Chapter V: Part 5

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.

=SOLITAIRE GAMES OF CARDS.=

There are very few games one person alone can play. Mrs. Cheney has compiled a collection of these games, under the name of “Patience,” which are very desirable. These games are an acquisition to any home. They amuse an invalid, and often act as a sedative to men wearied of business cares, who desire some simple amusement before sleeping. They do not produce the feverish excitement of games of chance and skill played against an opponent. Yet they can become a social pleasure, by others looking on and sharing in the interest of the game, and the pleasure of success. Boys and girls would do well to learn them, as they will not divert the mind from study, yet may help to pass pleasantly an idle hour, besides exercising the _patience_. The publishers have allowed us to give the directions of some of the games; we also will add “The Army Solitaire,” and when you play it, think of the pleasure it has given to many a weary soldier, in diverting his mind from the hardships of war. Our famous generals often played it the night before a battle, and if successful, looked upon it as a good omen. We will add a few simple social games.

1.--THE LEGITIMIST.

TWO PACKS.

This name is of French origin, but it seems to have no special adaptation to the game. It may have been applied to it from some old royalist, who solaced his years of exile with the company of mimic kings and queens. It requires close attention, but is not otherwise difficult.

Take a king and place it at the left. Then, having shuffled your cards well together, begin to lay them off. You place in succession, in a horizontal row, next the king, the queen, the knave, ten, nine, eight, seven, and six, as they appear from the pack. On these you form the families of thirteen cards each, piling downwards, not following suit, and ending each family with the number next to the bottom card, so that you will finish, if successful, with a row of piles, whose top cards number from the ace to the seven, inclusive. Put the cards that you cannot immediately use in stock. You can take up this stock, re-shuffle it, and re-lay it twice.

You must be very careful to observe when your families are complete, for as each one ends with a different number, you will be likely to put on too many cards if you are inattentive.

2.--THE SULTAN.

TWO PACKS.

This is, perhaps, the most curious and interesting of all the games of Solitaire, and, if successful, it forms a pretty picture of the sultan or king of hearts, surrounded by his eight queens. As it is rather difficult to understand the arrangement, we have prepared a little diagram to illustrate it.

Take out the ace of hearts and all the kings. Place one king of hearts in the centre. Just above him place the ace of hearts, and below him the other king of hearts. On each side of the ace place the kings of clubs, who represent war. On each side of the first king of hearts are the kings of diamonds, representing the treasury; and on the lower line, each side of the second king of hearts, are the kings of spades, representing the industrial forces.

Then shuffle the remaining cards, and lay off from the pack. Put the first four cards on one side off the square formed by the kings, placing the ends of the cards towards the square. Put the next four cards on the other side in a similar manner; these eight cards form the divan.

Leaving the sultan untouched, form the other families by placing the aces on the kings, and so piling in regular succession, according to suits, ending with the queens. Place all cards which you cannot immediately use, in a pile on the table, which is called the stock. You can use the cards you are laying off from the packs, or the top card of the stock, or any card in the divan, in forming your families. When a card is taken from the divan, you may fill its place, either by the top card from the stock, or by the next card from the pack, as you think most likely to be favorable to your purpose.

When you have exhausted the pack, you can take up the stock and use it as a pack, always keeping your divan full. This you can do twice. Some skill is required in placing the cards in the divan, and in selecting them for use, and constant care is needed that no opportunity in placing a card in the families escape you. You will, after a little experience, generally be rewarded with success.

3.--FRENCH SOLITAIRE.

ONE PACK.

This game is very simple, and well adapted to invalids who cannot make much effort.

Shuffle the cards well. Lay the four aces as they come in a row. Place the other cards as they appear from the pack, on the aces in order, without following suit; as, ace, deuce, three, four, &c.; this is called putting the cards in families.

Place the cards which do not fit on these, in due order in four piles below, and whenever the top card will go on the upper line, in regular sequence, you can use it, which will thus free the card beneath it.

The skill consists in deciding on which of these four piles to place the cards from the pack, and which card to use, if you have two top cards of the same number. Of course you must not, if you can help it, place a higher card on a lower; but if you have already four piles, this will often be unavoidable. You must then endeavor to get off the higher cards, to free those beneath. According to the old, strict rule, of not looking to see what cards are beneath the top card, it becomes an excellent exercise of memory to recall in which pile are the cards you want at the moment. It is not well to place many cards of the same number in one pile. If you can complete the families in the upper row to the kings, you have succeeded in this game; if not, you have failed.

You may make this game still easier by taking out the aces, and placing them in the upper row, before beginning the game; or you may make it more difficult by following suit in the families, in which case you are entitled to take up the lower piles, re-shuffle them, and re-lay them twice.

4.--THE ARMY SOLITAIRE.

ONE PACK.

The army game is a decided favorite with all who like solitaire games; we have never _seen_ any printed directions, yet there may be in some book we have not had access to. We prefer it to any other game of solitaire, and we hope these directions will be sufficiently plain to interest our readers to try it.

Shuffle the cards thoroughly. Then deal off the first card, whatever it may be, and place it on the upper corner of the left hand side of an imaginary square. This is called the foundation card, on which to form a family. For instance, if it were the six of diamonds, the next card to place upon it would be the seven of diamonds, as the family must be formed in regular succession, according to suit. Whenever you come across, in playing the cards, the six of spades, hearts, or clubs, these are the foundation cards (as the first card dealt gives the requisite value of the other three foundation cards, or as some call them, the four towers of the fortress), and can be placed in the other three corners, to form a square. On these build your towers, as we directed in diamonds. If you succeed in forming the four towers or families in suit, and in succession, you have conquered.

When you deal a card that cannot be placed on the corner families in succession, place it on the sides of the square, between the foundation cards, as three of clubs, and nine of spades, eight of diamonds, king of hearts, and one can be placed in the centre of the square, as the ace of diamonds; these five cards are called the reserve forces, and on these you can place any card in downward succession (suits need not be followed), which cannot be used on the towers. For instance, if you deal off the deuce of hearts, or any other deuce, place it on to the three of clubs; or any eight, place it on to the nine of spades; or king, place it on to the ace, so on; but with every card turned, first look at your foundation cards, or towers; never lose an opportunity to build up these. All cards that cannot be played on to the four towers or the five reserve cards, may be placed on one side as stock.

Whenever any one of the five reserve corps cards are vacant from being used to build up the towers, or a vacancy made by being able to place reserve cards on the other reserve corps, replace from the stock, and by taking a card from the stock, a desirable card to use on the towers may be freed.

The great skill of this game consists in the judicious arrangement of the reserve corps; if you have two top cards on different piles, of the same value, you should carefully consider on which pile it is best to place the card dealt of proper value, for future use.

If you can complete your towers in the first play, without shuffling your stock, you have gained a great victory; the stock can only be shuffled and played over once. If the towers cannot then be built, the game can be commenced anew. Sometimes the cards deal out so perversely that even skilful play and patience cannot build the towers.

=THE TOILET.=

There are many boys and girls who pride themselves on their utter disregard of their personal appearance, most fully comprehending the old phrase “that beauty unadorned is adorned the most,” or perhaps think it a mark of genius to appear so occupied with study as to neglect their person. Such boys and girls are repulsive to both God and man. One of the first laws Nature teaches us, is perfect cleanliness. Look at the birds and squirrels; indeed, all wild animals are taught by instinct to take a daily bath, if possible. Tame animals are less cleanly than wild ones in their habits, as far as our observation goes. They look to man to cleanse them. But God teaches the untamed beast and bird laws of cleanliness. Look at the woods! God sends the rain to wash them, and the winds to sweep them, and the sun to brighten them. The Creator of all gives to every boy and girl the mind to know how to take good care of their own persons, and if they neglect the laws of health, just so sure will come bodily suffering. Besides, it is a Christian duty, as well as a social duty, of every boy and girl, to make the most of all their personal attractions, and to preserve every agreeable quality they may have been endowed with, to the latest period of their lives. _It is not vanity_. It is a duty we all owe to ourselves, and we owe it to others. Habits rightly formed in youth will often prolong life, and add tenfold to any personal attraction.

We trust all boys and girls who read this book, will not pass over this chapter on the toilet. We will try and give them some useful hints and recipes.

In the first place, every boy and girl, no matter how young, should strive to make their sleeping and dressing apartment attractive. _Perfect neatness_ is an _essential_ quality in every room. Never leave any article of clothing on a chair, table, or floor, which can be either neatly folded and placed in a drawer, trunk, or closet shelf, or hung on some nail placed for that purpose. Never leave a draw partly open. We once knew a young girl who was always leaving her drawers open, and articles of dress hanging from them. One Christmas, before a room full of friends, she received from the Christmas tree a little bureau, with every drawer partly open, and things hanging out of each drawer. Of course it was soon known to all _why_ she received such a gift. That lesson she _never_ forgot. We must confess it also cured us of the careless habit of leaving drawers partly open. We hope our young friends will take this lesson to heart, and profit by it.

When you rise in the morning, always (even if you can afford plenty of servants), throw the clothes of your bed carefully over the foot-board, or some chair, to give your bed a sufficient chance to be well aired--a most necessary requisite for health. Before leaving your room, even in midwinter, open your window. Never allow your bed to be made till thoroughly aired. Though you are not blessed with even a competency, you can make a plain room attractive. A few pictures on the walls, and by covering a plain pine toilet table with pretty, cheap chintz, and exercising a little ingenuity in making pretty articles of furniture out of old boxes. But always be a foe to all dust; keep a dusting cloth at hand. After washing, if you cannot have a chambermaid, arrange your washing apparatus neatly, and carefully spread your towels to dry, if clean. There are so few, comparatively, in America, who can afford the constant attendance of servants, we desire all boys and girls to learn how to care for themselves.

1.--THE BATH.

In olden times, in this country, baths were but little used. It was considered a luxury but few could possess. Now there is scarcely a decent house built without a bathroom. In England and France, “there was a time when many ladies had a most hydrophobiacal dread of water; they thought it injured the delicacy of the complexion. Their ablutions often consisted in wiping the cheeks with a cambric handkerchief, dipped in elder flower or rose water.”

A daily bath is now the rule rather than the exception, and its effect is admirable. A cold bath, from sixty to seventy degrees, is, to most persons, the most health-giving and invigorating process one can undergo; but beyond its invigoration, it is of no essential service in cleansing the skin. No one can preserve a purely clean skin by the use of cold baths only, though the purifying effect is increased by the use of rough towels, which help to remove the impurities from the surface of the skin. The skin is constantly throwing off fine dust like scales, and these, blending with other foreign matter, stop up the pores, and prevent the skin from performing its natural functions.

Therefore soap should be used, because the alkali in it assimilates with the oily exudations of the skin, and removes impurities.

It has been said that soap is calculated to irritate the skin, and injure the complexion. It is not true, according to our knowledge. Some of the most beautiful complexions we ever saw were washed with soap daily. Great care should be taken that the soap is of a _good quality_.

If any unpleasant sensations are experienced after its use, it is easily removed by rinsing the skin with water slightly acidulated with lemon-juice.

Once a week a warm bath, at about one hundred degrees, should be used, with plenty of soap, to be sure and cleanse the skin from all impurities. Sea-water baths are invigorating, but not cleansing--a warm bath is required after a short course of them. The same remark applies to sea-salt baths, now much used. The friction of coarse towels is very beneficial. Shower baths are not generally desirable, as but few constitutions can bear them.

Milk baths and perfumed baths are absurdities, which a very few silly women indulge in; but nothing equals pure salt water.

Of late years the practice of taking Turkish baths has been introduced. Doubtless these baths are the best in existence for a thorough cleansing of the pores of the skin. But no one should venture to take them, except after having first had medical advice, or those who possess strong constitutions; for there are states of health to which they would be injurious in the highest degree. We consider them a great luxury.

We also recommend, most heartily, the sponge bath for daily use. Use a large circular sponge.

It is always best, before taking any bath, to wet the top of the head; boys and men can wet the sponge, and, holding their heads over the bath-tub, thoroughly souse their heads and necks. It prevents the blood rushing to the head suddenly. A hair glove is excellent to rub the body. Boys and men should exercise with the dumb-bells after their morning bath; it increases their muscular strength.

In all our directions with regard to the bath, it must be borne in mind that we only refer to those who are in a moderately sound state of health; otherwise their medical attendant should be consulted. Sea-bathing is admirable to all those who can bear it; but persons of a bilious temperament, or with heart disease, and even some with apparent health, may suffer serious ill consequences from a single bath. Some constitutions cannot bear the plunge into any cold water. All who have a quick reaction from a sea-bath and cold water bathing are benefited. The delicious glow it gives is most charming. We have known many young, vigorous persons suffer from sea-bathing; but it was their own fault, from remaining in the water too long; ten minutes is sufficient.

2.--COMPLEXION.

We will only give a few words of advice, as an assistance in the preservation of the complexion.

Rise early, and go to bed early. Take a plenty of exercise. Keep the pores of the skin open by perfect cleanliness. Be moderate in eating and drinking. Do not often frequent crowded assemblies, and _shun cosmetics, and washes for the skin_. We will give a few harmless recipes. But most of the powders and washes used dry up the skin, and in the end make it rough.

Be careful always in washing to wipe your skin dry, particularly your hands; rub them briskly for some time. If hands are left moist after washing, they will chap, crack, and become red. Honey is excellent to rub over chapped hands, or anoint them with cold cream or glycerine before retiring to rest.

If you desire to make your hands delicate, wash them in hot milk and water for a day or two; on retiring to rest rub them with palm oil, and put on gloves; wash them well in the morning. Lime water, lemon-juice, or sour milk will remove the sunburn from hands. Above all, keep the nails scrupulously clean.

It is repulsive to see a lady or gentleman, however well-dressed they may be, with nails in any degree shady. We were once, in travelling, impressed with the beauty of a young lady sitting near us. We spoke of her to a young gentleman sitting by us. He exclaimed, “Look at her hand! did you ever behold such a little black row?” She had just drawn off her glove, and diamonds glistened on her taper fingers; yet “that little black row” cast a shade over her beauty.

The nails should be pared only once a week, after washing, as the nail is then soft. Round them nicely at the corners, and press the cuticle at the bottom of the nail carefully down with the towel after washing. Never bite your nails. It gives a stumpy appearance to the nail. Also, never scrape the nail; it makes them wrinkle.

Warts young people are sometimes troubled with; the best cure is to purchase a stick of lunar caustic,--which is sold in a case or holder,--dip the end in water, and touch the wart twice a day; cut away the withered part before applying the caustic a second time.

There are two kinds of freckles. “Cold freckles” are constitutional, and we do not know of any remedy. “Summer freckles” are caused by the winds and the sunshine. The cause assigned for this is, that the iron in the blood, forming a junction with the oxygen, leaves a rusty mark where the junction takes place. The obvious cure is to dissolve the combination. We have had given to us several recipes which are said to be excellent. We will give the best of them.

3.--RECIPE TO CURE FRECKLES.

Into half a pint of milk squeeze the juice of a lemon, with a spoonful of brandy, and boil, skimming well; add a dram of rock alum.

4.--A CURE FOR FRECKLES.

Scrape horse-radish into a cup of cold sour milk; let it stand twelve hours, strain, and apply two or three times a day.

5.--A CURE FOR FRECKLES.

Mix lemon juice, one ounce; powdered borax one quarter dram; sugar, half a dram; keep a few days in a glass bottle, then apply occasionally.

6.--A CURE FOR PIMPLES.

Many of our young people are much troubled with an eruption upon the face. It often proves a great annoyance to them; but there is a simple remedy, which, if it does not effect a complete cure, will obviate the trouble in a great degree, without the least injury to the health or skin.

To one grain of corrosive sublimate add one ounce of rose water; filter, and apply twice a day.

7.--HAIR.

It is impossible for a lady to possess anything that so adds to her charms as a good head of hair. “It is a crown of beauty.” This accounts for the enormous amount of advertisements of infallible hair tonics and restorers. Beware of such advertisements. We will give you some few simple and most essential rules to preserve the hair. Also some recipes (easily and cheaply made) of the most excellent pomatums. The skin of the head is delicate, therefore especial care should be taken in brushing the hair, and in keeping the scalp as clean as possible. The brush should be of moderate hardness. The hair should be separated, in order that the head itself may be well brushed, as by so doing the scurf or loose skin will be removed; if suffered to remain it becomes saturated with perspiration, and weakens the roots of the hair, causing it to fall off. To retain a beautiful head of hair, it ought to be brushed twenty minutes in the morning, and ten minutes when dressed in the middle of the day, and a like period at night. In brushing or combing it, begin at the extreme points; and in combing, hold the portion of hair just above that through which the comb is passing firmly, so that if it is entangled, it may drag from that point, and not from the roots. We have known the finest heads of hair ruined by careless combing and breaking the hair.

It depends upon the nature of the hair whether pomatum is required. Those whose hair is naturally oily and glossy need nothing to make it so; but dry hair requires it. Pure salad oil, scented, is excellent, and bear’s grease. An excellent pomade is made of beef’s marrow, after it is clarified; take six tablespoons of the marrow, heated, and six tablespoons of scented castor oil, to one tablespoonful of brandy or rum. Stir these ingredients half an hour, until it is beaten to a cream; then place it in your jars.

8.--CARROT POMADE.

This is another excellent recipe. Two thirds beef’s marrow, one third leaf lard unsalted, one carrot grated fine, simmered together for two or three hours.

These pomades should be applied with the hand or a soft brush, and rubbed into the hair thoroughly. Be careful and not oil the hair often, for an over oiled head is offensive. It is well to rub the hair at night with a piece of flannel, so that the oil used in the day may be removed. Every month the hair should be shampooed. A few drops of ammonia in rain water will cleanse it well; put the whole hair into the solution, and wash it; then cleanse it with clear milk-warm water, and clip all the ends of the hair without fail. Every split end will, if not cut off, deaden the hair. Another good cleansing recipe is, one ounce of powdered borax, a small bit of camphor, dissolved in a quart of boiling water. With any recipe for cleansing, the hair must be rinsed thoroughly with clear spring water. All boys and gentlemen should wash their heads all over, hair and all, every morning, and wear ventilated hats. Gentlemen become bald sooner than ladies from wearing close hats so much.

9.--BANDOLINE.

A French recipe, is excellent--because it is harmless--to use in dressing hair to keep back any refractory locks.

_Recipe._ Simmer one ounce of quince seed in a quart of water, forty minutes; strain cool, add a few drops of scent, and bottle, corking tightly.

Another way of making “Bandoline” is with Iceland moss. Take a quarter of an ounce, boiled in a quart of water, and a little rectified spirits added, so that it may keep.

A weak solution of isinglass is the only curling fluid that is harmless.

10.--COLD CREAM.

Is excellent for a lip salve. The recipe is a pint of sweet oil, half an ounce of spermaceti, and two ounces of white wax, melted together over the fire and scented; or take a pint of oil of sweet almonds, one ounce of white wax, half an ounce of spermaceti, and half a pint of rose water, beat to a paste.

11.--RECIPE FOR CAMPHOR ICE.

Half a cake of white wax, a good inch of a pure spermaceti candle, a piece of camphor as large as an English walnut, a tablespoonful of sweet oil, mix and simmer all together; if too soft, add more wax, if too hard, add more oil. This is excellent to use in cold weather for lips and hands.

This being prepared for a home book, we give a few recipes for the use of the toilet, which we know are good.

We will give one more most excellent recipe for a cooling and healing salve.

12.--CUCUMBER SALVE.