolding the child, others rejoicing he is safe.

_Bind._ The one acting the part of mother can be seated with her work in her hands, and in her basket some rolls of old cotton. Three children can come in crying, one with a cut head (take some red paint, and make a splash on the forehead to represent blood), exclaiming, “O, dear, I’m killed, I know.” The other, limping and crying, “O, my foot is broken! O, dear! O, dear!” The other complaining of her hand, all talking at once. The mother must order them to talk one at a time, and she will bind up their wounds. Then she can take her rolls of cotton and bind up the injured parts.

_Safe._ The mother and children can be seated talking, when a knock comes at the door. One child opens the door and admits a pedler; after showing some trifles, he declares he has some wonderful money safes, and exhibits some boxes, and expatiates on the virtues of his safes. The mother can purchase one for each child.

_Find._ The same mother can be seated as usual, when the children must come running in, telling that one of their number has lost his safe. They all hunt for it, and look everywhere to find it, to no purpose.

_Safe bind, safe find._ The scene opens with a little girl tied into a chair, reading a book. The mother must come in arrayed for the street. On entering, she must exclaim, “I am thankful I have at last found a way to keep my child from being lost.” Then she must turn to the audience, and ask them if they can tell her the proverb. If they cannot guess, she must ask if she shall tell them. Sometimes the audience require time to talk it over before they are willing to own they cannot guess it.

* * * * *

One example will sufficiently illustrate the manner proverbs are acted. We will now give a list of some proverbs adapted for action.

Ill weeds grow apace.
Little pitchers have large ears.
Fine feathers make fine birds.
Union is strength.
Time unveils truth.
Black cats have black kittens.
Necessity is the mother of invention.
All is not gold that glitters.
Slow and sure.

9.--TABLEAUX VIVANTS.

Tableaux vivants, as commonly represented, are so well understood that no directions are necessary; but some of our readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another way is to represent the different verses and scenes in a song in pantomime, while at the same time some one who is a good musician sings the verses of the song, as they are represented. For instance, “The Mistletoe Bough;” first represent a room decorated with green, a company assembled, gayly dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene, representing children in a lumber-room opening an old chest, and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” “The Three Fishers,” “O, they marched through the Town,” “She wore a wreath of Roses,” “The Minstrel’s Return from the War,” are all excellent ballads to represent.

10.--TABLEAUX OF STATUARY.

This is a new form of tableaux, and if well done, exceedingly beautiful.

To prepare and arrange groups of statuary requires artistic skill, patience, and steady nerves; the two last qualities are necessary for those acting as statues.

A lady who excels in preparing groups of statues, as we can testify, has kindly permitted us to give to the public her manner of preparing them.