Part 9

Any child or young lady who can make a shirt well, can easily manufacture all female undergarments; patterns for cutting out will be all that will be required. Both cotton and linen cloth should be scalded in _soap-suds_, dried and pressed _without_ rinsing, before you work on them, in order to render them soft enough for the needle to pass through easily. But should you be unable to have this done, rub the parts you are going to sew or hem with a cake of white soap, or make a strong suds and brush the parts. Your needle will move easily, and will run no risk of breaking.

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

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

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

13.--EMBROIDERY IN SPANGLES AND CANNETILLE.

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

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

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

14.--EMBROIDERY IN LAMÉ OF VELVET AND GOLD.

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

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

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

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

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

15.--EMBROIDERY IN FEATHERS.

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

Any white feathers dyed are suitable for this work.

16.--CORK WORK.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Crosses to train ivy on can be made of cork.

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

17.--BLACK LANDSCAPE.

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

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

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

18.--VEGETABLE FLOWERS.

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

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

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

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

19.--ORNAMENTAL SEED WORK.

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

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

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

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

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

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

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

20.--HOW TO IMPRESS LEAVES ON VELVET.

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

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

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

21.--PAPER PILLOW.

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

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

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

22.--IMITATION CARVED IVORY.

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

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

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

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

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

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

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

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

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

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

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

23.--DIAPHANIE, OR STAINED GLASS.

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

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

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

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

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

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