The cross in each court is intended to mark the spot where a player must stand to “serve” or strike the ball when the game first begins. The player must stand on the cross of the chosen court while serving; at other times during the game she may go any place within her court, but she must stay in her own court on her own side of the line.

The Object of the Game

is for each player to strike the ball on the end of the string in such a way as to cause the string with ball attached to wind completely around the pole above the red band.

The game is intended for two players, and it begins by each one, in turn, tossing a small stone or piece of wood as near as possible to the tether pole while standing at a spot, previously marked, ten feet from the pole. The girl landing a stone nearest the pole has first turn and choice of courts; the other player must go in the court on the opposite side and beyond the circle.

The server holds the ball in her hand and, striking it with her racket, endeavors to send the ball winding around the pole, but as the ball approaches the other player or opponent, the opponent tries to stop the progress of the ball with her racket and send the ball back to wind around the pole in the opposite direction. As the ball returns toward the first player, a second time she endeavors to strike it and wind the string her way around the pole. In this manner the ball is kept going back and forth between the two players until one player succeeds in winding the entire string and ball above the red band; this wins the game, and the girl winning the greatest number of games out of eleven wins the set.

While playing the game the ball may be struck but once at a time, no player being allowed to have two or more trials during one turn.

The turns shall alternate between the two players.

If a player fails to send the ball into her opponent’s court on its way around the pole, the failure is called a fault, and the player making the fault loses her turn. The lost turn goes to the opponent, who then stands on the cross in her own court and has a free strike at the ball.

If a player strikes the ball more than once during one turn, she is guilty of a fault, and loses her next turn. If a player over-steps the boundary of her own court in any way, she is guilty of a fault and loses a turn. When the string winds around the handle of the racket, or winds about the tether pole below the red band, the player so winding the string commits a fault and loses a turn.

All faults give the opponent a free hit from the cross on her own court.

When grown-up girls and boys play tether-ball, the pole must stand nine feet high when erected. The red band on the pole must be six feet above the ground. The circle on the ground around the pole must be three feet in diameter. The straight line dividing the courts must extend ten feet outward from each side of the pole, making the entire length twenty feet. The ball must hang, when at rest, two and one-half feet from the ground.

This game may be played by sides, of equal numbers.

PART II
MINIATURE SEVEN WONDERS OF THE WORLD

CHAPTER XIX
THE PYRAMIDS OF EGYPT

Cheops’s Home

was in Egypt, where there are more crocodiles than you can count, and doubtless the little brown fellow, at a safe distance, enjoyed watching the sleepy creatures while he vaguely wondered why crocodiles always crawled up on the banks to lie so long and still in the sun. There were many other strange animals and queer Egyptian things—unlike any you have ever seen—that interested and delighted the child. When Khufu grew to be a man he was

A Great Monarch,

an Egyptian King, and instead of watching crocodiles busied himself watching and ruling a nation. The King did not bother greatly about the house he lived in, but spent much energy and many years in building an enormous pyramid, the largest ever erected at any time. When you grow older you may possibly take a trip to Egypt and see this

Wonderful Structure,

built 900 B.C. It is made of huge stones, most of them thirty feet long, five feet high and four or five feet wide. How do you suppose men ever managed to lift such monstrous blocks to build the pyramid? Well, they were obliged to labor very hard, for it took two hundred layers of stones for the pile, and all the work was done with the utmost care and precision.

You must also use care and precision in building your Egyptian pyramids. Have them exact, and in place of the heavy stone blocks use

Coarse Sandpaper

If possible, get it of a tawny yellow hue, that the miniature pyramids may be the same color as the originals, now that the outside casings of the latter are off. King Cheops had an army of one hundred thousand men laboring constantly during twenty long years to pile up his stones. You can make your Khufu Pyramid in twenty minutes and need employ only ten fingers instead of one hundred thousand men.

from sandpaper (Fig. 292); if the paper is not stiff enough, paste it on a piece of cardboard; an old box-lid will do. Make two more sides like the first and gum narrow strips of muslin along the right side edge of each (Fig. 293). The dotted line shows the edge of the pasteboard underneath the cloth. Join all the parts together by means of these strips (Fig. 294). When making the fourth side, extend it out into the projection (T, Fig. 294) and cut a corresponding slit in the first side (U, Fig. 294). Place the pyramid down flat on a level surface under a weight to dry. When ready remove it and cut off the ends of the strips (S, V, O, Fig. 294); then bend the toy into shape by bringing the first and fourth sections together and sliding T into U (Fig. 294). The pyramid must stand erect and firm as in Fig. 295. Remember that the four sides of the real pyramid are built upon

A Perfect Square,

and the base lines of yours should also form a true square. If you can get some tough paper which will fold together in a flat crease without breaking, you may make the pyramid of one piece instead of four, by cutting it the shape of Fig. 296 and bending it evenly along the dotted lines to form the four slanting sides. The loose ends must be fastened together by means of extension and slit. If you have no regular sandpaper make some. Give the paper a thin wash of glue, and before it dries sprinkle it evenly with sand. An old kitchen pepper-box filled with sand will make a fine sprinkler. If you cannot get the pepper-box, take a small empty baking-powder can and punch tiny holes in the cover by hammering a fine wire nail through the tin in many places; use it as a sprinkler. You must prepare the paper and have it evenly sanded before cutting out the design.

In Egypt there are three famous structures in addition to the Sphinx: the great pyramid, the middle-sized pyramid and the little pyramid—like the big bear, the middle-sized bear and the little wee bear in the story book. Each

Pile of Stones

was set up by a different king, and each one is named for the monarch who built it. The largest is called for Cheops; the second is named Chephren (pronounced Kefren) and the smallest has the longest name Mycerinus (pronounced Me-ker-in-us). Make the colossal Cheops as large as the dimensions of your paper will admit. The original is like a mountain, measuring 746 feet each side of the square foundation and reaching up 450 feet and nine inches in height.

King Chephren did not build his stones quite as high; he was satisfied with a base, each side of which is 690 feet and nine inches and a height of 447 feet and six inches. The last, King Mycerinus, must have grown tired of playing with the stone blocks, for his pyramid is merely a hill 203 feet high, with each side of the foundation 354 feet and six inches, not nearly so tall as Cheops’s monument. Build your little pyramid about half as high as the second one.

After making the Egyptian structures, naturally you might think that they could be grouped as you pleased to place them, but these pyramids are

Different from Ordinary Toys

and must always be fixed in certain positions. Stand them in a diagonal row, each one facing exactly E. W. N. S. Fig. 297 gives their correct positions. The first must stand to the northeast of the second, the second to the northeast of the third, and the Sphinx east of the second monument.

with its body like a crouching lion and its head, like a man’s, modelled from that of an ancient Egyptian. The original is an enormous queer creature hewn from stone and made before the pyramids were built; consequently, it is very old. It was on the plains more than 4,000 years before the birth of Christ. Little wonder that it now appears worn and chipped and that, like your small sister’s doll its nose is broken off.

Begin carving the Sphinx by cutting a larger size from Fig. 298 of stiff sandpaper. Mark the head with ink as nearly as possible like Fig. 299. Should you fail in this, find a print of the head in some old paper or magazine, cut it out and paste it on Fig. 298. Bend the design across the dotted line, and the Sphinx will be ready to crouch close down on your sandy plain. There is no need of carving the body, because that of the real Sphinx is entirely covered with sand, with only the head above ground, and we want ours to look like the original.

that the sand might slip off when it struck them. Try pouring some sand on your pyramids and you will understand the reason of the peculiar style of architecture. The land in Egypt on which the Sphinx and pyramids stand is the plain of Gizeh; consequently, you must give that name to the place where you set up your structures. The

Tall Date Palm

is a beautiful tree. The leaves are glossy and spread out in a graceful crown; its stem is marked with old leaf scars, giving it a very different appearance from the bark of our native trees.

Cut Fig. 300 from light-weight green paper, and mark it as Fig. 301; then cut Fig. 302 of very stiff pasteboard. Paste Fig. 300 on the top over the letter P; next bend the stem where it joins the base (Fig. 302) and plant the tree almost any place on your plain of Gizeh.

Several date palms, either grouped or scattered, would look well and tend to relieve the severity of the landscape. A thin layer of sand sprinkled over the plain, the stand of the Sphinx and the paper roots or stands of the trees will give the place a realistic appearance, and the scene will then be ready for the camels and Arabs. You may own

As Many Camels as You Desire;

all you have to do is to use the old Egyptian method of squares, as explained in Chapter XIV, and it will enlarge the camel in Fig. 303; then cut out the figure, lay it down flat on cardboard and run a lead pencil around its edge. Cut out this second animal and repeat the outline as often as you want camels. You will then have fine camels which will stand firm on four feet and be strong enough to carry burdens.

Make the Saddle

of writing paper (Fig. 304). Paint or mark it as in Fig. 308, fold it like Fig. 305 and fit it on the camel’s back.

Cut out the Arab (Fig. 306), being sure to make the short slit in the back of the drapery so that the man will sit well on the saddle. Along the dotted lines place a strip of paste and fold the figure at the back, pasting the two sides together at the centre (Fig. 307). When dry mark as in Fig. 308 and mount him on the animal. As a harness tie a string on the camel’s head, ornament it with tiny tassels (Fig. 309) and give the end of the string to the Arab, threading the string through the hole in his right hand (Fig. 308).

The trees, animals and men must be placed some distance in front of the pyramids, that the latter may seem to be a long way off; otherwise, all your objects will be out of proportion, because when a live camel stands close up to the Grand Pyramid it looks very small. Have several

Camels with Men Riding

them, some free from harness and rider, others held with the halter by Bedouins seated on paper rocks, which you can make by bending a piece of cardboard the right height.

All the objects given can be enlarged to any desired size by the system of squares shown in Chapter 14, and the entire Egyptian scene may be taken up, each piece folded flat and placed in a large envelope when not in use.

CHAPTER XX
THE COLOSSUS OF RHODES

of Lindus, that you are a great sculptor and can model all sorts of wonderful and beautiful objects, and that the city of Rhodes has commissioned you to make a gigantic bronze statue of Apollo, their sun god. So you must pretend that you have built two small islands at the entrance to the port of Rhodes, and that on each island you have erected immense stone pedestals fifty feet high, so that your Colossus need not be obliged to stand in the water. The statue must be made to span the harbor with “legs wide apart,” as Napoleon stands in the pictures of history.

Apollo must be very large, about one hundred and eleven feet high, in order that every ship entering the harbor may pass between the legs of this

Towering Colossus

as a tribute to the god; and when sailors approach the statue and pass beneath it they will marvel at the beautiful figure of polished metal and carry news of it all over the world.

Make the Colossus of bronze filled in with stone. Use stiff fine lawn or fine batiste as the outer bronze covering of the statue; let the cloth be perfectly smooth, without a wrinkle. Take raw cotton batting for the stone filling. Enlarge very carefully on stiff, smooth paper the pattern (Fig. 310); make it measure nine and one-fourth inches from the tip-top line to the bottom line; then cut it out and lay the paper pattern down flat over a double fold of the cloth. With a soft lead pencil run a line on the cloth entirely around the figure; be particular about having all the curves of the figure correct. Baste the two layers of cloth together and machine-stitch them around the outside edge of the pencil outline.

Leave a half-inch opening at the shoulder of the upraised arm A (Fig. 311). Pull off a bit of the soft, raw cotton and force it in at the opening A (Fig. 311) between the front and back of the figure. With a smooth, slender, dull-pointed stick push the cotton well up into one of the points surrounding the head, which represent the rays of the sun. When you have the cotton in the tip of the point, pack in another piece and continue to stuff the point with cotton until it is filled out firmly. Stuff all the points and the head in the same way; then fill the opposite shoulder and upper part of the arm which is held down at the side, and next the uplifted hand and arm, and the body.

of the left foot and stuff the lower half of the partially filled hanging arm, then the lower part of the body and the entire length of the leg, and fill in the other leg. Before stuffing the feet take two strong, stiff hat-pins and break off the heads. If you bend the ends in removing the heads, hammer them out straight again; the pins must be perfectly straight. Very carefully work a pin, broken end first, up each leg well into the body. The dotted lines along the legs in Fig. 311 represent the pins placed inside; the points of the pins extend not less than an inch and a half below the feet B, B (Fig. 311). C, C (Fig. 311) shows the raw cotton, which has not yet been packed into the feet. Lift the figure by the two pin points, and if it is firm and stiff finish stuffing the feet; if it bends when held by the pin points, carefully twist out the pins and insert them again, adjusting them until they keep the figure stiffly upright when held by the points.

Sew up all the openings and

Cut Out the Statue,

then slowly punch open the centre of the divisions between the rays around the head and the uplifted arm, with the point of a blade of the scissors. Enlarge each hole by twisting the pointed end of a penholder around and around until the opening is sufficiently large. Turn the Colossus over on the other side and carefully cut away the fringe of cloth that surrounds each opening. In like manner open the space between the body and the arm extending down the side.

When stuffing the figure, use the cotton soft; do not roll it into hard wads, and be careful not to run the end of the stick through the cloth covering and tear it; the same care must be taken when inserting the pins up the legs. With thread and needle stitch an outline between the fingers and around the lower portion of the raised hand. Filling in the figure with cotton will give you an idea of the labor your great-grandmothers expended upon their bedquilts when they stuffed elaborate designs of grapes and vines on the coverings. Such quilts are now highly valued. Give Apollo an

All-over Coat of Varnish

When the statue is perfectly dry bronze it with liquid bronze, and if the small openings by the side of the arms seem partially to have closed, twist the end of the pen handle through each one to enlarge the spaces.

Cut a strip of cloth according to Fig. 312 for drapery. Hold one end against the figure at the side where the arm joins the body and fold the cloth loosely across the front and around the back of the figure, bringing the other end of the drapery forward through the space between the arm and the body. Fasten it in place with a pin (Fig. 313). Bronze the scarf so that no portion of unbronzed cloth is visible; then allow the statue to dry, and with sharp scissors trim off any little ravellings along the edges of the stitching. With pen and ink

Mark the Features

on the face. The chin being held up foreshortens the face; this means that the position causes the features to look as if they were closer together than they actually are, and that the eyebrows are nearer the top of the head, which makes all the features seem higher than when the chin is held level. Do not forget this while inking the face. Draw rather high on the forehead two curved lines for the eyebrows; under these mark two curved oblongs for the eyes, a curve for the nose, with two elongated dots for nostrils, a larger curve for the mouth and a little one for the lower lip. Practise drawing the face on a piece of paper before attempting to ink it on the bronze head.

Find or make two boxes of heavy cardboard each about two and a half inches high, an inch and a half wide, and two and a half inches deep. Open the boxes and give the outside a thin coating of glue. While the glue is wet sprinkle with sand, and, when dry, replace the covers and the boxes will be two stone pedestals for the statue.

Erect Apollo

upon the stone foundation by pushing the projecting pin points through the tops of the boxes; work a cork on the end of each pin point, having the cork large enough to rest firmly on the bottom of the box after it is attached to the pin point; then, holding each cork in place, fasten them in turn to the bottom of the box by pushing a common pin up through the bottom of the box into the cork. Fig. 314 shows the inside of the sanded box with the point of the hat-pin firmly planted in the top of the cork, while the cork is held securely to the bottom of the box by means of the pin run into it from the outside of the box. Apollo must stand firm; the statue and foundation boxes should be so securely fastened together as to seem made in one piece.

There, the famous Colossus of Rhodes, one of the renowned Seven Wonders of the World, is completed, and now that you have made the statue you can never forget it. Pretend that Apollo towers in the air at least one hundred and fifty feet when on the pedestals. Of course, such a remarkable piece of sculpture could not be constructed in a moment’s time, so make-believe that you, the sculptor, Chares, of Lindus, have been twelve years at work on the wonderful bronze figure. Get a sheet of blue tissue paper to serve as the water, stand Apollo on it, and make two or three

Tiny Paper Boats with Masts;

set them on the water under the bronze statue that the vessels may be sailing beneath the statue into the harbor of Rhodes (Fig. 313).

When you have erected the Colossus on a table and everything is ready, invite the girls and boys in to see the work; tell them all about the statue’s being one of the “Seven Wonders of the World” and what fun you had making Apollo, and that you intend to make another of the “Wonders,” which you will show to them.

Play that the Colossus has stood guard over the harbor of Rhodes for fifty-six years; then make an earthquake

Tumble it Down

Double up your hand and give a hard knock on the under side of the top of the table, exactly beneath the spot on which Apollo stands. With a little aid of the imagination the noise produced will sound like the rumbling of an earthquake, and the shock will cause the earth, or the top of the table, to tremble and quake violently, and down will fall the Colossus.

Make believe that

The Statue is Broken

in many pieces and that the people of Rhodes allow the fragments to lie scattered on the ground, for you know that after the real Colossus had been thrown down, it remained where it had fallen for many centuries, until the year 656 A.D., when Rhodes was conquered by the Saracens, who sold many of the pieces of the bronze sun god to a Jew of Syria Edessa. This man had nine hundred camels carry the fragments on their backs to Alexandria.

Nearly three centuries after the disaster, Pliny saw the pieces of the Colossus still lying where it fell: “And even as it lies there prostrate,” he reports, “it stirs to wonder. Few men can clasp its thumb with their arms; the fingers alone are greater than most statues; vast caverns yawn in its shattered limbs; within one sees blocks of stone by whose weight the builder established it.”

The Colossus

cost about $500,000, which was obtained from the sale of the engines of war presented to the Rhodians by a man named Demetrios Poliorketes, after they had made him give up the siege of their city, 303 B.C.

There were several thousand statues in Rhodes but none so large as the Colossus, which is said to have weighed 720,900 pounds. The famous Laocoön and the Farnese Bull were both modelled in Rhodes. In Roman time Rhodes was thought the fairest city in the world and is described by historians as superior to all other cities of its era, for the beauty and convenience of its ports, streets, walls and public edifices, all of which were profusely adorned with works of art. Among the students in its university were Brutus, Cassius, Cæsar and Cicero, and the first Greek grammar, the one which became the model of Greek and Latin grammars, was written in this city, so you find that Rhodes has played a very important part in the world. But the island of Rhodes is no more a powerful state; it is now a possession of Turkey, and is ruled by a pasha, who holds office for life, governing also the adjoining islands belonging to Turkey, and collects the revenues. We will have interesting news from time to time from this same island, for one of the newspapers has stated that a Danish scientific expedition will go to discover all that remains of the Colossus of Rhodes. You must be on the lookout, therefore, to know how much they find of the statue and how the pieces look; then you will wish to compare your Colossus of Rhodes with the facts stated and any pictures which may be published on the subject to see how closely your Apollo resembles the original “Wonder” of the world.

CHAPTER XXI
THE PHAROS OF ALEXANDRIA AND THE MAUSOLEUM OF HALICARNASSUS

The First Lighthouse Ever Known

Think what that means: When it is finished the people from other countries will see your Pharos and wonder why it never occurred to them to build a lighthouse, and they will hurry to erect similar structures on their coasts, that sailors on all the seas may have guides in times of danger and not be dependent upon bonfires burning at the entrances of harbors. These chance watch-fires are now the only kind of lighthouses the people have, so get ready your material and make preparations for building, that you may help the poor sailors. Remember, though, that we are living in the third century B.C., and that we are not in the United States but on the island of Pharos.

It happens that your lighthouse will be on an island in the identical Mediterranean Sea in which the Colossus was reared, only not on the same side of the water. The island of Pharos has a neck of land, built by men, which stretches through the water to the city of Alexandria, making it easy to go back and forth for building material. You must have plenty of ground space for your new style of beacon-light, because the foundation is to be very large, about six hundred feet square, and the building will be many stories, growing smaller and smaller in size as the stories extend upward. The lighthouse must be five hundred feet high, that the light may be seen miles out at sea.

Stiff, white paper will answer for the stone.

Cut the Foundation

piece like Fig. 315 with a square centre measuring five inches along the dotted lines on each of the four edges. Near two of the edges are long slits (A A). Extending out from the centre square are the four sides of the square, each an inch and a half in depth. On one end of each side there is a flap, C, at the opposite end a slit, B, and two of the sides have an extra extension, or bottom flap, D. Cut all of the heavy lines and carefully crease the dotted lines. The best way to make Fig. 315 is to cut a piece of paper eight inches wide and eleven inches long (Fig. 316). Run a line lengthwise across one inch and a half from the outer edge (Fig. 317); repeat the same on the opposite edge (Fig. 318); then mark a line across each of the ends three inches from the edge (Fig. 319). Make another line midway between this line and the edge at each end, which will bring the division one inch and a half from the edge E, E (Fig. 320). Crease all the lines, bending them inward. Open out the paper after each folding, and when all lines have been creased and opened you will find it very easy to mark and cut the sides and flaps of Fig. 315.