Place the note inside the flower-pot. Pretty colored printed flowers or embossed ones for scrap-books, which may be bought in almost any toy-store, can be substituted for the pinks. Fasten them in position by making three tracings of Fig. 181 and pasting a group of flowers and foliage on each one; these extra pieces will furnish the flowers with proper paper roots, which can be planted and fitted in the paper earth in the same manner as the pinks.

should receive the valentine which is shown at Fig. 182. Cut from white card-board the circular disk (Fig. 183); around its edge write:

From fancy gold paper cut a circular band (Fig. 184) smaller in circumference than the card-board; fold it through the centre (Fig. 185), bring the Fig. 183.
Fig. 183. Fig. 185.
Fig. 185. Fig. 184.
Fig. 184. Fig. 186.
Fig. 186. folded ends together and again fold (Fig. 186). Once more fold (Fig. 187) and from this cut the outline seen in Fig. 188, being careful not to cut the folded ends P and Q. Unfold the paper and you will have Fig. 189. Place this ornamental golden band on the white cardboard. It should fit just inside the writing. Stick it down slightly here and there with a very little paste; then make Fig. 190 of fancy white paper. Insert the scissors at the beginning (S) and cut the spiral around and around in one unbroken strip until the centre is reached. In the centre make a short slit and push the two ends of a narrow white ribbon through the slit; then turn the spiral over and paste each end of the ribbon flat against the paper, as in Fig. 191. Have ready a white paper dove and fasten it in the centre of Fig. 183, which has previously been decorated with the gold-paper design. Slide the end S of the spiral under the edge of the gold band, placing the spiral so that it will lie flat and even inside the golden paper and will cover the centre of the valentine. Lift the cover by the loop and you will have a glimpse of the white dove, which means peace and gentleness.

Do you know that with the aid of a little enchantment equal to magic employed by the fairy folks of old, you can make a tiny fowl, one small enough to stand on the palm of your hand? A certain process which you shall learn will cause a common raw potato to change into a wee turkey of which anyone might well be proud.

The wands you will use for the work differ in nature and appearance and are far superior to the fairy wands; the latter are merely stiff sticks said to be endowed with magical powers, while yours are of most wonderful workmanship and adapted to any use to which you care to put them. More than that, you have complete control over the wands; at your command they do your bidding, making all kinds of useful and beautiful things, from the most delicate and fragile articles to the largest and heaviest creations. One of your wands is known as the right, the other as the left hand. Look at these pliable and exquisitely fashioned wands, think of all they have accomplished and may do for you, then set them both to work on your

Select a small potato (Fig. 192), break off the ends of three burnt matches and force the longer portions into the potato, two to serve as legs, and one as a support (Fig. 193 ). Trace Fig. 194 on stiff brown pasteboard, an old box-lid will be the best thing to use, its surface being dull and almost the same in color as the potato. Cut out the tracing and mark eyes, mouth, and tuft on it with ink (Fig. 195 ). If you wish to have your turkey look extra fine, make wattles of red paper or cloth (Fig. 196 ); fold as in Fig. 197 , and paste the band-like upper portion over each side of the turkey’s neck, allowing the lower flaps to hang free (Fig. 198 ). Cut a slit in the potato (Fig. 192, A-A) and insert the head, pushing in the extension as far as the dotted line, or until it fits (Fig. 199). Make a small opening on each side of the turkey (Fig. 199, C) and stick in two curved feathers for wings. If you have only stiff feathers, choose two small ones, and with your forefinger and thumb bend the ribs (Fig. 200) until they are rounded enough to cling to the sides of the turkey. Use stiff feathers for the tail, first making holes in the turkey in which to insert them (Fig. 199). Push the feathers in securely, and should they stand up unevenly at varying heights, trim them carefully with scissors and the turkey will be finished (Fig. 201).

In the South a young pig, called

is considered as desirable as a turkey and is eaten with much relish. Of course, each person is served with only a portion Fig. 202.
Fig. 202. and cannot have a whole one, as is your privilege; for your shoat, like the turkey, will be very small, no larger than a lemon, and of the same color-in fact, it is a lemon to begin with (Fig. 202). Four sticks furnish the legs (Fig. 203). The ears are Fig. 203.
Fig. 203. formed by cutting the skin in the shape of a V on each side of the pointed end of the lemon (Fig. 204, B) and bending up the points (Fig. 205). A slender stick bent at short intervals (Fig. 206) until it simulates a twist or curl is used for a tail (Fig. 207).

In cutting the ears be cautious not to pierce entirely through the skin; allow the point of the knife to enter only deep enough into the rind to cut a piece of sufficient thickness to turn up without Fig. 206.
Fig. 206. Fig. 207.
Fig. 207. breaking, and have the slender sticks used for legs and tail sharpened at one end so they may readily be pushed into the lemon. Ordinary wooden toothpicks will answer the purpose, but they must first be broken into shorter lengths for the legs. The eyes are two black-headed pins.

is thought a great delicacy by some families, who deem a holiday dinner incomplete without the dish. While we do not care for the soup, we would like a small turtle, one that will not snap at us but be content to remain quiet and look natural.

Ask for a large raisin (Fig. 208) and six cloves, five without and one with the round seed; work in the four cloves with claw-like ends to serve as feet (Fig. 209). Use the reverse end of a clove for the tail (Fig. 210) and the round seed clove for a head (Fig. 211). Bend the head and tail up and the feet down (Fig. 212). Beautiful golden pumpkins hold a prominent place in the minds of Americans. Beside the delicious pies made of the yellow fruit, there are the

fashioned by cutting a semblance of a face in the pumpkin, shaking out the inside fibre and seeds, and, in the evening, placing a lighted candle in the queer head, causing the light to shine through eyes, nose, and mouth in a manner startling to those unaccustomed to the sight.

The real pumpkin is large and heavy to handle, but you can have

in the form of an apple. Choose one that is deep red in color, in order to have the greatest possible contrast between the features and the head proper. It will not be Fig. 216.
Fig. 216. Fig. 217.
Fig. 217. necessary nor desirable to light up the face, the apple head is comical enough with the face merely cut in its surface and the work is very easy. Cut out from the apple (Fig. 213) two triangles near the top for eyes (Fig. 214); directly below the eyes but in the central part cut the triangular nose (Fig. 215); under the nose make the mouth in the shape of a slender crescent (Fig. 216), and tie a ribbon on the stem as an ornamental headdress (Fig. 217). There! you have fairly made the apple laugh. Only see how it is stretching its mouth in a broad grin!

Study drawing at home and make your own models; form a class of several girls and work together; criticise one another’s drawings, and get a criticism from an artist whenever you can. Much may be accomplished in this way if you have the enthusiasm, perseverance, and will to carry it through. Starting with one object, complete in itself, a variety of forms may be evolved, and combinations can be made until an entirely new model is produced. Such, for instance, is the church shown in the illustration. First there is the house, then the house with a chimney, the house with chimney and one wing, the house with chimney and two wings; then the church, which is made by adding turret and steeple, the church without wings, and the church with wings. A number of times this model may be used, changing the position and adding to or taking from it, and a different picture will be the result of each drawing.

Simpler models like

can also be made, and it is well to try your hand on this before attempting the more complicated forms.

Lay a sheet of heavy card-board flat on your work-table and draw carefully four triangles like Fig. 218. These are for the four sides of the pyramid. Use a rule to keep your lines straight, and make each side according to the dimensions given on the diagram. You will see that the measurement from apex to base is ten inches, and the width at the bottom is six and one-half inches. With a sharp knife, or large shears, cut out each part, taking pains to keep your edges true to the lines. Besides the card-board you will need a roll of passe-partout paper. This comes in one-inch widths, ready gummed, for making passe-partout frames. It is strong, easily handled, and altogether more convenient for joining the parts of the models than ordinary strips of paper. Should the passe-partout paper be out of reach use new cotton cloth Fig. 218.
Fig. 218. Fig. 219.
Fig. 219. cut in even one-inch strips. Of course the cloth or paper must be white. Cut off a strip of your gummed paper a little longer than the long edge of the triangle. With a pin at each end, pin it to the table, the gummed side up, and draw a line lengthwise through the middle, dividing it exactly in half. Have ready a glass of clear water and a paint brush, dip the brush in the water, and with it moisten one half of the paper. Over the wet half lay one of the Fig. 220.
Fig. 220. triangles so that its long edge almost touches the central line, then gently press it until the paper holds fast to the card-board (Fig. 219). Remove the pins and turn the triangle over to make sure the paper is quite smooth on the right side; then lay it down again, moisten the other half of the gummed surface and Fig. 221.
Fig. 221. press another triangle over that part, keeping the edges of the two triangles perfectly parallel, but not touching. The space between the edges must be left to give room for the bending of the corners (Fig. 220). Pin a second strip of Fig. 222.
Fig. 222. paper to the table, moisten one half, and press still another triangle in place; continue doing this until all four sides of the pyramid are joined as in Fig. 221; then bring the last two edges together, while holding it in your hand, and press the moistened paper down, smoothing out any wrinkles that may appear. Lastly, trim off the ends of the paper at the bottom, and stand your pyramid up, holding it so that its base will form a perfect square (Fig. 222). Do not allow it to flatten and form a diamond. The top edges of the paper should be trimmed off as the sides are put together.

There are six parts to

two sides, two ends, and two halves of the roof. Draw these on your heavy card-board, like Fig. 223, the roof; Fig. 224, the side, and Fig. 225, the end, making them according to the dimensions given on each diagram. Put the house together, as you did the pyramid, with the passe-partout paper. When you have joined the sides and ends of the house and have fastened the two halves of the roof together, paste strips of the passe-partout paper along the upper edges of the sides of the house, as in Fig. 226. These strips must be on the

Fig. 226.
Fig. 226. Fig. 227.
Fig. 227. inside, and half of the paper must extend above the edges of the sides. Moisten this part and, fitting the roof to the house, put your hand inside and press the paper up against the roof; this will hold it securely in place. In fitting the roof on, be sure it extends exactly the same distance over each end of the house (Fig. 227).

is adjustable and is not fastened to the house. Make four sides; two like Fig. 228, two like Fig. 229. The dimensions of each side are given on the diagrams. In putting the chimney together, paste your strips of paper only as far up as the dotted line at the top, the part beyond this line is to be turned over as in Fig. 230, which shows the completed chimney. Make

with slanting roofs like the ones shown in the illustration of the Fig. 231.
Fig. 231. church. Fig. 231 is the highest side, which goes next the house when the wing is added; Fig. 232.
Fig. 232. Fig. 232 is the lower side; Fig. 233 is for the two ends, which are exactly alike, and Fig. 234 is the roof. The dimensions are given on the diagrams.

which transform the house into a church are shown in the illustration. Cut two sides for the tower like Fig. 235, and two like Fig. 236, and put them together like Fig. 237. The notches in the lower part of the tower and of the chimney allow them to sit astride the roof, which position holds them in place without making them permanent. Fig. 238 and Fig. 239 are for the cornice of the tower, which is something like a box with a square opening at the bottom and a round hole at the top. Cut Fig. 238 according to the dimensions given and bend at the dotted lines, first the lengthwise lines, then the cross ones. Allow the laps with the trimmed corners to come on top of the others. Put the two end edges together with the gummed paper to form a square, then with a drop of glue or paste at each corner fasten the laps in position, as shown in Fig. 240. In the centre of a perfect square, made according to the dimensions on the diagram, Fig. 239, cut a circular hole; Fig. 238.
Fig. 238. paste strips of paper along the four edges of the square, Fig. 241, bend down the free edges of the paper and paste the square on top of the cornice. Fig. 240 is the cornice with top down to show its construction. Cut the steeple from rather heavy drawing-paper, like Fig. 242, keeping to the dimensions on the diagram. Turn in the lower laps and paste the side lap over the corresponding edge to form a cone (Fig. 243). Drop a little glue on each of the lower laps, place the cone directly over the circular hole in the top of the cornice, and, slipping your fingers through the hole, press the laps down until they are firmly fixed. Fit the cornice on the tower, but do not attempt to glue it, for it will hold its place quite well without.

Your own ingenuity will suggest other models to be made in this way; any angular object is easily constructed, and curved ones are not impossible.

When you happen to drop ink on paper you may be using, do not look disconsolate and feel uncomfortable. Make a joke of the accident by turning the blot into something funny. Fold the paper over the ink-spot, press the two sides together; then open the fold, and you will find the dull, round blot transformed into a queer, comical-looking object the like of which was never seen on land or sea. The strange thing about these oddities is that try as you may you cannot coax any two ink-drops to change themselves into the same shape; they utterly refuse to do so. Experiment with them and you will soon realize that each has its own independent idea regarding the figure it will assume, insisting, when you press it, upon taking the matter into its own hidden hands and turning into whatever it pleases. The various results are generally decorative and might often be used with good effect for book-plates.

of three or four ink-drops, they may be controlled to a certain extent. Hold the paper so that the wet ink will trickle downward, and you can join the blots together, elongating the design; then, when the paper is folded lightly, if you press the ink with short, gentle strokes out sidewise the tiny splashes tend in that direction, and an upward movement will cause the ink to spread upward—sometimes in little streaks, again in a bulging way, giving an uneven, undulating boundary. Should the paper be folded across the ink the result would be a single figure, while an allowance of an eighth or quarter of an inch space before creasing the paper gives two designs, one a duplicate because a print of the other. A similar method of making ink-impressions is to splash the fluid on the paper with a paint-brush and then to fold and press it; or, group drops of ink with the splash of a brush and press the two sides of the paper together.

The ink-impressions may be made to take the form of

Often very pretty effects can be produced in this simple manner. Fig. 244 is a suggestion showing a stretch of sky with mountains as a background and points of land jutting Ink Marine. Fig. 245.
Ink Marine. Fig. 245. out into the sea for the middle distance, while the foreground is entirely of water, which reflects the distant purple hills. The picture is readily made, but the work must be rapid to insure success, as delays cause the ink to dry in spots, which ruin the design. Fold through the centre a piece of blank, unruled paper from a large-sized writing pad; open it and on the upper portion mark the sections according to diagram Fig. 245. The dotted line indicates the crease through the centre of the paper and gives the distance at which the first sections should be placed above the fold. With a lead-pencil lightly trace the divisions: have ready a bottle of ink, a common water-color brush, a glass of water and a clean dinner-plate. Dip the brush in the ink and dab it on the plate several times; then do the same with the water, mixing ink and water together. Try the strength of this mixture on a scrap of paper; if it corresponds to the tone of the second point of land in Fig. 244 (or A in the diagram) it is ready for use. B and D (Fig. 245) require a degree lighter than A, so mix more water than ink on a clean place in the plate. C (Fig. 245) is the faintest mountain and needs the most water mixed with ink. Use ink as it comes from the bottle for E (Fig. 245), the nearest point of land, as that is the darkest portion. Test the three tones and keep changing them, adding more water as needed, until you are satisfied that each one is of the required strength; then wash the brush clean and be sure everything is ready for the work. Having once commenced, you cannot stop an instant until the sketch is finished; understand exactly what you intend to do and how you are to do it before beginning, as there will be

and you must work as fast as possible. Dip the brush in the lightest tone of diluted ink, have it well charged with the fluid, and in swift strokes paint C. Without stopping, take up the next lightest tone on the brush and sweep in B and D, then the darker, A, and finish with E in pure ink. Fold the paper immediately, and, holding it down flat on the table with the left hand, press with the right; rub the paper all over again and again, being sure to cover the entire surface in order to print the mountains on the lower portion of the paper. The study will then be finished with the exception of the sailing-vessel, which may be indicated with a few strokes. Bring the brush to a fine point and trace in ink the lines of Fig. 246. First make the central vertical line, then the slanting line on the right-hand side which joins the mast a short distance from the top, from the same point extend two lines down on the left. Fig. 247 is the hull of the vessel, and the straight line crossing it a short distance from the top denotes the narrow space to be left white. Fig. 248 shows the complete outline of the craft, intentionally made as simple as possible, to enable any girl to introduce the boat into the sketch without difficulty. As is seen in Fig. Fig. 249.
Fig. 249. 244, the boat is filled in with black and duplicates itself in the shadow reflected on the water, but the shadow must be made with the brush; it cannot be printed from the boat. The chrysalis of the

(Fig. 249) was made of two or three ink-blots and a splash of ink from a paint-brush. This chrysalis did Fig. 250.
Fig. 250. not in the least resemble a real one, but when the paper was folded along the edge of the ink a butterfly appeared.

On soft-finish paper write any word you choose; then, while the ink is wet, fold the paper, and upon opening it you will find

Figs. 250 and 251 were made in this way; both from written words which represent most desirable states of mind. When you can gain Fig. 250 you will surely have Fig. 251.

(Fig. 252) gave no hint of what might be expected when they were first seen in the form of a group of shiny black spots, and it was only after opening the folded paper that they revealed their true character as extravaganza animals with legs different in length and extraordinary eyes.

You can make creatures wilder in appearance than these, and in this way form a collection of pictures of the animals you have never known.

Fig. 253 represents

of a peculiar kind, found nowhere but inside ink-bottles. Others may come from the same source, but none will be precisely like these. Try the experiment of ink-drops on pieces of muslin; work rapidly and you will be delighted with the results.

If you are fond of

and happen to have vines or any other kind of house plants, you can make valuable ink sketches from them. Break off a few pieces of the main growth. Take one at a time, and with the left hand hold the spray either in the bright sunlight or lamplight in such a way as to cast a distinct clean shadow upon the paper pad that is placed beneath it. With a brush dipped into the ink, paint over the shadow; be careful to follow every turn and twist of leaf and stem, that the sketch may be true in every detail. You will find the work to be quick and easy and the results satisfactory. In no other Fig. 254.
Fig. 254. way can better characteristic growth of the various specimens be obtained. Notice carefully Fig. 254, Fig. 255.
Fig. 255. and it will give a true idea of the plant; and Fig. 255, how naturally and gracefully the vine turns in curving lines. Fig. 256 gives sprigs from four different plants. Can you name them? All the studies are decorative and furnish original designs for embroidery, Fig. 256.
Fig. 256. or wood-carving, but, best of all, you can make and use this kind of ink-pictures as illustrations for the book in which you write down your notes on Nature study, and so be able, after describing a plant, to give an original, realistic picture of it.

Small specimens can be painted with ink, root and all forming one picture, but larger plants must be separated at the centres and a study made of each part, the two halves being placed side by side on the same piece of paper.

How would you like a merry-go-round with all the animals prancing one after another, each with a girl or a boy on its back, riding along regardless of the speed of the steed, like the real ones you have tried in the parks and at the seashore?

Fig. 257, is easily made, the work consisting mostly of stringing different things on a hat-pin and sticking the pin through a box. Procure a long hat-pin (Fig. 258), a large, empty spool (Fig. 259), three small corks (Fig. 260) and, for a foundation, a round flat box if you can obtain or make it, if not, a common note-paper box must answer the purpose. A piece of string about a yard long and two shank buttons will help out the simple machinery (Fig. 259). The canopy is of paper or card-board (Fig. 261) and the support for the animals of card-board (Fig. 262).

Lay a piece of card-board flat and place over it an ordinary tea-plate; hold the plate steady and draw a circle on the card-board by running the lead-pencil around the edge of the plate. This will give a circle of about the desired size. Then draw bands across the circle, as in Fig. 262; to do this draw lines dividing the circle into quarters and at the left of each of the four lines draw a line a little more than half an inch away from it, making four bands (Fig. 262). Cut out the circle, then the four wedge-shaped pieces between the bands, and bend up the end of each band five-eighths of an inch (Fig. 262).

On these ends paste any stiff paper animals you may happen to have, (Fig. 263), selecting those which will balance each other, as the merry-go-round must revolve evenly. Colored scrap-book animals look well and are stiff enough to hold themselves firmly in place. Should you not happen to possess these, animals from old pamphlets, advertisements or newspapers may be used. They should be stiffened by being pasted flat on thin card-board or stiff paper. When fastening the animals on the merry-go-round paste the body of the animal to the turned-up end of the card-board band (Fig. 263).

use a small saucer or bowl as a guide to draw the circle on paper or card-board. Cut out the circle, point it around the edge (Fig. 261), turn the points down and the canopy is Fig. 262.
Fig. 262. ready to go on the hat-pin. If you do not have the correct-sized plate, saucer, or bowl, the circles may be drawn with the aid of a home-made compass. To make the compass, take a pair of scissors and a piece of card-board (Fig. 264), punch two holes about two inches apart in the card-board and through them pass the points of the scissors until they extend through on the other side an inch or a trifle more; secured in this way the scissors make a very good compass. Adjust the scissors so that the distance between the two points is four inches, then firmly Fig. 263.
Fig. 263. stick the sharper point in a piece of cardboard and, keeping that steady, slowly move the other point around in a circle, pressing it down only hard enough to scratch the surface (Fig. 264). Make the circle for the canopy in the same way, but have the distance between the scissor points Fig. 264.
Fig. 264. much less—not more than two and one-fourth inches—in order to preserve the correct proportions.

Now watch the almost