Find a tiny doll, dress it like a child and glue it in an upright position on the walk. Have another doll (neither of these should be jointed) dressed in a way to represent the little one’s mother, standing by the well drawing water, and your charming old-fashioned log-cabin home will be finished. See illustration of An “Abe” Lincoln Log-cabin.

Look at a piece of blank paper or, better still, stand before an unmarked blackboard and try to imagine pictured on its surface whatever you would like to see there. It might be a comical little turtle, a rose, or perhaps a graceful swan. If you knew exactly the true shape and proportion of the objects you could draw them, but as soon as you attempt the sketch you realize that you cannot remember just how these creatures are formed, and consequently you are unable to depict them. Do not be discouraged, for there is a way in which you may do the work easily and that is by reducing the realistic drawing to a few leading lines, and the girls who are able to sketch even a small number of simple objects in this way have resources within themselves both for diversion and development, worth much more than they are apt to understand.

If you would like to put on paper or board

as it stands with its ears bent forward and nose in air, draw a horizontal line (Fig. 425). On the right-hand end of this extend down a short vertical line (Fig. 426); on the left draw another vertical line parallel to but longer than the first (Fig. 427). Draw a bottom horizontal line not quite as long as the top one (Fig. 428); then connect the two loose ends by a slanting line (Fig. 429). Make the letter V inverted and slightly tipped for the ear (Fig. 430); put a dash in front of the ear parallel with the top line for the eye, and a little loop at the back for a tail (Fig. 431). Add two short straight lines to serve as legs on the far side of the pig, making them touch but not pass the bottom line (Fig. 432). Next put in the other two legs on the near side of the animal, extending them up a trifle beyond the bottom line and down a little lower than those on the far side (Fig. 433).

There! the pig is all attention, listening to the welcome sound of the children’s call and ready to start for his dinner! Now make the little animal as he appears when satisfied and trotting off contentedly. Draw the body as for the first pig, but turn it upside down (Fig. 434), then add the eye, ear, tail, and legs. Slant the eye with the head line and point the ear downward toward the left (Fig. 435). In Fig. 432.
Fig. 432. these lines forming the two animals you have produced expressions; in the first, expectation; in the second, contentment, and you have also suggested character, by giving the principal distinctive lines of the pig.

When you see a picture of a pig, or the live creature, try to find the lines which you have drawn. To do this, first Fig. 433.
Fig. 433. get an idea of the general line forming the back, omitting all the little ups and downs and curves—in other words, all detail. Then proceed in the same way with lines forming the rest of the animal. Do not allow yourself to be confused by the amount of detail; keep to the principal parts and you will gain some idea of the form of the object.

In the same way look at the governing lines of

and you will discover that if a triangle be drawn with the straight line, or base, uppermost and the point down at the bottom, it will give the characteristic outline of the hen by adding simple outlines of head, tail, and feet. But the leading lines are not necessarily straight and angular; they are often entirely of curves—the kind of curves boys and girls delight to cut in the ice while skating, and which Old Ocean marks upon the sand in summer, using brushes Fig. 436.
Fig. 436. Fig. 437.
Fig. 437. made of waves.

Did you ever notice how many beautiful curves exist in

the national flower of England? Examine the blossom and endeavor to take in its beauty. A question often asked in one of the games of children is this: “Which would you rather have, a gold rose or a gold lily?” and the bewildered young prisoner scarce can choose, so impressed is she with the desirability of possessing, if only in imagination, both rose and lily, little dreaming that once a year a rose of the purest gold is actually made and given by the Pope to an Empress, Queen or royal princess belonging to the Roman Catholic Church. The rose you can make will not be of the precious metal, but of chalk or lead from a pencil, and you need not wait to present it to a royal personage, but may give it to whom you please. Begin with a circle (Fig. 436). Draw it as perfect as possible, and within its border place one curved petal (Fig. 437), another (Fig. 438), a third (Fig. 439), a fourth (Fig. 440), and two more (Fig. 441). Fill the circle up with petals as in Fig. 442, then on the outside of the circle make six more (Fig. 443); to these add four on the outer edge (Fig. 444). Now you may go over all the lines, making them somewhat irregular, as in Fig. 444. Draw a stem to Fig. 444
Fig. 444 the rose, add a few thorns and on the right-hand side of the stem attach a branch of green Fig. 443.
Fig. 443. leaves according to the copy. The easiest way to sketch in the leaves is to first draw the mid rib or central line which reaches from the point of the topmost leaf to its juncture with the stem of the rose. When that line is made draw two more, branching out on each side of it. These lines form the skeleton of the leaves, and all one has to do to finish them is to commence at the tip of each line and draw a curve to its base, first on one side, then on the other, to form the leaf.

Is not that easy? Should the work be incorrect the first time, do it over again and again. Only little animals are born with a knowledge of all they are required to know; people must learn everything, even how to walk. Remember that the women and men who seem so skilled and wise had to learn by repeated trials, just as you are doing now.

Rub the marks off the blackboard or get a fresh piece of paper and we will put a face on it—one that, after you have once drawn it, you can almost sketch with your eyes shut, so simple is the work. Possibly you do not know that the general outline of

is egg-shaped. Make an egg-shaped outline, using the large part for the top like a balloon (Fig. 445). Draw two curves on the egg for the eyebrows just above the centre of the face (Fig. 446); make two smaller curves under the eyebrows and exactly in the centre of the face for eyes (Fig. 447); another curve midway down between the eyes and the bottom of the chin for the nose (Fig. 448), and a last one below the nose to form the mouth. See how supplicating the face looks! You know how he feels—the boy wants to go to the circus (Fig. 449).

Reverse the order of the lines and the expression will be entirely different. Turn the curves which form the features the other way by bending them downward instead of upward (Fig. 450). The boy is now thinking of the lesson he did not learn.

who ran so fast when the butcher’s wife went after them can also be drawn in a simple manner. Make a curve (Fig. 451) and draw a straight line from end to end (Fig. 452); add ears (Fig. 453), eye and whiskers (Fig. 454), a tail (Fig. 455), and the legs and feet (Fig. 456). Draw three mice all alike in a row. Again, make Fig. 452 to form the body of

Sketch in the gills (Fig. 457), the eye and pectoral fin (Fig. 458), the dorsal fin (Fig. 459), and tail (Fig. 460); then make the scales by first drawing parallel curved slanting lines over the body of the fish (Fig. 461) and crossing them with others (Fig. 462). Indicate the water with a few short lines (Fig. 462).

are slow creatures, but they are interesting travelling about with their houses on their backs. Did you ever have one for a pet? They are very quiet, not at all troublesome, and make fine pets for girls. It may be that you have never seen a geographic turtle. We will draw one, and that will impress it on your mind. Take the same Fig. 452 to form its back, mark as in Fig. 463, then give the turtle a head, in form something like that of a snake. Draw the eyes and mouth distinctly and add the feet and tail (Fig. 464).

Here is something easier to draw than any of the other objects.

without raising the pencil from the paper. Commence at the left-hand starting-point and draw a line sidewise, running Fig. 465.
Fig. 465. Fig. 466.
Fig. 466. it slightly downward (Fig. 465). Turn the line up and cross it over, making a loop at the right-hand end (Fig. 466). Continue the line to the other side and turn it up into another loop under the starting-point (Fig. 467). Keep on crossing from side to side, looping the line each time Fig. 467.
Fig. 467. Fig. 468.
Fig. 468. until you have made Fig. 468; then draw the line up and around the loops as in Fig. 469 to form the wing. Next make similar loops, according to Fig. 470, for the tail. At the last loop draw the line across under the duck’s wing, stretching it up in front (Fig. 471). This Fig. 469.
Fig. 469. Fig. 470.
Fig. 470. gives the lower portion of the head and beak. Continue the line to make the upper part of the head (Fig. 472). One more trial and you will probably be able to draw the bird rapidly without once raising the pencil or chalk from the surface of the paper or blackboard. Let the duck swim in the water by drawing a few swirling lines around it as in Fig. 473.

Young people often have an intense enthusiasm at different seasons for different sports. At one time it may be hoop rolling, when every girl must have a hoop, even if it Fig. 471.
Fig. 471. Fig. 472.
Fig. 472. be one from a barrel. Again, pin-wheels claim attention, and the stores are besieged for bright-hued paper and all the girls and boys work hard over the pretty whirling toys, talking of the many colors, sizes, and number of their Fig. 473.
Fig. 473. special designs. Somewhat after this fashion the grown people in Holland had at one time a craze, not for a toy but a flower—the brilliantly colored tulip—and these older girls and boys often spent many dollars for one plant, vying with each other in their endeavors to obtain rare varieties.

Though often gorgeous in color

is very simple in outline. In one stroke draw Fig. 474, make a corresponding curve on the other side (Fig. 475), Fig. 474.
Fig. 474. Fig. 475.
Fig. 475. forming an oval standing on end; this is one petal. At the right-hand side, from near the top of the petal, run a short, slanting curved line upward and outward (Fig. 476) and connect the end of this line with the bottom of the oval by a reverse curve, making the petal point outward at the top (Fig. 477). Duplicate the petal on the left-hand side, making three visible petals (Fig. 478), most of the other three being hidden on the far side of the flower. Form the tops of the back petals by drawing three Fig. 476.
Fig. 476. Fig. 477.
Fig. 477. little tent-like points, one on each side and one back of the central petal (Fig. 479, A, B, C). Add the stem by drawing two straight lines down from the bottom of the oval (Fig. 480). A short distance from the flower add two long, pointed leaves on the stem, curving them somewhat after the manner of the side petals (Fig. 481).

There are other flowers whose outlines may be drawn in this simple manner. Try the

with its golden centre. First draw a small circle to represent the centre, and as the texture of its surface is slightly rough or velvety, differing in this respect from the surface of the white petals, indicate the difference by covering the centre with tiny dots. From the edge of the centre sketch in the petals of the flower by drawing, for the sides of each one, two long, curved lines which start from the round dotted centre and end by meeting at the outermost tips. Make a number of petals extending entirely around the circumference of the centre. Let them radiate out in all directions as the spokes stand out from the hub of a wheel, being careful to have the petals about the same length, that the daisy may be circular in form and not uneven.

Always make the designs large in size, drawing the lines in with free, easy sweeps of the wrist and arm. Never allow your work to become cramped; move the pencil or chalk deliberately and think what you are going to do before starting. Satisfy yourself as to where you are to begin and where you are going to stop; then do your best.

The duck of fancy loops (Fig. 473) does not portray the characteristic lines of the bird. Such was not the intention; it is merely given for the fun of twisting the lines into the form of a duck, so that you may be able to say, “I can draw a duck without taking the pencil from the paper. Watch me!” Then you draw it for the benefit of your friends.

If you can get a blackboard or a piece of blackboard cloth and tack it over layers of paper on the wall, you might give

by drawing the simple designs you have learned, and perhaps others you can work out for yourself as you stand before your friends. There is a certain fascination in watching anyone sketch and seeing lines which appear to be without meaning develop into familiar objects. Try the idea with a few friends or the members of your family. As you sketch the objects tell in an easy, natural manner anything and everything you know about them. And before you are aware of the fact you will be giving others a delightful half-hour, besides enjoying it yourself.

Girls, do you know that music lies hidden all around you, needing only the right touch to bring it forth? That everything is said to have its keynote, from a big bridge to a little wooden bench, and that when the keynote is struck the object will vibrate perceptibly? A

does not suggest music in any form, and yet Fig. 482.
Fig. 482. you can draw many and various notes from it. Cut a strip of writing-paper like Fig. 482 and whittle two pieces of wood according to Fig. 483.
Fig. 483. Fig. 484.
Fig. 484. Figs. 483 and 484; make the wood a trifle wider than the paper. Place the paper between the bits of wood (Fig. 485) and, holding the instrument tight between your teeth, blow through it; keep on Fig. 485.
Fig. 485. blowing until it whistles like the wind.

Of course you should have a number of different instruments in the orchestra you intend to organize, so that each girl may play on her own special instrument. For the next one, try

Harps were valued highly in ancient Egypt, and later in other countries, some of which still retain them. Modern Fig. 486.
Fig. 486. musicians, like Meyerbeer, Gounod, Berlioz, Liszt, and Wagner, understanding the worth of the harp, introduced it in their music. Our instrument may not be as graceful in form, but you can have more real fun with it than you could with any of the big, costly affairs. Get some elastic bands and a deep, empty cigar-box; drive slender nails at intervals along the front and back edges of the box; then take ordinary elastic bands (Fig. 486), and stretch them across the box by slipping each one over two back and two front nails. The elastics must be of various widths; place the heaviest at one end of the box and graduate up to the lightest at the other (Fig. 487). With a quill (Fig. 488) test the instrument. You can tighten the elastics by looping them around and around one or more of the four pins; in this way the strings may to a great extent be keyed as you wish. Practise on the musical box with the quill toothpick until you can make the elastics sing a tune, then put the harp carefully aside where it will not be broken, and hunt up a piece of wood for a modern

Have the wood about an inch thick: on the top of it, lengthwise through the centre, draw a straight line as a guide. Along the line drive common white pins graduated Fig. 489.
Fig. 489. in size, placing the largest at one end and the smallest at the other (Fig. 489). If you can only get pins of one size, graduate their height by sinking some deeper in the wood than others. To do so without danger of bending the pins, first make shallow holes with a large strong pin by screwing it into the wood; a hat-pin will answer the purpose. Should you happen to have heavy nippers, the pins may be all of the same height, and you can pinch off their tops, causing the row to slant down from one end to the other. All being ready, touch the pins lightly with the quill toothpick, running the scale first up, then down, the entire length of the pin row. After a few trials you will be able to play some simple airs on the pin keys.

Doubtless most of you have seen bells of glass which may be rung like those of metal, but probably you have have never tried bringing

and drinking-glasses. Try it. Collect as many different kinds of glasses as you can find, the thinner the better. Place them on a wooden table (Fig. 490) and with a wooden hammer made by pushing an empty spool on one end of a lead-pencil (Fig. 491) gently strike first one glass then another to find the different tones. Having ascertained these, make the glasses give forth the simplest chimes of Fig. 491.
Fig. 491. the church bells. But do not stop here; experiment until you are able, with various taps, to bring out more music than you at first imagined possible. Let the glasses, like Tennyson’s happy bells, “ring out the false, ring in the true.” The same poet in “Locksley Hall” has the speaker ask his comrades to “sound upon the bugle-horn” when they want him. Few girls will ever try their powers on a real

but all can readily make a twig sound an alarm. Get a piece of ordinary willow-tree (Fig. 492). Be sure it is flawless and perfect; with a sharp knife slice off a slanting piece at one end (Fig. 493), then cut a notch in top (Fig. 494). Fig. 494.
Fig. 494. Gently tap the bark all over with one end of a penknife in order to loosen it from the Fig. 496.
Fig. 496. wood. After carefully removing the bark without breaking it, cut the wood according to the dotted lines in Fig. 495, which will give Fig. 496. The wood is now ready to slip back into the bark, but before doing so place a pea in the hollow part (Fig. 495); then slide the bark back in place (Fig. 497). Now blow the twig and sound the alarm.

A roast of beef hardly seems promising in a musical way, and yet the roast, though it looks so sober and quiet, can help you with the orchestra. Save the smallest two of the long, flat

(Fig. 498) and, after cleaning and drying them, hold both in your right hand, one bone between the first and second Fig. 498.
Fig. 498. finger, the other between the second and third, so that the convex or outward curved sides lie next each other and the top ends of the bones extend slightly beyond the knuckles. Then double up your hand, holding the first bone securely, the other loosely, and in this position give your hand a quick twist and jerking motion, causing the loose ends of the bones to come together with a click, click, clickity, click. The bones should not be cooked, as too much heat will crack them.

Another home-made instrument of music is the

fashioned of small bottles. Any kind of bottle which sounds well when you blow into it will answer the purpose. Use coarse darning-cotton to sew the bottles in a row on a strip of pasteboard, commencing with the deepest toned and leading up to the highest toned (Fig. 499). Place the flute against your lower lip and blow into the open mouth of the bottle. Continue blowing as you move the instrument along, sounding each bottle in turn. After a few trials you can manage the crystal flute well enough to have all the bottles join in the grand chorus of the musical jubilee you intend to give with the home-made instruments.

A little ingenuity will enable you to made a fine fiddle, strings and all, of a common field cornstalk, and a good flute may be manufactured from a section of an ordinary pumpkin vine. Naturally you must think a little over the matter before you will be able to solve the problem.

Take some hollow door-keys of different sizes and use them to play on; they are well worth trying, because a hollow door-key, when blown into, will give much the same sound as a bottle. You might add the keys to your collection of instruments.

Even an

can do duty as a musical instrument. Over one side of the comb lay a piece of common white tissue-paper; then hold this queer instrument to your lips, allowing the paper to come between the comb and your mouth; blow against the paper with lips gently parted somewhat as one blows on a horn or rather on a harmonica. Should the comb not respond at once, try again; when the secret is once learned, there is no limit to the tunes which may be played.

For giving a queer whistling noise there is scarcely anything better than an ordinary broad

laid lengthwise between the entire length of the two thumbs, one end of the grass extending beyond the tops of the thumbs and the other below at the wrist line.

Certain tribes of people are experts in forming

into musical instruments, but for you the shell need not be altered. Take it as it is, and holding the pretty thing to your ear, listen while the shell tells of the far-away blue Fig. 500.
Fig. 500. sea, which, singing gently, imparts to her children, the shells, power to transmit the sound of murmuring waves to those who will listen to the voice.

is one of the prettiest and most interesting experiments and is a very simple one. Remember, you must use a goblet for the purpose, not a tumbler, as the latter will not work well. Choose a goblet of very thin glass, fill it almost full of water, dip the end of your finger in water and rub the edge of the glass quickly around and around until it rings with a humming sound. You will soon find the surface of the water shivering and wrinkling up its face in tiny waves, then it will become greatly agitated, sending up wee streams and drops of water. Wet your finger again and keep on with the circular motion until a little fountain of fine spray shoots up into the air, accompanied by the musical sound from the glass (Fig. 500).

Gather up all the spools you can find, big, little, thick and thin; no matter how many, you can use them all. There is no end of fun to be had with these always-on-hand, easily found toys; they may be made into almost everything. Tell your mother that you can build

if she will give you enough spools, and see her smile at the very idea. But say you are in earnest and ask her not to look until you call “Ready.” Then go to work and surprise her with a miniature representation of one of the most beautiful temples ever built. Begin by standing four spools in a row for the first side of the building, allowing about the width of a spool between each two. Place eight in a row for the second, four for the third, and eight for the fourth side. Have the spools all of the same size, that the walls may be alike and perfectly even, because, as you know, the walls are to be formed of columns, not as many as in the original, but enough to give an idea of the Greek temple. Build up the spools three deep into pillars; then lay a piece of pasteboard on the top of the columns for a ceiling. Bend another piece of pasteboard lengthwise through the centre for the roof, and stand it tent-like on top of the ceiling. Fig. 501.
Fig. 501. You can measure the correct size of the ceiling by laying a piece of pasteboard down flat on the floor along the eight-columned side of the Parthenon to obtain the length, and placing it flat on the floor across the four-columned side to mark the width. Make the roof the same length and a little wider than the ceiling to allow for the height of the bend through the centre.

Now let your mother see

(Fig. 501) and tell her that she must imagine a space immediately beneath the roof filled in with the most beautiful statuary she can think of, that the spools are white marble columns and she should see, in fancy, another row of stately columns inside the ones you have built. Your mother will be greatly interested and can tell you all about the real Parthenon, and probably will hunt up a picture of the temple that you may see just how near you came to making the little model look like the wonderful Parthenon, on the Acropolis, in Athens.

After admiring the building for a while, pretend that a left-over spool

shot from a cannon, and toss it gently against the roof at one end of the temple; then see the columns totter and fall, Fig. 502.
Fig. 502. leaving only a portion of the Parthenon standing, in the same way that the real marble columns fell when the original structure was shattered and practically destroyed by the soldiers.

Take all the spools from the ruins, put away the ceiling and roof for future use, and make the spools into

Use four for the legs of a bedstead, place them in position and lay a piece of stiff white paper, bent up at one end, on Fig. 503.
Fig. 503. top of the spools. The bed will then be ready for the doll (Fig. 502).

A table can be made in a moment’s time. Choose a large spool (Fig. 503) and place a round Fig. 504.
Fig. 504. piece of paper (Fig. 504) on the top (Fig. 505). For chairs use Fig. 505.
Fig. 505. spools with bent pieces of paper for seat and back. Make the bureau of six spools close together in two rows of three spools each and cut the top of a piece of paper with a high extension in the centre which you must bend upright for a mirror. The wash-stand can be four spools quite close together covered with a piece of paper. A piano is easily made, but you must think it out for yourself. Use a small spool for the piano stool.

(Fig. 506) is a spool with a little roil of white paper shoved into the hole and a circular piece of paper crimped Fig. 506.
Fig. 506. around the edge for a shade. Unless you need the spools to use again in other ways you might paste the paper on tight and make a lamp which will not come apart, and you could also glue the top on the table and the seats on the chairs. This is not necessary, however, for if you are careful and do not knock against the furniture, it will remain secure.

When enough furniture has been manufactured Fig. 507.
Fig. 507. for the patient little dolls who have been waiting all this time, give them a present of

in which they can enjoy the fresh air. Cut Fig. 507 from heavy paper or card-board that will fold without breaking. Bend all the dotted lines and cut all the heavy lines in the pattern. Push a burnt match, or a wooden toothpick, through one hub, then through an empty spool and the second hub. The spool forms the wheels. Screw a small pin cautiously through each of the two projecting ends Fig. 508.
Fig. 508. of the match, piercing the wood and leaving the head and point of the pin standing out (Fig. 508). Tie a knot in the end of a string to prevent its sliding out and thread it through the hole in the dash-board (Fig. 508). Help the dolls into the vehicle and take them for a ride.

Next build

(Fig. 509) something like the one which was erected in New York City. Commence with two groups of spools a short Fig. 509.
Fig. 509. distance apart; have three in each group, two in the back and one in the front. Build up columns four spools high; then lay a strip of pasteboard across from one to the other. On top of the pasteboard place two more groups of smaller spools a little nearer together than the first groups. Make these columns two spools high and crown each with a single spool decorated with a bright-colored paper flag fastened on a slender stick pushed down in the spool. At the base of the arch add three more spools on each side (O and O, Fig. 509), and the famous structure will be completed. This is not exactly like the original, but for a spool arch it is fine, and a spool procession will feel honored to march through it.

You might make bridge piers of spools and use a strip of pasteboard to form the several spans; then the procession Fig. 510.
Fig. 510. could cross the river safely and march on the other side.

Did you ever