Cut three more papers for

The Next Three Stories;

divide them with lines like Figs. 316, 317, 318, 319, 320, and cut them like Figs. 322, 323, 324. The centres of these must each be smaller than the last, measuring respectively four, three and two inches square, but the depth of the sides remains the same. The size of your second-story paper will be ten by seven inches, the third, nine by six inches, and the fourth, having the bottom flaps, measure one instead of one and a half inches, as do the others, requires paper seven by five inches. Figs. 321, 322, 323, 324 are given to show the relative sizes of the four stories when the paper is cut and laid out flat; the diagrams are also intended to explain the cutting of the slits on the centre squares. Notice that in the first story (Fig. 321), as in the additional three stories, neither of the ends of the left-hand slit reaches to the edge of the square, while the right-hand slit (H H, Fig. 321) touches at one edge. In the second story (Fig. 322) the right-hand slit not only runs to the edge of the square, but there turns at right angles and extends through the edge of the paper (G G). The right-hand slit of the third story (Fig. 323) differs from the other two; it runs within a short distance of the edge of the square, where it turns at right angles, making a straight line to the adjoining side of the square, there turning again at a sharp angle; the slit reaches entirely through the edge of the paper H, H (Fig. 323). In the fourth story (Fig. 324) the slits are cut like those in the first story I, I (Fig. 324), being the long slit. Fig. 325 gives the diagram for the fifth story, which is the top one.

has large openings in the four sides to allow the beacon-light to shine out into the dark night. The centre of the diagram (Fig. 325) is one inch square; two of the sides have slits cut near each side edge of the windows; on the other sides of the squares are extending flaps. Cut all the heavy lines, and bend inward and crease all the dotted lines, then put the top story together in proper form by sliding the four side edge flaps through the slits, which will bring the edges of the sides together, forming the four corners of the room. Bend back and crease down the portion of the flaps which extend inside of the room; do this to make the fastenings secure. Use strips of bright-red and orange-colored tissue paper cut into fringe on one edge and twisted together into a bunch, as in Fig. 326, for the

Pitch-Wood Fire

which is to gleam out upon the treacherous approaches to the harbor.

Having fuel for the make-believe fire, and white stone, or paper, cut ready for building, your lighthouse may be erected in a few moments. Pierce a small hole in the exact centre of Fig. 324 C, and bend down the sides, allowing the side flap of each to extend around the corner and on the outside of the adjoining side. Slip the end of each flap through the slit which it covers, shown by B, Fig. 315, and bend back the end that comes through on the inside; fit the end of the fire (Fig. 326) tightly into the hole C on the top of Fig. 324 and the work will resemble Fig. 327. Through the two slits on each side of the fire slide the two bottom flaps of the fifth or top story; flatten the ends of the flaps up tight to the under side of the top of the fourth story. Be sure to keep the front side of each succeeding story directly under the front side of the one over it, that the steps may fit in place. Fasten each lower story to the one above in the same way that you attached the fourth to the fifth.

leading to the top of the lighthouse. Cut the top flight (Fig. 328) of stiff white paper. Let it measure one-half inch in width and four and one-half inches in length, including the top landing. The side extension K of the landing should be three-quarters of an inch long. Fold the flat, straight strip of paper back and forth many times, in fan fashion and crease firmly to form steps (Fig. 329). Slip the extension K into the slit I on the right-hand side of the top of the fourth story, and slide the bottom of the stairs into the slit H on the left-hand edge of the third story. Make the next flight of steps like the top ones, only longer—five and one-half inches in length before being creased. Place the end of the platform extension over the bottom of the top flight; run it through the slit H which turns at right angles from the edge and fasten the bottom of the steps in the right-hand slit edge (G) of the second story. Attach the third flight of marble steps diagonally across the second story in the same manner. The paper strip for these last should measure when flat seven inches in length.

on which to erect his lighthouse, but you may have the fun of making one for your Pharos. Find a box a little larger than the lighthouse and cover it loosely with any kind of stiff cloth; have the cloth smooth and tight only over the space on which the Pharos is to stand. On all the other portions of the box the covering should be irregularly placed, so that it will jut out in places; fold in others and have as much the appearance of an immense rough rock as possible. If the box is of pasteboard, sew the cover on with a stitch here and there; if of wood, tack the cover on. When ready glue or

Tack the Island

on a foundation of wood or one of heavy pasteboard covered with sea-blue cloth or paper to represent the waters of the Mediterranean Sea; give the island a very light coat of varnish or glue, except the central space reserved for the lighthouse. Be careful not to allow the glue to dampen the cloth sufficiently to make it limp. While the glue is moist, sprinkle generously with sand. When dry, glue on the Pharos. Turn inward the down-hanging bottom flaps and glue them down securely to the stone. Draw the statue (Fig. 330) on white paper and cut it out. Then cut a slip up through the centre of its stand, bend the stand at the dotted line, one half of it forward, the other half backward, and paste the statue upright on top of the building.

If you would like to do just as the real architect Sostratus did, write your name in this way:

SOSTRATUS OF CNIDUS TO THE RESCUING
GODS, FOR THE BENEFIT OF SAILORS

on one side of the first story of the Pharos; then paint over it with white paint so that the name cannot be seen. After the paint has dried, write over the white paint, “King Ptolemy.” Sostratus of old carved his name deep on the stone wall of the building, then plastered over it and set the King’s name in the plaster. Instead of the plaster you have used paint.

Now place the Pharos in the bright sunlight; let it stand between you and the light, with the corners of one of the front edges toward you, and see how well it appears, and how closely the colored tissue resembles real fire burning and shining brightly from the top openings. Make tiny paper boats, not over an inch in length, with wee paper sails, and scatter them on the make-believe water. The contrast in size of the Pharos and boats will give a faint idea of the huge proportions of the lighthouse. Call in

Your Friends

and let them enjoy the lighthouse with you; tell them they must pretend that the structure is gigantic in size, that the laborers were paid only twenty cents a day, and even with such low wages, the Pharos cost over a million dollars. Explain to them how all lighthouses of the Roman world were named Pharos, after your building, because yours was the first and marks an epoch in the world’s history. Say to the boys and girls that this white building you are showing them is one of the Seven Wonders of the World, and beside being very beautiful, it is one of the most useful of all the “Seven Wonders.” You must make believe that your Pharos was completed in the year 282 B.C., and remained standing sixteen centuries.

Turn a square or nearly square pasteboard box upside down. On the centre of the top glue a pasteboard cella made like the one in the Temple of Diana, Chapter XXIII. Surround the cella with paper pillars made in the same manner as those in Chapter XXIII, and glue them along the four edges of the box. Cover all with a pasteboard ceiling glued on; then make a pyramid of white pasteboard, similar to the Egyptian pyramid, but let this one have a flat top. Fasten the pyramid on top of the ceiling and paste four paper horses with chariot and driver on a small box on top of the pyramid. Glue the structure on a board and make two small boxes for each ground corner. Fasten these in place and paste a paper horse with rider on top of each box, then your Mausoleum will be finished (Fig. 331). The building should be white. The original was a monument in memory of Mausolos, and was built by his wife Artemisia. It stood in the city of Caria on the southwestern tip of Asia Minor in the year 353 B.C.

CHAPTER XXII
THE STATUE OF ZEUS AT OLYMPIA

and that you are actually modelling the real giant statue. Make believe that hundreds of elephant tusks have been sent to you from distant regions to supply enough ivory for the work, and that you have an abundance of gold, precious stones and ebony. Make Zeus of a doll (Fig. 332) five and one-half or six inches in length. Pry off its wig, then give the doll a coat of varnish. Should the arms be flat, round them out with a layer of raw cotton glued on and paint the doll white all over. You must make the entire doll absolutely white.

on the head (Figs. 333 and 334). Gild the sandals (Fig. 335). Make a crown of green tissue paper olive leaves. Fold and cut like Figs. 336 and 337, and fasten together on the back of the head with glue. Bend and bind Fig. 338 into a sitting position with feet crossed; keep the statue so until you glue it on the throne. Cut the

Throne of White Cardboard

(Fig. 339); the back, seat and front from top of centre ornament to extreme edge of front are six and three-quarter inches. The seat is one and one-quarter inch wide and two and three-quarter inches long. The arms are one inch high and the top of arm half an inch wide; the length of arm is an inch and a quarter. The front is one inch wide, the feet G and F, on each side are half an inch long not including the flaps. Length of back of throne is four and one-half inches. Each side is an inch and one-quarter wide; their greatest length, counting the entire length of one of the feet, is an inch and a half. The width of back piece (Fig. 340), not including X and X, is two and three-quarter inches. The sides X and X are one and one-half inch in length, as they fit exactly the under side of the throne sides J and J.

then bend dotted lines and cut heavy lines. Bend inward the side part A (Fig. 339) including D and L; then bend forward the top part B; slide C through D from outside and bend inward the box-like arm at E. Bend the other arm likewise. Bend backward the sides extending along the dotted lines F F and G G, then the front along dotted line H; at the same time slide I and I against the inner sides of the throne J and J. Bend forward the back of the throne at K. Bring forward the arms and run L and L through M and M, then pass L and L forward through N and N, and slide them back through O and O. Bring the extension P, including T and Q, across the front; run the tongue Q through R. Bend the left side, passing S through T and U, which fits directly under T; S must go through the two slits to the under side of the chair.

Use the Blade of a Penknife

in sliding tongues and flaps through slits and use it to straighten out the points of tongues after they are through the slits. Bend down and backward W and W (Fig. 340); then bend back X and X and fasten Fig. 340 to the throne by sliding V through Y on back of throne. Rest the seat of throne over W and W and the sides J and J (Fig. 339) over X and X (Fig. 340). Attach the throne to the

Upper Dais

by lower flaps. Fig. 341 shows the upper dais. The four sides are each one inch high, its top is three and one-half inches on each of the sides; all four extensions are one inch and a quarter long, tongues not counted, and the four slits are each an inch and one-quarter from the edges of the sides.

The two slits marked, one with a square, the other with a diamond, hold the flaps of the footstool (Fig. 342) marked with same designs. In the diagrams of footstool and dais the slits are marked with designs like the designs on flaps and tongues, which slide through them.

Bring the two correct parts of the upper dais (Fig. 341) together by matching them, as heart to heart, etc. Cut heavy lines, lightly score and bend dotted lines of the upper dais and put it in shape. Make the top of

Footstool

(Fig. 342) an inch and a half long and one inch wide; let the front, back and sides each be half an inch high, the back extensions one inch long, the two side flaps each one inch long, front extensions an inch and a half long, not including tongues. Cut heavy lines, score lightly and bend dotted lines and slip tongues through slits.

Attach the Stool

to upper dais by bottom side flaps; bend the flaps up flat against the under part of the dais. In the same way fasten the throne on the upper dais by sliding the four down-hanging extensions through the four remaining slits on top of the upper dais marked with the same designs. Bend and put together the lower dais (Fig. 343) and fasten the upper dais on it. Make the lower dais five inches square on top and one inch high. Glue the bottom flaps of lower dais down on stiff cardboard or thin wood, in size about eight by ten inches.

Inlay the Throne with Ebony

by painting a black band across the top, down each side of the back and down the front of the arms; keep the lines straight and neat. Gild the centre and two side ornaments on top of the throne.

Trace the panel with the two lions (Fig. 344), gild the lions and gum the panel on the front of footstool; then unbend Zeus and place him on his throne, bringing him well to the front that his feet may rest on the footstool. Fasten the statue firmly in place with glue and pins. Pin one folded end of a strip of smoothly ironed starched cloth on the back of Zeus, bring the cloth up over the left shoulder down across the knees in folds like those in Fig. 345, the statue of Zeus, and with glue and pins

Fasten the Drapery

loosely here and there, then gild the entire strip of cloth. Make the sceptre of a headless hat-pin. Trace the gold eagle from Fig. 346; gild and cut it out, then taking a stitch through the eagle’s body with the hat-pin, slide the eagle up to the top of the pin and glue it in place. Make Zeus grasp the eagle-crowned sceptre by binding his hand and sceptre tightly together with thread. Add a little glue to make sure they stick fast; steady the sceptre by running its point down into the small needle hole that has been previously punctured in the dais, and paint the sceptre white.

Winged Figure of Victory

(Fig. 347), glue it to the empty hand of Zeus and glue the hand tight on the top of the arm of the throne. Then, to give an idea of the immense size of the statue, place a one-inch doll in front of the throne, glue a bit of drapery on it, and let the doll represent a worshipper at the shrine of Zeus. Play that the ivory, gold and ebony throne is glittering with precious stones and golden pictures from the stories of the gods, and that the arms of the throne are supported by two sphinxes.

The real statue was in the chief temple of Olympia in Greece, where the Olympic games were held every fourth year, and Zeus was so large, it was said, that

Should He Rise from His Throne

he would lift the roof off the building; also, that the statue was the supreme masterpiece of art. Everyone was anxious to see it. The people believed that should one stand before the figure and gaze upon it, he would immediately forget all worry and care. Possibly this charm may be transmitted to your little Zeus. The next time you are worried, try it, and see if you do not find yourself smiling as you contemplate the little statues.

You might let your young friends come to see your Zeus for four successive days and play that each day is a century, because for four centuries the real Zeus attracted crowds of people, as it was held a calamity to die without having seen Zeus of Olympia.

CHAPTER XXIII
THE TEMPLE OF DIANA AT EPHESUS

Look at Your Column;

see how gracefully the capital curves into a roll on each side, reminding one of a blossom on the end of a stem. The column you have made is called Ionic, and when you examine the columns or pillars of buildings, you will easily recognize those with Ionic capitals. It was principally because of the beautiful rolled capitals crowning its columns that the temple of Diana was known as one of the Wonders of the World, for it was the first structure that utilized this beautiful style of architecture.

Find a piece of extra stiff white cardboard, nineteen by eleven inches, and on it draw

The Ground Plan

of your temple (Fig. 350). The distance from the outside edge of one ladder-like strip to the outside edge of the other is nine inches. The strips are each sixteen inches long, two inches wide and divided into six spaces. Make the spaces by folding a sixteen-inch strip of paper exactly crosswise through the centre, then folding each half of the paper three times. Place this strip along the edge of the sixteen-inch lines on the ground plan and mark the spaces. Draw the oblong for the cella on the centre (Fig. 350). Make it four inches wide and ten and one-half inches long, leaving half an inch space between this oblong and the inner sides of the ladder-like strips. Take one column at a time and glue the slashed portion firmly on the ladder-like strip. Begin at A, Fig. 350, and

Erect the Outer Row of Columns,

allowing each column to stand immediately along the inside of the outer line AB, Fig. 350, with its exact centre over the short cross-line, as in Fig. 351 (circles indicate columns). Each column must stand erect and plumb. Place the next row of columns just within the long inner line as in Fig. 352. In the same way erect the second double-columned row on the opposite side of the foundation and glue together the sides of the rolled capitals which touch at the top of each pair of pillars on both rows.

of a coverless white cardboard box minus the two ends (Fig. 353). Let the cella be four inches wide, ten and one-half inches long, and five and one-half inches high. When making any article of cardboard, always lightly score every line intended to be bent; this is very important to insure good work. Glue the cella or inner temple on the boundary lines marked for the purpose on the centre of the foundation board, and glue the outside of the two walls firmly to the edges of the rolled capitals of the columns which touch them.

Cut the dais of cardboard five by three inches, and bend it like Fig. 354; have it three-quarters of an inch high and glue it on the floor of the cella (Fig. 353) two inches from the back edge with its open sides facing the walls of the cella. Trace on cardboard and

Cut Out the Goddess Diana

(Fig. 355). Bend the extension beneath Diana’s feet half forward and half backward, then glue Diana on top of the dais in the centre at the back.

Build on the ceiling and roof of the temple. Make the ceiling of cardboard ten by sixteen inches, and cut the two gables, one for each end of the roof, like Fig. 356, two and three-quarter inches high and ten inches long, not counting the extensions on the three sides, which must be bent and glued to the ceiling and roof. When the gables are fastened securely on each end of the ceiling, cut the roof of white cardboard seventeen by twelve inches, bend it lengthwise through the centre and glue it on top of the ceiling by fastening the ends tight to the upright gables. Allow the roof to extend a trifle beyond and over the edges of the ceiling and also project half an inch over front and back of the temple. Fit the roof-covered ceiling over the top of the temple; see that everything is properly placed, then remove the ceiling; drop a little glue on top of each roll of the capitals on all of the pillars, again adjust the roofed ceiling and hold it steady until it adheres firmly to the temple.

Now be very careful in your measurements. If your measurements are not exact your steps will not fit together. Divide each section of paper lengthwise from side to side into half-inch spaces by drawing twelve lines across, beginning half an inch from the top of the paper. This will make thirteen spaces (Fig. 357) which, when creased backward and forward, fan fashion, will form seven steps, counting top and bottom landings or treads. Take the longest section of the front steps and square off one end with lines half an inch apart and of varying lengths running down across the first line (Fig. 357).

Begin at the Top

square, C, and draw a diagonal line across it; continue the diagonal lines across every other descending square (Fig. 358). Cut away the squared marked paper from the diagonal lines and the squares marked D D D D D D in Fig. 358 as shown by heavy line in Fig. 359. This makes the corner of the stairs. Lightly score all the horizontal lines, then crease the steps backward and forward along the horizontal lines. Make the other half section of front steps same as first, with the exception that the corner must run out to the left instead of the right hand, so draw the vertical lines (Figs. 357, 358, 359) at the left side of the section and make that corner like the right-hand one, only reversed.