,construction ,work for ,rural and ,elementary ,schools ,,by ,,virginia ,mc,g,a,w ,teacher in the ,elementary ,school of ,baltimore ,a4 ,,flanagan ,,company ,,chicago ,,copyright #aiji ,,by ,a4 ,,flanagan ,,company ,,preface ,in offering this volume to the public the author has but one wish--namely1 that it may supply a want in time of need and help some one over a difficult place4 ,most of the subject-matter in ,parts ,one1 ,two1 ,three1 and ,four was written for and has been previously published in the ,atlantic ,educational ,journal1 with a view to assisting the rural teacher4 ,the present volume comprises a revision of the articles published1 together with a short account of one season's work in a school garden1 and has the same object--that of aiding the rural teacher by means of a few simple suggestions4 ,the work is divided into five parts--,cord ,construction1 ,paper ,construction1 ,wood ,construction1 ,basketry1 and ,the ,school ,garden4 ,no subject is dealt with at length4 ,the aim has been to give simple models that may be made without elaborate preparation or special material4 ,believing that a child is most likely to appreciate his tools when he realizes their value or knows their history1 a brief introduction to each part is given1 and wherever possible1 the place of the occupation in race history is dealt with1 and an account of the culture and habitat of the material is given4 ,as clear a statement as is possible is made of how the model is constructed1 and in most cases both a working drawing and a picture are given4 ,,virginia ,mc,g,a,w4 ,,baltimore1 ,,maryland1 ,april1 #aiji4 ,,acknowledgments ,to the ,atlantic ,educational ,journal for the privilege of revising and relinquishing the articles on ,cord1 ,paper1 ,wood1 and ,basketry4 ,to ,mr4 ,george ,m4 ,gaither1 ,supervisor of ,manual ,training in the ,public ,schools of ,baltimore1 for five of the woodwork patterns4 ,to ,president ,richard ,w4 ,silvester1 of the ,maryland ,agricultural ,college1 for the inspiration to write the ,garden ,bulletin1 his consent to its republication1 and his hearty coperation in its revision4 ,,contents ,,cord ,,construction ,,introductory ,,remarks #i ,,knots #i #a ,overhand ,knot #aj #b ,square ,knot #aj #c ,granny ,knot #aa ,,chains #aa #d ,loop ,chain #aa #e ,overhand ,knot ,chain #ac #f ,solomon's ,knot ,chain #ac ,,combined ,,knots ,,and ,,chains #ae #g ,knotted ,bag #ae #h ,miniature ,hammock--,knotted #af #i ,miniature ,portire--,knotted #ag ,,weaving #ag #aj ,miniature ,hammock--,woven #ag ,,paper ,,construction ,,introductory ,,remarks #be ,a ,,model ,,lesson #bg #a ,windmill or ,pin-wheel #ca #b ,square ,tray ,no4 ,i #ca #c ,square ,tray ,no4 ,,ii #ca #d ,square ,box with ,cover #cb #e ,square or ,rectangular ,box #cc #f ,pencil ,box with ,sliding ,cover #ce #g ,seed ,box with ,sections #cg #h ,picture ,frame ,no4 ,i1 ,diagonal ,folds #cg #i ,picture ,frame ,no4 ,,ii #cg #aj ,portfolio #dj #aa ,barn--,house--,furniture #da #ab ,hexagonal ,tray #db #ac ,lamp ,shade #dd #ad ,star #de #ae ,notebook #df #af ,bound ,book #dg #ag ,japanese ,book #di #ah ,scrap-,book #ej ,,wood ,,construction ,,introductory ,,remarks #ee #a ,puzzle #ef #b ,plant ,label #eh #c ,pencil ,sharpener #eh #d ,match ,scratch #ei #e ,kite-,string ,winder #fj #f ,thermometer ,back #fa #g ,pocket ,pin-,cushion #fa #h ,picture ,frame #fc #i ,japanese ,box #fe #aj ,grandfather's ,chair #ff ,,basketry ,,introductory ,,remarks #ga ,,reed ,,construction #ge #a ,napkin ,ring ,no4 ,i #ge #b ,napkin ,ring ,no4 ,,ii #gf #c ,mat #gf #d ,hamper ,basket #gg #e ,basket ,tray #gi #f ,basket with ,handle #ha ,,raffia ,,construction #hc #g ,plaited ,rope #hd #h ,plaited ,mat #he #i ,purse #hf #aj ,plaited ,basket #hf #aa ,hat of ,plaited ,rope #hh #ab ,napkin ,ring #hi #ac ,indian ,basket #hi #ad ,grass ,basket or ,tray #ia #ae ,basket of ,splints and ,raffia #ic ,,combined ,,reed ,,and ,,raffia #ie #af ,umbrella #ig #ag ,miniature ,chair ,no4 ,i #ig #ah ,miniature ,chair ,no4 ,,ii #ii ,,rules ,,for ,,caning ,,chairs #ajb ,,the ,,school ,,garden ,,introductory ,,remarks #ajg ,a ,,city ,,school ,,garden #ajh ,,part ,i ,,cord ,,construction ,,cord ,,construction ,,introductory ,,remarks ,to a child one of the most attractive of possessions is a piece of cord4 ,he has so many uses for it that it becomes part of the prized contents of his pocket4 ,since this commodity affords so much pleasure to the untrained child1 how greatly may the pleasure be enhanced if he is taught how to make the number of beautiful things that may be wrought from cord or twine6 ,having this knowledge1 he will unconsciously employ many otherwise weary moments in fashioning some coveted article4 ,among the things he can make are chains1 reins1 bags1 nets1 miniature hammocks1 portires1 and rugs for the dollhouse4 ,he must be guided step by step from the simplest to the more intricate4 ,he must be taught that only when a thing is well done has it any use or value1 therefore the best effort is necessary to the success of his work4 ,if he ties a knot1 it must be properly tied or it will not hold4 ,if he makes a bag or a hammock1 the meshes must be uniform and the color blendings pleasing or it will lack beauty1 and even he1 himself1 will not care for it4 ,should he make a chain or reins1 they ought to be attractive-looking as well as useful2 hence the aim should be for artistic combination and perfect execution4 ,the success the child will meet with will depend greatly upon the attitude of the teacher toward the work and the amount of spirit she may be able to infuse into it4 ,,knots ,aim--,to teach the names of different knots1 how they are tied1 and the utilitarian value of each4 ,begin by teaching how to tie a knot1 and that all knots are not alike nor tied in the same way4 ,there are three kinds of knots--the overhand knot1 the square knot and the ,granny knot4 ,each of these has its use1 its place1 and a utilitarian value4 #a ,overhand ,knot ,material--,one #aj-;inch piece of heavy twine4 ,hold one end of the twine firmly in the left hand and throw the other end over with the right hand to form a loop2 then pass the end in the right hand under the loop2 and draw it through tightly1 making a firm knot4 ,illustration3 ,,overhand ,,knot ,a long piece of twine in which are tied either single knots at regular intervals1 or groups of three or five knots with spaces between1 will make a chain which will delight any small child4 #b ,square ,knot ,aim--,to teach how to tie a knot that will not slip4 ,material--,one #ab-;inch piece of heavy twine4 ,take an end of the twine between the thumb and the forefinger of each hand4 ,holding in the left hand end ,no4 #a1 pass it to the right over end ,no4 #b2 then pass it under ,no4 #b2 finally1 pass it out and over1 making the first tie4 ,now1 holding end ,no4 #a firmly in the right hand and end ,no4 #b in the left1 pass ,no4 #a to the left over ,no4 #b1 then under1 out and over2 draw the two ties together1 and you will have a firm1 square knot4 ,illustration3 ,,square ,,knot #c ,granny ,knot ,aim--,to teach the name of the knot one usually ties and how to tie it4 ,material--,one #ab-;inch piece of heavy twine4 ,take an end of the twine between the thumb and the forefinger of each hand and hold firmly4 ,pass end ,no4 #a to the right over end ,no4 #b1 under and out4 ,next pass end ,no4 #b to the right over end ,no4 #a1 under and out4 ,we now have the knot known as the ,granny1 which we ordinarily tie4 ,,chains #d ,loop ,chain ,material--,one piece1 #e yards long1 of macram cord1 ,no4 #ab1 one color4 7,see page #ab47 ,about five inches from one end of the cord make a short loop4 ,using this loop as a starting-point1 work up the length of the cord to within about eighteen inches of the other end1 by repeatedly drawing a new loop through the one previously made as one does in crocheting4 ,the child can easily manipulate the cord with his tiny fingers4 ,aim to have the loops of uniform size4 ,finish with a loop five inches long1 leaving an end of the same length4 ,now1 placing together the two ends of the chain1 we have a loop and two single ends of cord4 ,take these single cords together and buttonhole them over the loop for about three inches1 then twist4 ,tie the single ends with a square knot1 and fringe them out2 leave the loop4 ,illustration3 ,,loop ,,chain ,showing how stitch is made and appearance of finished chain4 ,instead of being fringed1 the ends may have a large bead attached to each1 and a whistle may be strung on the loop4 ,this would both make the chain attractive to the child and demonstrate a use for it4 #e ,overhand ,knot ,chain ,material--,macram cord1 ,no4 #ab3 one piece #b yards long1 white2 one piece #b yards long1 red4 ,illustration3 ,,overhand ,,knot ,,chain ,fasten the two pieces together in the middle4 ,pin them to a board or slip them over a hook where the cord will be held firmly4 ,using the overhand knot1 tie each color alternately1 until all except about four inches of cord is used up4 ,taking four ends as one1 tie a slip-knot close up to the point where you stopped forming the chain4 ,next1 fringe out the four ends close up to the knot4 ,the result is a circular cord with stripes running diagonally around it1 very pleasing to the eye of a child4 ,the lengths here given make a fob-chain about five inches long4 #f ,solomon's ,knot ,chain ,material--,four pieces of macram cord1 ,no4 #ab1 #b-a_/b yards long1 of one color4 7,see page #ad47 ,double in the middle and leave two loops1 each two inches long4 ,take two strands as the center and foundation and attach them to a hook or a board where they will be held firmly4 ,loop the two remaining threads alternately over the two central ones1 first the one on the right1 then the one on the left4 ,for instance3 ,take a single cord on the left1 form a loop to the left of the double cords1 draw the end over the two foundation pieces and hold firmly4 ,then take a single cord on the right1 pass it over the piece of cord which forms the loop1 then under where the three pieces cross and up through the loop2 draw it tight4 ,then work with a single cord on the right in the same way and continue1 alternating the two single cords1 until there is left about four inches4 ,clip the middle cords so that the four ends may be of equal length4 ,finish by tying them in a square knot and fringing the ends4 ,this forms a flat chain one-quarter of an inch wide and one-eighth of an inch thick1 which may be made any length desired4 ,illustration3 ,,solomon',s ,,knot ,,chain ,showing how stitch is made4 ,illustration3 ,,knotted ,,bag ,,combined ,,knots ,,and ,,chains #g ,knotted ,bag ,material--,macram cord1 ,no4 #ab1 one or two colors2 twelve pieces #a yard long or six pieces #a yard long1 of each of the two colors4 ,double each piece of cord in the middle and tie it in a loop over a pencil or some other object that will make the loops of equal size4 ,slip the loops from the pencil and string them to a cord1 alternating the colors4 ,join the ends of the cord so as to form a hoop4 ,you now have twelve loops on this hoop and one row of knots4 ,form a second row of knots by tying cords of different colors together4 ,the meshes should be uniform and of the size of the loops4 ,continue knotting one row below the other until about three inches of cord remain4 ,now stretch the bag out straight and double and tie together the four cords1 which operation will form the bottom and close the bag4 ,fringe the ends and trim them off evenly4 ,make a loop chain1 and run it through the top loops1 having removed the working cord4 ,small brass rings may be used at the top instead of loops1 and the drawing string may be run through them4 ,a larger bag may be made by the addition of more and longer pieces of twine4 ,illustration3 ,,miniature ,,hammock--,,knotted #h ,miniature ,hammock--,knotted ,material--,twelve pieces of seine cord1 ,no4 #ab1 each #b yards long4 ,two iron rings1 #a inch in diameter4 ,string the pieces of cord through a ring1 taking care that the ends are of the same length4 ,about three inches from the ring1 knot each piece of cord4 ,this will make twelve knots and form the first row4 ,for the second row1 knot alternate pieces of cord4 ,continue until there are twelve rows of knots4 ,be careful to make the meshes the same size4 ,leave about three inches unknotted and attach these ends to the second ring4 ,make a twisted cord 7of four thicknesses of macram7 of some contrasting color and run through the meshes of each side1 taking it twice through each mesh and attaching it to rings at the ends of the hammock4 ,the meshes should be about an inch square4 ,make the cords a little shorter than the sides of the hammock1 in order to give it the proper spring4 ,take an extra piece of cord the color of the hammock and wrap it around the cords close up to the rings1 winding it evenly and firmly for about an inch from the ring2 fasten it securely4 #i ,miniature ,portire--,knotted ,material--,twelve #cf-;inch lengths of macram cord1 ,no4 #ab4 ,double each piece in the middle and1 using the overhand knot1 tie it over a stout lead pencil or a very narrow ruler4 ,see that each knot is pressed close to the foundation holder1 that the loops may be of equal size4 ,these loops and knots form the first row4 ,do not remove them from the holder4 ,separate the cords and knot together each two adjacent ones1 alternating at every other row4 ,continue knotting until about three inches of cord remain to form the fringe at the bottom4 ,before tying the last row of knots1 slip a colored glass bead over each set of cords1 then make the knot so as to hold the bead in place4 ,these beads are an ornament1 apart from giving weight to the portire to make it hang well4 ,trim the fringe evenly1 slip the portire from the foundation holder1 and it is ready to hang4 ,use beads the color of the cord1 or of some effective contrasting shade4 ,if a child is expert enough1 a bead may be placed at every knot1 adding decidedly to the attractiveness of the little portire4 7,see page #ah47 ,,weaving #aj ,miniature ,hammock--,woven ,material--,tag-board loom #haj inches4 ,cord of one1 two or three colors4 ,two brass rings1 #a_/b inch in diameter4 ,illustration3 ,,miniature ,,portiere--7,for description see page #ag47 ,to make a loom1 take a piece of tag-board #haj inches in size4 ,measure off one inch from the back edge and draw a line parallel to the back edge4 ,measure off one inch from the front edge and draw a line parallel to the front edge4 ,measure off one inch from the right edge and draw a line parallel to the right edge4 ,measure off one inch from the left edge and draw a line parallel to the left edge4 ,you have now a #fh-;inch rectangle marked off1 leaving a one-inch space around the edge of the tag-board4 ,start at a point where a vertical and a horizontal line intersect and mark off the six-inch ends into spaces one-fourth inch apart4 ,next with a large needle pierce the board at each point of intersection4 ,this will make twenty-five eyelets at each end4 ,on the reverse side of the board draw diagonals to determine the center4 ,tie together the two brass rings and fasten them firmly to the center of the reverse side4 ,illustration3 ,,blanket ,,for ,,doll',s ,,bed ,showing how it is started4 ,to string the loom requires about fifteen yards of cord4 ,divide the cord into two lengths4 ,thread a length into a needle and tie one end of it to one of the brass rings4 ,next carry the cord from the ring through the thirteenth perforation1 then across the face of the loom to the thirteenth perforation at the opposite end1 through again to the reverse side and pass through the opposite ring from which it started4 ,repeat this operation by carrying the cord in a reverse direction each time until one-half the loom is strung4 ,then with the other length of cord start1 by attaching it to the same ring to which the first piece was tied1 and work in the opposite direction until the second half is strung4 ,should it be necessary to add to the cord1 arrange that the knot be on an end near a ring4 ,a knot in the warp hampers the weaving4 ,illustration3 ,a ,,rug ,made of narrow strips of cotton cloth4 ,have the warp threads and the predominant woof thread of the same color4 ,to begin weaving1 cut a quantity of ten-inch lengths4 ,take one of these lengths1 start in the center of the loom1 and weave in and out among the warp threads1 allowing it to extend two inches beyond on each side4 ,have a perfectly smooth1 narrow1 thin ruler and weave it in across the warp threads4 ,as each horizontal or woof thread is added1 shove it close to the preceding one with the ruler1 which acts as a pusher4 ,weave first on one side of the center and then on the other1 until the entire #fh-;inch space is covered4 ,if a border is to be put in1 gauge equal spaces from the center and work in the border of a different shade or color4 ,the borders must be placed equally distant from the center and the same distance from each end4 ,take the overhanging cords and knot each alternate two together along the line of the outer warp thread4 ,this will hold the woof threads in place1 as well as finish the edges of the hammock4 ,comb these ends out and trim them1 to get the fringe even4 ,at each end where the weaving stops1 take a needle threaded with a length of cord and run in and out along the warp threads1 first to the right and then to the left of the final woof thread4 ,this makes a secure finish and holds the woof threads in position4 ,next unfasten the rings and remove the hammock from the loom by tearing the tag-board along the lines of perforations4 ,finally1 where the cords pass through the ring1 hold them close to the ring and wrap them with a piece of cord for the distance of an inch1 then fasten off by forcing the needle up through the wrapped space toward the ring2 draw the end through and clip close to the ring4 ,the hammock is now finished4 ,the question may arise3 ,why begin weaving in the center of the loom8 ,the answer is3 ,because small children1 and even older ones1 sometimes1 are not able to keep their warp threads parallel and as they approach the middle1 where these threads give more1 they naturally draw them in4 ,this tendency is remedied to a great extent by beginning in the middle and weaving toward the ends1 where the warp is confined in the board and keeps its place with no effort on the part of the child4 ,,part ,,ii ,,paper ,,construction ,,paper ,,construction ,,introductory ,,remarks ,whatever may have been the true origin of the art of paper-making1 it is now lost in obscurity4 ,it is almost certain that the earliest form of paper was the papyrus of the ,egyptians and that they were the first to use it as a writing material4 ,they manufactured it from the stem of the papyrus plant1 from which the name paper comes4 ,it is also known that the ,chinese were versed in this art before the ,christian ,era1 and that they made paper from the bark of various trees1 the soft part of bamboo stems1 and cotton4 ,in ,india and ,china the practice of writing on dried palm and other leaves still obtains4 ,it is probable that the employment of these fibrous substances1 together with observation of the methods of paper-making wasps and other insects1 led to manufacturing by pulping the materials and spreading them out4 ,as the ,chinese seem to have been the pioneers in so many great inventions1 so also they appear to have been the inventors of this art4 ,from the ,chinese the ,arabians learned1 in the seventh century1 the craft of making paper from cotton1 and they established a manufactory at ,samarcand in #gjf ,a4 ,d4 ,here the ,moors learned the art1 and through them it was introduced into ,spain4 ,it is thought that the ,moors used flax and hemp in addition to cotton in their manufacture of paper4 ,the products of their mills are known to have been of a most superior quality1 but1 with the decline of the ,moors1 paper-making passed into less skilled hands1 and the quality of the paper became inferior4 ,from ,spain the art spread through the other countries of ,europe1 and as factories were established further north1 where cotton was not a product nor easy to import1 the necessity of substituting some other material probably led to the introduction of linen rags2 but when they began to be used is uncertain4 ,england was far behind the other countries of ,northern ,europe in introducing the industry of paper-making4 ,illustration3 ,,screen--,,six-,,by-,,nine-,,inch ,,construction ,,paper ,in the ,united ,states to-day paper in all varieties is manufactured to an enormous extent1 and almost exclusively from vegetable matter4 ,the book and newspaper trades demand an untold quantity4 ,there are three great types--writing1 printing1 and wrapping paper4 ,writing paper is made from rags and wood pulp4 ,the staple for wrapping paper is old rope1 and in some cases jute4 ,the best writing and printing papers1 however1 are made from rags4 ,from these as staples1 all other varieties are developed1 and we have paper for every use to which man can apply it4 ,paper folding and modeling is not an ancient occupation1 but a modern device1 yet to the child it has a utilitarian value not to be overlooked4 ,his nature demands that he be employed1 and change of occupation is conducive to his happiness4 ,nothing is quite so restful to him as to do something with his hands2 therefore1 with his blocks he builds a house1 fences it around with his splints1 and strews the ground with imaginary trees and animals4 ,he lives in this nursery play1 and in it he is happy4 ,when he enters school1 should he have only books8 ,no1 his hands still demand employment4 ,he is now led to fashion from paper what he has already made with his blocks and toys4 ,he is occupied1 he is interested1 and he is cultivating concentration and industrious habits4 ,is this worth while8 ,begin the lessons with a talk on the manufacture and uses of paper4 ,by a story1 an association or the suggestion of a future use the child should be made to feel that he is doing something worth while4 ,this will accentuate the interest and deepen the impression4 ,all models given may be increased or decreased in size if the proportions are adhered to1 but the dimensions stated are those commonly used4 ,a ,,model ,,lesson ,aim--,to construct a windmill or pin-wheel4 ,each child should have a five-inch square1 a slender stick five inches long1 a pin1 a ruler1 a pair of scissors1 and a lead pencil4 ,the children are supposed to know that every piece of paper1 laid in position1 has a back edge1 a front edge1 a right edge1 a left edge1 a right-back corner1 a left-back corner1 a right-front corner1 a left-front corner1 and that1 in tracing1 the forefinger of the right hand is used4 ,three questions after each direction will be sufficient4 ,the questions aim to have a complete statement in answer1 and to develop an unconsciously correct use of the verb4 ,this may appear slow at first1 but soon the replies will come quickly and the answer will be correctly given4 ,illustration3 ,,windmill1 ,a ,teacher3 ,children1 lay your papers on your desk parallel with the front edge of the desk4--,john1 where are you to lay your paper8 ,john3 ,i am to lay my paper on my desk parallel with the front edge of my desk4 ,teacher3 ,mary1 where did you lay your paper8 ,mary3 ,i laid my paper on my desk parallel with the front edge of my desk4 ,teacher3 ,willie1 where has ,mary laid her paper8 ,willie3 ,mary has laid her paper on her desk1 parallel with the front edge of her desk4 ,teacher3 ,trace the back edge of your paper4--,anna1 what are you to do to your paper8 ,anna3 ,i am to trace the back edge of my paper4 ,teacher3 ,harry1 what did you do to your paper8 ,harry3 ,i traced the back edge of my paper4 ,teacher3 ,jessie1 what have you done to your paper8 ,jessie3 ,i have traced the back edge of my paper4 ,teacher3 ,each child place the forefinger on the right-back corner of the paper4--,charles1 what are you to do8 ,charles3 ,i am to place my forefinger on the right-back corner of my paper4 ,teacher3 ,anna1 what did you do8 ,anna3 ,i placed my forefinger on the right-back corner of my paper4 ,teacher3 ,laurence1 what have you done8 ,laurence3 ,i have placed my forefinger on the right-back corner of my paper4 ,teacher3 ,take your ruler and lay it across your paper from the left-back corner to the right-front corner4--,margaret1 what are you to do8 ,margaret3 ,i am to lay my ruler on my paper from the left-back corner to the right-front corner4 ,teacher3 ,draw a line connecting the left-back corner of your paper with the right-front corner4--,james1 what did you draw8 ,james3 ,i drew a line connecting the left-back corner of my paper with the right-front corner4 ,teacher3 ,alice1 what have you drawn8 ,alice3 ,i have drawn a line connecting the left-back corner of my paper with the right-front corner4 ,now have the children draw a line connecting the reverse diagonal corners and proceed as follows3 ,teacher3 ,find the point where the lines cross4 ,this is the center or middle point of your paper4--,albert1 what are you to find8 ,albert3 ,i am to find the point where the lines cross1 which is the center of my paper4 ,teacher3 ,measure one inch from this point on each of the four lines and place a dot4--,sara1 what did you measure8 ,sara3 ,i measured one inch from the center of my paper on each of the four lines and placed a dot4 ,teacher3 ,lay your pencil and your ruler down4 ,place your paper on your desk parallel with its front edge and lay your left hand on the right-front corner4 ,turn the paper until this corner is directly in front of you4 ,take your scissors and cut along the ruled line from the corner to the point one inch from the center4 ,illustration3 ,,windmill1 ,b ,lay down your scissors4 ,turn your paper from right to left until the next corner faces you4 ,cut4 ,move the paper from right to left again until the third corner faces you4 ,cut4 ,bring the fourth corner to face you4 ,cut4 ,there are now eight points4 ,turn each alternate point to the center1 run the pin through all of them and fasten the wheel to the stick4 ,final questions4 ,teacher3 ,what did you make8 ,pupil3 ,i made a pin-wheel4 ,teacher3 ,what have you made8 ,pupil3 ,i have made a pin-wheel4 ,teacher3 ,what has ,ellen made8 ,pupil3 ,ellen has made a pin-wheel4 ,when older pupils have completed a model it is excellent practice to have them write a full description of how it is made and the materials used4 #a ,windmill1 or ,pin-,wheel ,material--,one piece of construction paper1 #ee inches4 ,stick1 #ea_/da_/d inches4 ,one pin4 7,see pages #bh and #cj47 ,fold the square on the diagonals4 ,cut the diagonals to within one-half inch of the center4 ,bend alternate corners over until the point of each touches the center4 ,fasten the four points in the center by running the pin through them and driving it into the stick4 #b ,square ,tray ,no4 ,i ,material--,construction paper1 #ee inches4 7,see page #cb47 ,measure off one inch on four sides1 and connect the points with a line parallel to the edge of the paper4 ,score lightly each line4 ,cut out the four corner squares4 ,turn up the sides1 fasten the corners together with raffia or cord1 tying a small bow4 #c ,square ,tray ,no4 ,,ii ,material--,construction paper1 #ee inches4 7,see page #cc47 ,fold and crease into sixteen small squares4 ,score lightly the four lines nearest the outer edge4 ,draw one diagonal pointing toward the center of each corner square4 ,next draw half of the diagonal extending in the opposite direction4 ,fold the paper on the lines scored4 ,crease the diagonals #a-b1 making the crease extend to the inside of the tray1 and press until lines #a-d and #a-c meet4 ,now we have a triangle on the inside of the tray4 ,fold this over on half-diagonal1 ,no4 #e1 and press to the side of the tray4 ,this will fasten together firmly the corners of the tray4 ,illustration3 ,,square ,,tray ,no4 ,i--7,for description see page #ca47 #d ,square ,box with ,cover ,materials--,construction paper1 #ff inches4 7,see page #cd47 ,measure off from the outer edge two lines1 one inch apart4 ,score these lines4 ,in each corner there are four one-inch squares4 ,cut off #a1 #b1 and #c2 then draw the diagonal of #d pointing toward the center of the paper4 ,crease and fold on these diagonals1 extending the triangle inward4 ,fold this triangle over to half its size2 press to the inside of the box4 ,edges #e-f1 #e-g will meet to form the corners of the box1 and cover flaps #h-i will fall naturally into place4 ,result1 box four inches square1 one inch deep1 with folding cover4 #e ,square or ,rectangular ,box ,illustration3 ,,square ,,tray ,no4 ,,ii--7,for description see page #ca47 ,material--,construction paper1 #dd inches or #df inches4 ,measure off a margin one inch all around1 and score4 ,cut as indicated on page #ce4 ,fold over the border to half its width1 as #a over to #b4 ,bend up on line #b-c4 ,when the edge is folded over a little tongue is formed at each end4 ,slip this tongue under the fold of the adjacent side1 and it will fasten the sides of the box firmly together4 ,a lid may be made exactly as the box is made4 ,illustration3 ,,square ,,box ,,with ,,cover--7,for description see page #cb47 ,a beautiful ,christmas box may be made of red paper1 or gray decorated with holly4 ,made of white paper1 with a chicken 7in yellow7 painted on the lid1 it is appropriate for ,easter4 ,illustration3 ,,square ,,box--7,for description see pages #cc and #cd47 #f ,pencil ,box with ,sliding ,cover ,material--,construction paper3 one #g-;inch square2 one rectangle #di inches4 7,see page #cf47 ,drawer4 ,lay the rectangle on the desk with the nine-inch edge parallel with the front edge of the desk4 ,draw a line one inch from the back edge and parallel with it4 ,draw a line one inch from the front edge and parallel with it4 ,draw a line one inch from the right edge and parallel with it2 and a line one inch from the left edge and parallel with it4 ,score1 bend and crease on these lines4 ,cut the lines on the right and the left edges to where they intersect the lines on the back and the front edges4 ,fold and glue4 ,the laps are pasted on the inside and give strength to the ends of the drawer4 ,illustration3 ,,pencil ,,box ,,with ,,sliding ,,cover ,cover 7seven-inch square74 ,measure off one and one-fourth inches1 and construct a line parallel to the back edge4 ,measure one inch and draw a line parallel to this4 ,measure off two and one-sixteenth inches 7shy7 and draw a third parallel line4 ,measure one inch again and draw a fourth line parallel to the other three4 ,score and fold on these lines4 ,lap the space at the back edge over the space at the front edge until they form a rectangle two and one-sixteenth by seven inches in size1 to correspond with the opposite one1 which is the top of the cover4 ,glue4 ,slide in the drawer and the pencil box is completed4 #g ,seed ,box with ,sections ,material--,construction paper3 two rectangles #hi inches2 one rectangle #be-a_/b inches2 one rectangle #bd-a_/b inches4 7,see page #ch47 ,take one #hi-;inch rectangle for the body of the box and lay off a two-inch space all around4 ,cut on dotted lines4 ,score and crease1 fold and glue4 ,the laps are glued to the inside and each one turned to the right4 ,when the partitions are put in the laps mark where the ends go1 as well as brace the ends of them4 ,take the two rectangles1 #bd-a_/b inches and #be-a_/b inches1 and draw a line one-half inch from each of the two-inch edges4 ,score and crease4 ,these form the laps for pasting the partitions in4 ,on these partitions turn all four laps to the right1 to coincide with the laps on the box4 ,dovetail the partitions by cutting a slit one inch deep in the center of each and slipping one over the other4 ,next glue them to the inside of the box4 ,cover4 ,take the second #hi-;inch rectangle and mark off a two-inch space 7shy7 all around4 ,find middle of nine-inch edges and draw lines #a-b1 #b-c1 and #b-d4 ,cut out these two triangles4 ,cut the corners on the dotted lines4 ,score1 fold1 and glue4 ,notice that in the lids the laps are not turned as in the body of the box4 ,here1 as in the drawer of the pencil-box1 the laps are glued to the ends of the cover1 concentrating strength there and producing symmetry in construction4 #h ,picture ,frame ,no4 ,i--,diagonal ,folds ,material--,construction paper1 #ee inches4 7,see page #ci47 ,fold on the diagonals4 ,bring each corner over until it touches the center2 crease4 ,fold each corner back again until its point touches the outside edge at the middle section2 crease4 ,illustration3 ,,seed ,,box ,,with ,,sections--7,for description see page #cg47 #i ,picture ,frame ,no4 ,,ii ,material--,construction paper1 #d-a_/baf-a_/b inches4 7,see page #dj47 ,divide the length into three equal parts1 making three rectangles #d-a_/be-a_/b inches in size4 ,in the middle rectangle1 measure off and cut out a rectangle #b-a_/dc inches in size4 ,fold rectangle ,no4 #c up and back of rectangle ,no4 #b4 ,holding the two firmly together1 punch two holes1 one-fourth inch apart1 on each side1 and one-fourth inch from the outer edges 7see diagram74 ,draw a piece of raffia or ribbon through these holes and tie in a bow4 ,fold back rectangle ,no4 #a for support4 ,illustration3 ,,picture ,,frame ,no4 ,i--7,for description see page #cg47 ,illustration3 ,,picture ,,frame ,no4 ,,ii--7,for description see pages #cg and #ci47 #aj ,portfolio ,material--,heavy manila paper1 #g-a_/bab inches4 7,see page #da47 ,fold edge ,no4 #a over and even with edge ,no4 #b4 ,crease and fold4 ,on each side of ,a mark and cut off one-half inch4 ,clip off the corners of the flaps on ,b4 ,fold the flaps of ,b over on ,a and paste4 ,find the middle of edges #a and #b4 ,with a radius of one inch1 describe a semicircle and cut it out4 ,illustration3 ,,portfolio--7,for description see page #dj47 #aa ,barn--,house--,furniture ,material--,construction paper1 #hh inches or #ajaj inches4 7,see page #db47 ,fold a square into sixteen small squares of equal size2 crease4 ,with this as a basis throw the child on his own resources1 allowing him to invent a pattern and make a chair1 a sofa1 or any piece of furniture that he can devise from such a square4 ,a corner may have to be cut out or a slit made1 but impress upon the child that1 as far as possible1 the model must be gotten by folding1 with very little or no cutting4 ,by using a larger square and folding in the same way1 a house or a barn may be made4 ,add a chimney and steps from an extra piece of paper4 ,illustration #ab ,hexagonal ,tray ,material--,construction paper1 #gg inches4 ,illustration3 ,,hexagonal ,,tray ,draw one diameter2 find the center4 ,with a radius of three and one-half inches describe a circle4 7,the circumference of a circle is six times the radius74 ,place a point of the compass at one intersection of the circumference and the diameter1 and divide the circle into six equal parts4 ,with a radius of two inches1 describe an inner circle parallel to the outer one4 ,connect opposite points of the outer circle by drawing two more diameters4 ,this will divide the inner circle into six equal parts4 ,connect by straight lines the adjacent points of the inner circle1 as #a-b2 score4 ,at the intersections of the outer circle1 mark off one-half inch on each side and by straight lines connect both these points with the opposite points of intersection of the inner circle1 as #b-c1 #b-d4 ,this forms two equal triangles1 one of which is to be cut out1 as #d-b-e1 and the other1 as #c-b-e1 left4 ,having cut out the six triangles1 bend up on lines scored1 bring the sides together1 and use triangle #c-b-e as a lap for pasting4 #ac ,lamp ,shade ,material--,construction paper1 #gaj inches4 ,japanese rice paper1 #gaj inches4 ,illustration3 ,,lamp ,,shade1 ,a ,select a pretty shade of brown1 green or red construction paper4 ,measure off two inches and construct a line parallel to the ten-inch length4 ,bisect this line4 ,place the compass at this point of bisection and with a radius of four inches describe a semicircle1 #a-b2 extend this arc to #c1 and draw the line #c-d4 ,with a radius of one inch describe an inner semicircle 7#e-f7 parallel to the outer one4 ,again1 with a radius of one inch describe a third semicircle1 parallel to the other two4 ,set the compass at half the radius and divide each semicircle into six equal parts4 ,connect these points of intersection by straight lines 7#i-aj74 ,make a stencil that will fit in one of these sections4 ,using the stencil1 draw the same figure in each section4 ,carefully cut out the stenciled space4 ,next lay the construction paper on the ,japanese rice paper and trace on it the stencil design4 ,remove the construction paper and1 with two blending colors of crayon1 color the figure or design traced on the ,japanese paper4 ,again1 lay the construction paper on the rice paper and glue the two together4 ,cut out the shade as marked off1 bring the two edges together1 and glue4 ,illustration3 ,,lamp ,,shade1 ,b ,if you wish the lower edge scalloped1 cut it as shown in the diagram4 ,by folding and creasing on the lines of intersection the shade may be made hexagonal in shape4 ,all designs for decoration are supposed to be original4 #ad ,star ,material--,construction paper1 two #h-;inch squares4 ,raffia4 ,take an eight-inch square4 ,fold the front edge over to the back edge2 crease4 ,on the left edge place a point one and one-half inches from the left-back corner4 ,carry the right-front corner over to this point2 fold and crease4 ,turn the left triangle under2 fold and crease4 ,next1 as the paper stands in your hand with the triangle facing you1 fold the right edge over to the left edge2 crease4 ,where the three edges of the paper come together1 begin at the highest point and cut across the paper from right to left to within two and one-half inches of the center4 ,open out the paper and you have the star4 ,a picture frame made of a five-pointed star is very pretty4 ,cut two stars of the same size4 ,from the center of one cut a star one inch smaller for a mat4 ,lay this mat on the solid or foundation star and glue four of the points together4 ,in the fifth point pierce two holes through both pieces1 about an inch from the apex of the point4 ,slip in the picture4 ,take a piece of raffia or cord and tie a loop with two ends4 ,bring these ends through the holes from the back to the front and tie them in a bow4 ,by the loop at the back the frame is hung4 ,illustration3 ,,picture ,,frame ,,from ,,five-,,pointed ,,star #ae ,notebook ,material--,construction paper1 #f-a_/bg inches1 for cover4 ,manila paper1 four pieces #ff-a_/b inches1 for leaves4 ,fold the piece of construction paper down the middle1 so as to form the #c-a_/bf-a_/b-;inch cover4 ,in the same way crease the manila paper for the leaves4 ,place the leaves within the cover2 with heavy silk or fine twine sew them to the back4 ,bring the needle through one inch from the upper edge1 one inch from the lower edge1 and in the middle4 ,the long stitch is on the inside1 the two short ones are on the outside1 both ends of the thread are brought through the center to the inside and tied over the long stitch to hold it in place4 ,leave the ends an inch long and fringe them4 ,illustration3 ,,notebook #af ,bound ,book ,material--,heavy construction paper1 colored1 #ef inches1 for cover4 ,four pieces white paper1 #aa-a_/bai-a_/b inches1 for leaves4 ,two pieces tape1 #a_/db inches4 ,cover4 ,mark off and rule two and seven-eighths inches from each edge of the five-inch length2 crease4 ,this will leave in the middle a #a_/de-;inch space1 in which the back of the leaves will go4 ,take each sheet of white paper1 fold it once lengthwise1 and once crosswise2 this will make a folio four leaves thick1 #b-c_/de-c_/d inches in size4 ,we have four of these folios to be joined together and bound to the back4 ,take folio ,no4 #a and with needle and silk sew the leaves together1 running the thread one inch from the upper edge and one inch from the lower edge and in the center1 seeing that the last stitch brings the thread on the outside of the back of the leaves4 ,do not break the thread4 ,take folio ,no4 #b1 hold it close to folio ,no4 #a1 carry the thread across and take it through the middle of the back1 one inch from front or back edge1 as in folio ,no4 #a4 ,illustration3 ,,bound ,,book ,on the back edges of these folios there will be two long stitches4 ,under these stitches pass the two pieces of tape4 ,keep one of these tapes as near the upper and the other as near the lower edge as the stitch will allow4 ,as a folio is added and the leaves sewed together1 connect the exposed stitch of the one previously added to the one last added1 at the three places where the thread holds the leaves1 by a buttonhole stitch 7in bookbinding known as the kettle stitch74 ,when the last folio is added1 place the back of the leaves to the back of the cover in the #a_/de-;inch space4 ,stretch the tapes down on the cover and paste 7#a-c74 ,take the first and the last leaf and paste them over the tapes1 to the inside of the cover4 ,the outside of the cover may have some simple decoration if such is desired4 ,in ,book ,,vii of the ,text ,book of ,art ,education1 published by ,the ,prang ,educational ,company1 is worked out a very interesting problem for the making of a scrap-book1 and suggestions given for decorating the cover4 ,the scrap or clipping books shown here were made in a similar way4 ,the decoration and cover are left to the taste and ingenuity of the teacher or the child4 #ag ,japanese ,book ,material--,construction paper1 colored1 #d-a_/dab-a_/d inches1 for cover4 ,manila paper1 six leaves1 #df inches1 double1 with fold on outer edge4 ,illustration3 ,,japanese ,,book ,the paper for the cover is #d-a_/dab-a_/d inches in size4 ,place the paper lengthwise in front of you and bring the left edge over to the right edge2 crease1 fold4 ,mark off a space three-fourths of an inch from the edge of the fold1 draw a line1 ,a-,l4 ,on this line three-quarters of an inch from the upper and the lower edges1 place dots1 ,b ,c1 and one-fourth inch from ,b ,c place dots ,d ,e4 ,hold the leaves evenly together and press them in between the cover4 ,with a large needle and cord sew through ,c1 under1 up1 and over ,a1 through ,c again1 under to ,f1 over through ,c1 under and up through ,e1 back to ,g1 under and up through ,e1 down to ,d1 through and over ,h1 back to ,d1 down and up through ,d1 then to ,b2 down under to ,k1 back to ,b1 through and under and around to ,l1 to ,b1 to ,d1 to ,e1 to ,c4 ,tie the two ends of the cord1 which come together at ,c1 and fringe them out4 ,illustration3 ,,scrap ,,or ,,clipping ,,book ,cover of grass cloth4 #ah ,scrap-,book ,material--,construction paper1 colored3 #f-a_/dh-a_/d inches1 for cover4 ,manila paper3 three leaves #fh inches2 three strips #a-a_/hf inches4 ,two paper clamps4 ,double the #fh-;inch leaves into six leaves #df inches in size4 ,between leaves #a and #b1 #c and #d1 #e and #f1 place the #a-a_/hf-;inch guards at the back4 ,have leaves and guards even and compact2 then set them between the cover4 ,measure from the back edge of the cover a space three-quarters of an inch wide1 and draw a pencil line4 ,placing the sharp edge of a ruler on this line1 bend the back edge toward the front until it is well creased4 ,in the center of this #c_/d-;inch space1 one inch from the upper edge and one inch from the lower edge of the book1 pierce a hole and insert the brass clamps4 ,illustration3 ,,scrap ,,or ,,clipping ,,book ,cover of linen1 stenciled4 ,a ,,paste ,mix until perfectly smooth one cup of flour with one cup of cold water4 ,put two cups of water in a vessel and set it over the fire until it heats4 7,do not let it boil47 ,add one teaspoonful of powdered alum1 then stir in the mixture of flour and cold water4 ,continue stirring until it thickens to a good consistency4 ,remove it from the fire and add one teaspoonful of oil of cloves or peppermint4 ,pour it into an air-tight jar and when it is cool screw on the top4 ,illustration3 ,,scrap ,,or ,,clipping ,,book ,cover of fancy paper--7,for description see pages #ea and #eb47 ,use the same cup all through4 ,the oil of cloves or peppermint is simply a flavoring1 and does not add to the quality4 ,this quantity will nearly fill a quart jar4 ,,part ,,iii ,,wood ,,construction ,,wood ,,construction ,,introductory ,,remarks ,as the child develops1 paper construction loses its charm1 and a desire for something utilitarian arises4 ,we suggest that at this stage the much-treasured pocket knife be brought into service1 for from small pieces of wood many articles may be made4 ,the construction of these will afford the child1 especially the boy1 much pleasure1 and will at once arouse a new interest4 ,only the simplest articles will be given here--articles which may be fashioned from bits of wood commonly found around a house1 such as old cigar boxes1 small starch boxes1 etc4 ,but1 should the teacher be able to obtain the proper materials1 basswood a quarter or three-eighths of an inch thick1 and whittling knives are the requisites4 ,the reader will notice that the wood mentioned for each model is bass4 ,why8 ,because bass is the wood generally used for carving4 ,the tree is the same as the linden and the lime4 ,it is found in northern ,asia1 ,europe1 and ,north ,america1 and grows to an immense height4 ,the wood is soft1 light1 close-veined1 pliable1 tough1 durable1 and free from knots1 and does not split easily2 all of which qualities favor its suitability for carving4 ,in whittling1 it is always best to lay off the pattern on both sides of the wood4 ,then one can work from either side without fear of spoiling the material4 ,in cutting1 work with the grain1 or the wood will be apt to split4 ,cut toward you1 not from you4 ,in grooving1 use the point of the knife1 and work slowly and carefully4 ,if the knife slips the wood is ruined4 ,insist that nothing the child does is well done unless well sandpapered1 and nothing is properly sandpapered until all roughness is done away with1 and the grain appears4 ,in the making of designs1 let the child first have a piece of paper the size of the wood he is to use1 and have him work out a design to be applied to his wood4 ,this design may be most crude1 but with a suggestion here1 and a correction there1 from the teacher1 it can be brought into shape4 ,the child will be pleased1 and will attack with more assurance of success each succeeding problem that he meets4 ,for coloring1 use water color paints4 ,red1 green1 and yellow are most satisfactory1 as their identity is retained when staining is applied4 ,apply the stain with a brush1 and with a soft cloth rub it in until it is dry4 ,this develops or brings out the grain4 ,when sure that the stain is well rubbed in and dry1 apply butcher's wax1 and polish with a soft cloth4 ,some articles need two coats of stain1 and an equal amount of polish4 ,in all work impress upon the child the fact that what is worth doing is worth doing well1 or it should not be done at all4 ,each model given works out a problem in handling the knife and cutting the wood1 and each problem leads up to the one that follows4 ,we will begin with the simplest thing one can make--a puzzle4 #a ,puzzle ,problem--,to cut with the grain of the wood1 and how to cut corners4 7,see page #eg47 ,material--,basswood3 one piece #ga-a_/bc_/af inches2 one piece #ca-a_/bc_/af inches4 ,one yard of macram cord4 ,shave the #ga-a_/b-;inch strip of wood down with a knife until it is an inch wide1 being careful to keep the edges parallel4 ,measure off three-eighths of an inch in opposite directions on each corner and on both sides of the wood4 ,connect these points by a pencil line4 ,cut off each corner the space indicated by the line4 ,be careful always to cut with the grain of the wood2 cutting against it will split the board4 ,next1 three-fourths of an inch from each end1 and equally distant from the sides1 and in the center1 bore holes4 ,from the #ca-a_/b-;inch piece of wood1 cut two blocks one and one-half inches square1 and bore a hole in the center of each4 ,double the string to a loop and draw this loop through the center hole of the rectangular strip4 ,pull the loop to the edge1 and draw through it the two ends of the cord4 ,string the #a-a_/b-;inch blocks1 one on each cord1 then tie the ends of cord in the two end holes of the rectangular strip4 ,the puzzle is finished4 ,what is the aim1 and how can it be solved8 ,illustration3 ,,puzzle ,solution4 ,mark one block4 ,hold one in the hand and move the other along until it passes through the loop at the center4 ,pull the cord through the middle hole until it draws with it four thicknesses of cord4 ,now slide the block along until it passes through a double loop4 ,next1 draw this double loop back through the hole2 the string will be in position1 and the block is now passed along through a single loop and onto the string containing the other one4 ,to replace the block1 turn the puzzle around and repeat the process4 #b ,plant ,label ,problem--,to cut across the grain1 and1 by removing two equal triangles1 to form a well-tapered point4 ,material--,one piece of basswood1 #faa_/d inches4 ,illustration3 ,,plant ,,label ,take the end ,a ,b and find the center1 ,c4 ,from ,a measure off two and a half inches1 and place point ,d4 ,from ,b measure off two and a half inches1 and place point ,e4 ,connect points ,,cd and ,,ce4 ,place the same measurements on the reverse side4 ,with the knife cut off triangles ,a-,c-,d and ,b-,c-,e4 ,sandpaper the wood until it is smooth and the label is finished4 #c ,pencil ,sharpener ,problem--,curve-cutting4 ,material--,one piece of basswood1 #f-a_/ba-a_/da_/d inches4 ,one piece of sandpaper1 #ac-a_/h inches4 ,glue4 ,stain4 ,on the wood place points three and a quarter inches from each end1 at ,a and ,b1 and connect them by line ,a-,b4 ,place points ,g and ,h half an inch from ,c and ,d4 ,start your curve at ,g1 pass through ,i1 and end at ,h4 ,in the rectangle ,a-,b-,f-,e draw a handle as indicated in the diagram4 ,shape the other end by removing spaces ,g-,c-,i and ,h-,d-,i4 ,sandpaper thoroughly4 ,shape one end of the #ac-a_/h-;inch piece of sandpaper as curve ,g-,i-,h1 and glue it to the wood4 ,stain the wood and polish it by rubbing it with a soft cloth4 ,illustration3 ,,pencil ,,sharpener #d ,match ,scratch ,problem--,curve and cross-grain cutting4 ,material--,one piece of basswood1 #c-c_/dca_/d inches4 ,one piece of sandpaper1 #b-a_/bc inches4 ,glue4 ,illustration3 ,,match ,,scratch ,place a point at the center of line ,a-,b and of line ,c-,d4 ,place a point on line ,a-,c and line ,b-,d1 one and one-quarter inches from ,a and ,b4 ,connect these points by a pencil line1 and draw another line one-eighth of an inch below4 ,score these two lines with the point of the knife1 making a tiny groove4 ,draw curves ,a-,e and ,b-,e1 the highest point of the curve being half an inch from the edge ,a-,e-,b4 ,draw curves ,g-,f and ,h-,f4 ,remove spaces #a1 #b1 #c1 and #d4 ,sandpaper thoroughly the edges and sides4 ,shape the piece of sandpaper1 two and a half by three inches1 to fit the space ,g-,f-,h1 allowing a quarter-inch margin1 and glue it on4 ,bore a hole at #e4 ,do not stain4 ,illustration3 ,,kite ,,string ,,winder #e ,kite-,string ,winder ,problem--,cross-grain cutting4 ,material--,one piece of basswood1 #e-a_/bb-a_/ba_/d inches4 ,measure and lay off as shown in the diagram1 and cut out all spaces indicated by dotted lines4 ,sandpaper the wood until it is smooth4 ,stain the winder or not1 as is preferred4 #f ,thermometer ,back ,problem--,beveling and grooving4 7,see page #fb47 ,material--,one piece of basswood #fca_/d inches4 ,stain4 ,for the thermometer back the measurements need be placed on but one side of the wood4 ,mark off a quarter-inch from the edge all around and draw a line4 ,place a second line a quarter-inch within this4 ,using the line nearest the edge as a guide1 cut off the sharp edges on the face of the strip of wood until the slant surface is reached between the line and the back edge4 ,this makes the bevel4 ,the inner line is a guide for spacing the design4 ,originate a simple design1 and lay it off on the board in pencil4 ,then1 using the point of the knife1 with the greatest care groove out the design4 ,place a hole near the top of the strip by means of which to hang it4 ,notice that the design fits around the hole4 ,sandpaper1 stain1 and polish the wood4 ,the design given here is the simplest that can be made4 ,it is suggested that until the child becomes accustomed to working with the knife1 all designs for grooving had better be confined to straight lines4 ,combine in a design a vertical1 a horizontal1 and an oblique line1 and some beautiful patterns may be originated4 #g ,pocket ,pin-,cushion ,problem--,circular cutting1 grooving1 stenciling1 and coloring4 7,see page #fc47 ,material--,basswood3 two pieces1 #cca_/d inches4 ,one piece of heavy felt #cca_/d inches4 ,glue4 ,water-color paints4 ,stain4 ,find the center of each square of wood by drawing the diagonals4 ,with the compass at the radius of one and one-half inches1 describe a circle on each piece of wood 7on one side only74 ,remove spaces ,a1 ,b1 ,c1 and ,d with the knife1 and you have a circular block4 ,remember to cut with the grain4 ,bevel the edges4 ,make an original design and apply it to your wood4 ,with the knife groove the outline of this design4 ,there should be a space three-eighths of an inch wide between the edge of the wood and the outer edge of the design4 ,when the design is grooved in1 color it4 ,red1 green and yellow are the best colors4 ,their identity is not lost in staining4 ,lastly1 stain and polish the face of the blocks4 ,cut the felt the size of the blocks1 cover the back of each block with glue1 place the felt between the two1 and keep the whole in press for several hours4 ,the model here suggests two designs4 ,these are given simply as illustrations4 ,use the same design for both backs of the cushion4 ,illustration3 ,,thermometer ,,back--7,for description see page #fa47 ,illustration3 ,,pin ,,cushion ,illustration3 ,,designs ,,for ,,pin ,,cushion #h ,picture ,frame ,material--,basswood1 sweet gum1 walnut or oak4 ,one piece1 #hfa_/d inches1 for frame2 one piece1 #e-a_/dda_/d inches1 for back2 one piece1 #d-a_/bca_/d inches1 for supports2 two pieces1 #c-a_/dc_/ha_/d inches1 and one piece1 #e-a_/dc_/ha_/d inches for cleats4 ,glue4 ,half-inch brads4 ,should basswood be used it must be stained4 ,sweet gum1 walnut1 or oak may be left in its natural state1 and oiled to bring out the grain and finish4 ,illustration3 ,,picture ,,frame ,on the #hfa_/d-;inch board mark off with a pencil a center space #b-c_/dc-c_/d inches in size4 ,with a gimlet bore holes at points ,a1 ,b1 ,c1 and ,d4 ,connect these holes with a pencil line as a guide for cutting4 ,along the line make a groove which may be broadened and deepened until the board is cut through4 ,by working around the square in this way1 the center will soon be opened4 ,trim the wood as smoothly as possible with a knife2 then use sandpaper to level and finish off4 ,bevel the edge of the opening if you wish4 ,cut in half the #d-a_/bca_/d-;inch piece of wood1 and make two supports1 as in ,figure #b4 ,with a pencil draw the shape of these supports on the wood2 in whittling work very carefully1 as they are small and will easily split4 ,as far as possible1 hold the pieces so that the knife will shave with the grain of the wood4 ,in crosscut work from the opposite side4 ,in straight cut1 keep notches at opposite ends1 so that if the knife should slip and the wood split no serious damage will be done4 ,place the cleats on the back half an inch from the opening1 the longer fitting in between the two shorter ones4 ,glue them on1 then nail them4 ,against these cleats glue the back 7#a7 before nailing it4 ,next glue and nail on the two supports against the back and on a level with the lower edge 7,figure #d74 ,on the fourth side1 where there is no cleat1 is the opening through which the picture is slipped4 ,when the frame is satisfactorily sandpapered1 oil and polish it4 #i ,japanese ,box ,problem--,to construct a box having lid and bottom extend beyond sides4 ,stock--,basswood3 two pieces1 each #h-a_/bc-a_/ba_/d inches1 for lid and bottom2 two pieces1 each #hba_/d inches1 for sides2 two pieces1 each #b-a_/bba_/d inches1 for ends2 two pieces1 each #b-a_/ba_/da_/d inches1 for cleats4 ,glue4 ,half-inch brads4 ,stain4 ,wax4 ,illustration3 ,,japanese ,,box ,on the #h-a_/bc-a_/ba_/d-;inch pieces of wood1 cut a bevel a quarter of an inch wide4 ,place the two ends between the two sides2 glue and nail4 ,set this rectangular frame on the under side of the bottom1 equally distant from each edge1 and trace the shape with a pencil4 ,remove the frame2 the pencil line indicates where the nails are to be driven to secure the frame to the base4 ,now set the frame on the upper side of the bottom2 aim for the same spacing as on the under side1 and mark off4 ,carefully cover the lower edge of this frame with glue1 place it on the base and press the two until the glue is dry4 ,drive the brads through from the under side of the base an eighth of an inch within the guiding line4 ,having beveled and sandpapered the lid1 trace a design on it1 and outline this design by grooving4 ,illustration ,nail the #b-a_/ba_/da_/d-;inch cleats to the under side of the lid1 five-eighths or an inch from each end and half an inch from each side4 ,these cleats fit into the box and hold the lid on4 ,stain1 wax1 and polish the box4 #aj ,grandfather's ,chair ,material--,basswood3 three pieces #eba_/h inches2 one piece #bba_/h inches4 ,brads4 ,sandpaper4 ,glue4 ,stain or oil4 ,illustration3 ,,grandfather',s ,,chair ,measure and lay off as you have done in making the other small pieces of wood work4 ,handle the knife most cautiously1 as the wood is so thin that it is easily split4 ,when all parts are cut out and well sandpapered glue them together and secure them by driving in the brads about an inch apart along the line of the seat and where the arms join the back4 ,stain or oil as most convenient1 or as taste dictates4 ,,part ,,iv ,,basketry ,,basketry ,,introductory ,,remarks ,the art of basket-making is a primitive one1 and so simple that it appears to have been known among the rudest people and in very early ages4 ,when ,moses was found by ,pharaoh's daughter1 he was lying in a basket which had been woven by his mother4 ,later1 when the ,israelites were returning to the ,promised ,land1 they were commanded to offer unto the ,lord the first of all the fruits of the earth in a basket1 as soon as ,canaan became their possession4 ,the baskets of the rich1 of these ancient ,israelites were made of gold and silver1 and so valuable were they that when a gift was sent in one of them the basket was always returned4 ,the ancient ,britons were remarkably expert in the manufacture of baskets1 which were so beautifully made that they were highly prized by the ,romans4 ,our own ,american ,indians were1 and still are1 such adepts in the art of basket-making that1 for beauty and artistic effect1 their baskets are excelled by none4 ,the perfection attained in this art by the uncivilized is marvelous4 ,adapting the materials about them to their use1 they produce masterpieces which the civilized man beholds in wonder and amazement4 ,though handed down to us through many ages1 this ancient occupation has never lost its fascination4 ,the adult and the child of to-day are as eager to learn its secrets as were those dwellers on the banks of the ,nile1 hundreds of years ago4 ,as a plastic art it lies between paper construction and clay modeling on one side1 and wood and iron work on the other4 ,a keen interest in the art may be awakened by arousing in the child a desire for a basket for some practical purpose4 ,in the autumn1 the collecting of seeds for next spring's planting1 the gathering of nuts1 the need for something in which to take the lunch to school1 or1 perhaps1 a wish to make a pleasing gift for the coming ,christmas1 will immediately suggest its utility4 ,illustration3 ,,north ,,carolina ,,pine ,of what shall the basket be made8 ,children enjoy those things most which they feel that they have exerted themselves to obtain2 and the greater the effort involved1 the greater the educational value4 ,every child should be trained to keep his eyes open and to adapt to his use the things he sees about him4 ,materials for baskets may be obtained in just this way4 ,city children may take a trip to the country and gather the long grasses found in swamps and low places4 ,perhaps in the garden at home there is a clump of yucca2 when the fall comes and the bloom is gone the leaves or blades may be cut1 dried and stripped1 and transformed into an attractive basket or tray4 ,again1 the husks which are stripped from the corn cooked for dinner may be torn into narrow ribbons and dried for use4 ,corn husks make a beautiful basket1 for the different shades of green change1 after the husks have dried1 to as many shades of brown1 which blend most artistically when worked up4 ,the little children of the ,south may gather the long needles that fall from the southern pine1 and combine them with raffia or twine to construct a basket4 ,country children have a most adaptable and convenient commodity in the tough1 flexible willows found on the banks of almost every stream4 ,the material most commonly used and easiest to begin with1 however1 is reed1 which is pliable1 and readily handled and moulded into simple forms by even small children4 ,it is available when other materials are not to be had1 for it may be purchased with the school supplies4 ,reed is the core or central part of the climbing calamus1 a species of palm found in the jungles of ,borneo and adjacent ,south ,sea islands4 ,the outside of the raw calamus is smooth and is made into commercial cane used for chairs4 ,the shavings1 made by the machine which separates the cane from the core or inner reed1 are utilized for mats1 polishing material1 and stuffing for mattresses and furniture4 ,thus every part of the raw material is brought into use4 ,originally the calamus grew in a limited area and was difficult to obtain4 ,only the natives could gather it1 as the white man contracted the jungle fever as soon as he subjected himself to the climate in which it grew4 ,but within the last fifty or seventy-five years enterprising men have begun the cultivation of the rattan palm1 and have met with so much success that now there are a number of factories in the ,united ,states making the reed and rattan of commerce1 while ,germany and ,belgium export to us the best reed that is used4 ,illustration3 ,,reed ,,baskets ,the teacher should never begin the use of any new material for construction without having made the child familiar with its history2 nor should a finished article be laid aside until the pupil has given the teacher a description of how it is made1 and of what it is made4 ,if this method is carried out the child will show a greater appreciation of what he is doing1 will value the finished article more highly1 and will place a premium on the raw material4 ,overlook the pupils in their work1 but grant them the privilege of adjusting size and shape1 and of selecting material for the requirements of the design they have in mind4 ,by achieving what he can for himself1 the pupil attains a realization of his own power1 and the logic of size1 shape1 material1 etc41 is awakened4 ,,reed ,,construction ,in construction1 the first thing to teach a child is how to handle the material4 ,to do this1 use small quantities and attempt only simple articles4 ,reed is the simplest thing to begin with1 and the easiest of all basket-work models is the napkin ring4 ,soak all the reed and dry it with a cloth before using4 #a ,napkin ,ring ,no4 ,i ,problem--,to construct a napkin ring of reed4 ,material--,no4 #b reed1 #g feet4 ,take one end of the reed and form a loop two inches in diameter1 and wind the reed three times to form the ring4 ,hold it in the left hand4 ,pass the loose end over the curve and through the circle4 ,pull it taut enough to make it lie in a natural curve4 ,repeat this movement--over and over1 round and round--allowing the strands always to follow the valley between the two former laps4 ,when the foundation is covered1 clip the end where it finishes up1 press it into place in the groove1 drop a little glue over the point at which it is pressed in1 and bind the ring with a string to hold the end in position4 ,when the glue has dried1 remove the string4 ,illustration3 ,no4 ,i ,no4 ,,ii ,,reed ,,napkin ,,rings ,when the napkin ring has been made1 the child has learned the principle involved in constructing a basket handle4 #b ,napkin ,ring ,no4 ,,ii ,problem--,to construct a napkin ring of ,no4 #e reed4 7,see page #ge47 ,material--,no4 #e reed1 #b-a_/b feet4 ,in using ,no4 #e reed1 form the loop two inches in diameter1 but have the ring of only one thickness1 and proceed as in ring ,no4 #a4 ,this will make a napkin ring of different appearance because the windings are fewer and the reed thicker4 #c ,mat ,problem--,to construct a simple mat of reed4 ,material--,no4 #d reed3 eight spokes1 #i inches long2 one spoke1 #f inches long4 ,weavers of ,no4 #b reed4 ,illustration3 ,figure #a ,figure #b ,,to ,,start ,a ,,reed ,,mat ,,or ,,simple ,,basket ,place together1 at right angles1 two groups of four spokes of ,no4 #d reed4 ,to the under group add the six-inch spoke of ,no4 #d reed 7,figure #a74 ,hold the spokes firmly in the left hand4 ,take the ,no4 #b weaver and insert it under the thumb4 ,wind the weaver diagonally over the crossing point in both directions 7,figure #b74 ,then wind the weaver over and under alternate groups of spokes1 three times around4 ,hold both spokes and weaver firmly in place with the left hand4 ,separate into single spokes now and continue weaving until your mat is four inches in diameter4 ,fasten the end of the weaver by tucking it down beside a rib4 ,the projecting ribs are trimmed to an even length and pointed4 ,take any given spoke1 as ,no4 #a1 bend it to the left in front of ,no4 #b and insert it on the right side of ,no4 #c4 ,no4 #b is now taken and carried to the left over ,no4 #c and inserted to the right of ,no4 #d4 ,proceed thus until all the spokes are inserted1 when the mat is finished4 ,the scallops should form a semicircle4 ,illustration3 ,,reed ,,mat ,for a larger mat1 take ten spokes1 sixteen inches long1 of ,no4 #d reed1 and one spoke nine inches long of the same4 ,use ,no4 #a reed for the weaver and proceed as in making the smaller mat4 ,to add a new weaver1 place the end about two spokes back of where the former weaver ended and parallel with it4 #d ,hamper ,basket ,problem--,to construct a simple reed basket4 ,material--,no4 #d reed3 eight spokes #af inches long2 one spoke #i inches long4 ,weavers of ,no4 #a reed4 ,begin the basket exactly as the mat was begun4 ,weave until the bottom is three inches1 or three and a half inches in diameter4 ,then bend the spokes at right angles with the base1 drawing the weaver tight so as to hold the spokes in position and keep them separated at an equal distance4 ,continue weaving until the basket is three inches high1 or until about one and a half inches of spokes is left for the border4 ,finish the edge by turning down the spokes as in the edge of the mat1 or bend them down flat with the edge of the basket4 ,take any spoke1 as ,no4 #a1 bring from right to left over ,no4 #b1 then ,no4 #b over ,no4 #c1 and so on until the ends of all the spokes are turned to the inside of the basket4 ,keep both basket and weaver well dampened while weaving4 ,after the basket is finished press it into shape while still damp4 ,when it is thoroughly dry trim off the ends of the spokes which appear too long on the inside of the basket1 leaving them just long enough to be held in place by the curved spoke under which each passes4 ,this makes a beautiful hamper basket4 ,illustration3 ,,hamper ,,basket ,a handle may be added to this little basket1 but it is not advisable to encourage a child to add a handle until he has made his third basket or has shown in some way proficiency in what has been taught so far4 ,to add a handle4 ,take a length of reed1 of the same number as the spokes1 for the handle bow4 ,for a small-sized basket take ten inches4 ,insert one end down through the weaving beside one of the spokes4 ,bend the bow into the shape you wish for the handle and insert the other end of the bow beside a spoke on the opposite side of the basket1 being careful that the two spaces between the two ends of the handle are equal4 ,the handle should be about as high above the border as the border is above the bottom of the basket4 ,the width of the handle should be a little less than the width of the basket at the top4 ,you are now ready to cover the handle4 ,take a long weaver2 push one end of it through the wale under the second row4 ,hold the end in place and wrap the weaver about the handle bow1 keeping the spaces about equal1 and drawing taut enough to be graceful1 until it reaches the opposite side4 ,then draw the weaver through the wale and under the second row and up on that side2 next wind about the handle bow again1 back to the starting-point4 ,push the weaver through the wale1 under the second row and out again1 and once more wind across the handle bow4 ,repeat this operation from side to side until the handle bow is covered4 ,keep each row of winder close to the preceding one and parallel to it4 ,when the bow is covered1 tuck the end of the weaver through the wale and under the second row and clip the end1 leaving it just long enough to stay in place4 ,the handle bow needs to be damp enough to be flexible1 but unless the winding weaver is well soaked it will crack and make trouble4 #e ,basket ,tray ,problem--,to construct a reed basket or tray1 having an even number of spokes1 and using same number reed for both spokes and weaver4 ,material--,sixteen spokes1 each #aa inches long1 of ,no4 #c or ,no4 #d reed4 ,weaver of reed of same number as spokes4 ,separate the spokes into groups of four4 ,place set ,no4 #a on and at right angles to set ,no4 #b4 ,sets #c and #d are laid diagonally across sets #a and #b4 ,illustration3 ,,how ,,to ,,begin ,,the ,,basket ,,tray ,hold the spokes firmly1 attach the weaver and go in and out four times round1 over and under the same set of spokes each time4 ,at the end of the fourth round1 pass the weaver over two sets of spokes and weave four rows4 ,next separate the spokes into sets of two and weave one row2 now each time that the weaver comes to starting-point in the circle1 pass it over two sets of spokes instead of one1 and then weave the next round4 ,when you have been around seven times using double spokes1 bend the spokes up for sides and weave two more rows over double spokes4 ,then separate into single spokes and weave six rows1 remembering each time to pass the weaver at the end of a new round over two spokes instead of one1 so as to have them properly alternated4 ,trim the ends of the spokes to an equal length and start the border by bending any given spoke to the right and inside the tray1 holding it in place4 ,continue with each succeeding one until all the spokes have been bent into position4 ,these spokes being bent so closely and consecutively over each other1 form a coil resembling the handle of a basket4 ,the points of the spokes are pushed under the coil1 through from the inside to the outside of the basket4 ,keep a vessel of water at hand and wet the material constantly as you weave4 ,when the tray is finished1 press it into shape and set aside to dry4 ,when it is well dried1 clip off the projecting ends4 ,illustration3 ,,reed ,,basket ,,tray #f ,basket with ,handle ,problem--,to construct a basket using an uneven number of spokes1 spokes and weaver the same number reed2 and to add a handle4 ,material--,no4 #c reed3 eight stakes1 each #bj inches long2 one stake #aa inches long4 ,weavers of ,no4 #c reed4 ,make two groups of four each of the twenty-inch stakes4 ,place one set at right angles across the other1 and beside the under set insert the eleven-inch spoke4 ,hold the spokes firmly between the thumb and the forefinger of the left hand1 and with the weaver in the right hand place the starting end under the edge of the upper set2 bring it around and over set ,no4 #a1 under ,no4 #b1 over ,no4 #c1 under ,no4 #d1 and repeat this operation four times4 ,now separate the spokes into groups of eight twos and one single1 and weave four rounds4 ,next cut seventeen eleven-inch stakes and push one in beside each stake already used4 ,divide them into seventeen pairs4 ,weave round and round until you have a base three and one-half inches in diameter4 ,being sure that the weaver is damp and pliable1 with fingers1 or pliers1 bend up the stakes close to the weaving1 at right angles with the base1 and continue weaving until the basket is four inches deep4 ,then trim the stakes1 if necessary1 to uniform length and bend them over to form the border4 ,take any stake1 as ,no4 #a1 and work from right to left4 ,bend down ,no4 #a1 pass under ,no4 #b and over ,no4 #c4 ,then take ,no4 #b1 pass under ,no4 #c and over ,no4 #d4 ,continue until every pair of stakes has been turned down and worked into the border4 ,all ends must come inside the basket2 after it is dry1 trim them off4 ,you will find that in working with the wet reed your basket may seem not to have the proper shape4 ,soak it well and you will be able to mould as you wish it4 ,add a handle4 ,illustration3 ,,reed ,,basket ,,with ,,handle ,this basket is made almost exactly like the little hamper basket previously described1 except that in this one1 we use double stakes1 while in that one1 single stakes were used2 the sides of this one are vertical1 those of that one slightly curved4 99 99 99 99 99 ,in passing from the reed basket1 the next step would be the raffia and then the combination of reed and raffia1 which is worked out in all forms of ,indian basketry4 ,the most common stitch is known as the lazy squaw1 and is made by winding the raffia round the reed one1 two1 or three times1 as space is desired2 and then the needle is taken through the row below to make the stitch4 ,each stitch is a repetition of the one before and the mat1 tray or basket grows with the effort4 ,there are innumerable opportunities for design in ,indian basketry1 and it is here that the work of an artist may be realized and recognized4 ,,raffia ,,construction ,we may correlate and combine raffia with reed in construction4 ,the two materials may be worked together to great advantage and interest to the child4 ,for instance1 when a napkin ring has been made of reed let the child next construct one of raffia1 and then compare the finished article as to the material vised1 the beauty1 the flexibility1 the durability1 and the nativity of each4 ,as in the case of reed1 so with raffia before constructing with it1 pass a piece to each child and give the life history of the plant4 ,madagascar may be a name only to the small child1 but the very vagueness of his knowledge concerning it may cause him to realize the distance of the island from us and appreciate that this simple material with which he is working has traveled thousands of miles to bring him a story and an occupation4 ,raffia1 a native of the ,south ,sea ,islands and of ,madagascar1 is the inner bark of the raphia palm1 pulled off1 torn into narrow strips1 dried in the sun1 and bound into bunches1 which are plaited together and stored ready for use or shipping4 ,we receive the raffia in its natural state1 but many colors may easily be had by dyeing4 ,in ,practical ,basket ,making1 by ,george ,wharton ,james1 some valuable suggestions on dyeing are given2 but the small quantity of raffia a teacher will need may be dyed with very little trouble with the ,easy ,dyes manufactured by the ,american ,color ,company4 ,follow directions and the results will be most satisfactory4 ,be very careful to have the dyes strong enough1 as raffia absorbs an enormous amount of coloring4 ,all raffia should be washed before dyeing2 it should be well dried before being put into the dye pot1 since it takes the color better when dry4 ,if you have pupils old enough1 or a class on which you can rely1 nothing will delight them more than to do their own dyeing4 ,a fourth-grade class in one of the ,baltimore schools has successfully dyed all the raffia1 cord1 cotton1 and textiles used in their classroom4 ,the child dearly loves color2 the possibility of having different shades to work with will arouse an intense interest in procuring these colors4 ,it will be unusual if the pupils do not handle with care the materials and the dye pot4 ,in adapting a commodity to circumstances in this way1 the broader knowledge of how the colors in clothing are obtained will develop and there will be created in the child a new idea of life and of man's work4 ,the natural color of the raffia is much improved by washing2 therefore1 before using it loosen it and soak it in clean water so that all dust and dirt may be removed and the strips or strings straightened out2 then hang it in the air until thoroughly dry4 ,before offering any models of the combined reed and raffia1 we shall give a few of raffia alone1 as we did of the reed4 #g ,plaited ,rope ,problem--,to teach different ways in which the plaited rope of raffia may be applied4 ,material--,raffia4 ,begin the use of raffia by teaching the child the three-strand plait1 adding a new thread from time to time1 until a long rope is made4 ,next teach how to coil this rope into a mat1 a purse1 a basket1 or a hat4 ,in plaiting1 keep the raffia damp and use strands of equal size4 ,dampness adds gloss and smoothness to the finished article4 ,illustration3 ,,three-,,strand ,,plait ,in the construction of articles of plaited raffia an opportunity opens up to bring the child's inventive ingenuity into play4 ,get him to think of something he might make1 and to construct it roughly of paper4 ,with his model as a guide for shape and size1 he can easily reproduce it in raffia4 ,the first pattern may be crude1 but each repetition will produce a better one1 and interest will lend enchantment1 until both pattern and reproduction will be most creditable4 #h ,plaited ,mat ,problem--,to construct a mat of plaited raffia rope4 ,material--,raffia4 ,illustration3 ,,mat ,,of ,,plaited ,,braid ,the starting-point in all these designs is the little round coil1 called the button4 ,to make a mat1 first plait a rope several feet long4 ,to form the button hold the end of the rope between thumb and forefinger1 and begin to roll the rope just as a watch spring is coiled4 ,with a needle and fine thread of raffia1 make the button firm2 then keep on coiling around the button and1 as each row is added1 tack it to the preceding row by pushing the needle in and out at right angles with the braid1 so that the stitch may be invisible4 ,when finished the mat should be about four inches in diameter4 ,the object of winding the plait sideways is to give the mat firmness and thickness4 #i ,purse ,problem--,to construct a purse or bag of plaited raffia rope4 7,see page #hg47 ,material--,raffia4 ,to make a purse1 plait enough rope to make two mats three and a half inches in diameter4 ,to construct these mats first make the button4 ,work this time with the braid flat4 ,sew by holding the inner edge of the plait just under the outer edge of the preceding row4 ,when both mats are finished1 place them flat against each other1 and overseam or buttonhole the edges together for about two-thirds of the circumference4 ,plait a rope1 seven inches long1 for a handle4 ,tie a knot in each end1 and ravel the ends of raffia to form a tassel4 ,attach this handle to the purse at each side1 where the opening begins4 ,girls especially delight in this little purse or bag4 #aj ,plaited ,basket ,problem--,to sew braid together to form ,,one angle4 7,see page #hh47 ,material--,raffia4 ,dimensions--,bottom three inches in diameter2 sides two inches high2 handle six inches long and two braids wide4 ,using three threads of raffia1 plait a rope several feet long4 ,proceed just as with purse1 and sew until you have a mat three inches in diameter4 ,now place the braid at right angles with the base1 and sew round and round to form the sides4 ,when these are two inches high fasten the braid2 and1 without cutting it1 carry it to the opposite side to form the handle4 ,fasten it there and bring it back again1 to make the handle two braids wide4 ,either overseam these together to make a broad handle1 or leave them separated to form a double handle4 ,an easy way to obtain a more uniform shape in constructing this basket is to have a smooth tumbler or a tin box1 and1 as you work1 fit the material to the form4 ,when it is finished1 dampen it and let it remain on the form until it dries4 ,illustration3 ,,purse ,,or ,,bag ,,of ,,plaited ,,raffia--7,for description see page #hf47 ,illustration3 ,,basket ,,of ,,plaited ,,raffia--7,for description see page #hf47 #aa ,hat of ,plaited ,rope ,problem--,to sew the braid together to form two angles4 ,material--,raffia4 ,illustration3 ,,hat ,,of ,,plaited ,,raffia ,first plait the raffia together until you have a very long braid4 ,take the starting end1 make the button1 and sew round and round1 as in making the purse4 ,when the top of the crown is as large as you wish it1 turn the braid at right angles and form the sides4 ,when1 in your judgment1 the crown is high enough1 make a second right angle to form the brim1 which may be wide or narrow as taste dictates4 ,use a blunt needle 7,smith's tapestry1 ,no4 #ah74 #ab ,napkin ,ring ,problem--,to construct a raffia napkin ring4 ,material--,raffia4 ,a piece of tag-board #a-a_/b or #b inches wide and #f inches long4 ,quarter-inch ribbon or strip of paper1 or raffia of a contrasting color4 ,there is mentioned a raffia napkin ring in comparison with the one of reed4 ,take the strip of tag-board1 fasten the ends together and wrap with raffia until the board is covered4 ,it may be ornamented with a narrow strip of ribbon1 paper or colored raffia woven around the center4 ,if ribbon or raffia is used tie the ends in a bow4 ,if paper is used the ends must be glued4 #ac ,indian ,basket ,problem--,to teach construction with twisted raffia rope4 7,see page #ia47 ,material--,two contrasting colors of raffia4 ,first think of what shape and size you would like a basket2 then roughly sketch a design1 in order that an idea of shape1 size1 and proportion may be had4 ,keep the design before you and work as closely from it as possible4 ,take three thick strands of raffia and twist them into a rope4 ,in starting have the threads unequal in length1 as it is much neater to add one new thread at a time than two or three4 ,keep the rope of the same thickness throughout1 and as each thread is used up1 insert another overlapping the old one two or three inches4 ,around this rope1 and twisted in the same way1 wrap a contrasting color of raffia1 aiming to have the spaces equal and using threads of the same size4 ,having twisted and wound four or five inches start the basket by forming a button1 then1 holding the button firmly with the left hand1 coil the rope round and round and sew it4 ,use the sharp-pointed needle and join the coils in such a way that the threads will coincide with the twist4 ,when the basket is finished1 the opening at the top should be either greater or less in diameter than the base4 ,make a lid exactly as the base is made1 and have it just a shade wider than the opening so that it will be supported4 ,the ring with which to lift the lid is made by wrapping raffia three or four times over the finger1 and then buttonholing it over4 ,sew the ring to the middle of the lid and attach the lid to the basket4 ,illustration3 ,,indian ,,baskets ,the model here given is made of white raffia twisted with red4 ,diameter of base1 #d inches2 height1 #b-a_/b inches2 opening at top1 #c-a_/b inches2 diameter of lid1 #c-c_/d inches4 ,illustration3 ,,indian ,,basket--7,for description see pages #hi and #ij47 #ad ,grass ,basket or ,tray ,problem--,to teach how to construct a basket of grass1 pine needles1 or corn husks4 ,material--,narrow-blade marsh or sweet grass4 ,raffia for sewing4 ,make a design in pencil1 ink1 or colored crayon4 ,here the adaptability of material gathered about the home is illustrated4 ,the tall1 fine marsh grasses may be collected1 spread out for three or four days where they will dry1 and then utilized4 ,you will find that almost every blade of this grass varies in color4 ,the root end may be brown1 while toward the tip the leaf shades into a light green1 or white1 or vice versa2 this blending1 when the grass is bunched1 is most artistic4 ,bunch a sufficient number of blades to make a coil a half or three-quarters of an inch in diameter4 ,do not twist4 ,never allow the coil to lessen in size4 ,keep adding fresh strands by slipping the root ends of the new blades up between those already in the coil4 ,when we begin to sew we do not wrap the grasses as we wrapped the strands of raffia1 but simply use as a sewing thread raffia of a contrasting or blending color4 ,to form the button1 wrap the threads three or four times around the root ends of the bunch1 fasten tightly1 then coil to form the center4 ,take the needle through the center and over the coil as many times as you think necessary to make the button firm4 ,these stitches are the beginning of the spiral rays which radiate to the edge of the basket4 ,take the stitches at equal distances from each other4 ,handle the needle so as to pass from back to front1 and always have the new stitch pass through the stitch of the coil just below it from right to left4 ,when the coil has been wound around four or five times1 the stitches will be seen to interlock and form a spiral4 ,soon the spaces will become too wide2 then take an extra stitch in the center of each space1 thus adding another set of rays4 ,continue adding new sets of rays as the spaces widen1 until the basket is finished4 ,illustration3 ,,beginning ,,of ,,basket ,,tray ,when the base has grown to the required size1 turn up for sides and continue sewing in the same way until the necessary depth is obtained4 ,to give a finish add enough grass to make a thick coil around the edge4 ,colored hemp may be woven in with the grass either as a lining or so inserted as to make a beautiful pattern4 ,the value of the basket will be enhanced by the use of sweetgrass1 if this material is obtainable4 ,the model given is made of marsh grass1 sewed with raffia of natural color1 and the design is made in pink hemp4 ,its base is five inches in diameter2 its depth one and one-fourth inches4 ,corn husks may be used instead of grasses1 and are unexcelled for beauty and artistic effect4 ,use the inner husk from the ear when green2 though the husks will dry1 the varied color will not be lost4 ,when made up with a contrasting color of green or golden brown raffia they are most attractive4 ,grasses may be kept a long time2 but before using them soak them thoroughly1 and let them dry out4 ,this treatment will make them so pliable that they may be handled as easily as though freshly gathered4 ,the long needles of the southern pine also are thus worked up4 ,illustration3 ,,basket ,,tray #ae ,basket of ,splints and ,raffia ,problem--,to teach construction1 using splints and raffia4 ,material--,splints of ash or flat reed3 eighteen splints1 each #a_/dab inches2 #c splints1 each #a_/dah inches1 for binding of edge4 ,raffia of two or three colors4 ,dimensions--,base1 #dd inches4 ,depth1 #b inches4 ,sides1 #bd inches4 ,lay a set of nine splints flat on a surface4 ,take one of the remaining nine and weave across for the first row4 ,add a second splint1 weaving in and out through alternate ones4 ,continue until all the nine splits are woven in and the square base of the basket is formed4 ,have splints sufficiently damp to be flexible2 otherwise they may break4 ,bend up the splints at right angles to the base for sides1 thus making corners4 ,now with the raffia weave in and out1 interlace the thread at the corners1 and draw it tight enough to hold the splints in place4 ,introduce color to suit taste4 ,illustration3 ,,bottom ,,of ,,splint ,,and ,,raffia ,,basket ,when the sides are finished1 take an eighteen-inch splint and lay it around on the inside of the basket close to the last row of raffia4 ,hold it in place and turn the ends of the basket splints over it inward4 ,these end splints must be trimmed evenly and left just long enough to bend over the splint running round on the inner side4 ,take two more eighteen-inch splints2 having placed one inside the edge and the other outside the edge of the basket1 with a needle and a long thread of raffia whip over and over4 ,bring the needle through each opening between the splints until you have gone around the four sides4 ,this makes a suitable border and completes the basket4 ,illustration3 ,,basket ,,of ,,splints ,,and ,,raffia ,the model given here has ten rows of natural color1 ten rows of green1 six rows of brown1 ten of green and ten of natural color1 which combination makes it two inches deep4 ,,combined ,,reed ,,and ,,raffia ,problem--,to teach how reed and raffia may be combined in construction4 ,the models suggested here are very simple and can be made by the younger children of the lower grades4 ,these have been held to purposely1 for the child needs first to learn how both to use his fingers and to handle a needle2 and afterward he must have much practice before he can take up the more difficult stitch in the ,indian basketry4 ,in beginning the combined reed and raffia work1 the first thing ,i should make is a miniature umbrella4 ,illustration3 ,,umbrella 7,for description see opposite page47 #af ,umbrella ,material--,one #i-;inch spoke of ,no4 #d reed for handle4 ,nine #d-;inch spokes of ,no4 #a reed for ribs4 ,raffia for weaver4 ,have the spokes thoroughly soaked and keep them wet4 ,also1 have the raffia damp4 ,place the four-inch spokes around the nine-inch spoke1 hold them firmly1 and wrap tightly with the damp weaver four or five times2 then tie1 but do not cut the weaver4 ,now stand this bunch of spokes on end on a board or desk top1 press the nine spokes out so as to form a circle parallel with the surface of the desk1 and with the weaver work in and out among the spokes4 ,the convex top of the umbrella will soon form4 ,to lengthen the weaver1 tie on a new piece of raffia4 ,continue weaving until within an inch of the ends of the ribs1 or until the umbrella is four or four and one-half inches across2 then fasten by tying the weaver to one of the ribs4 ,to form a ferrule1 slide end ,no4 #a of the handle reed down until it stands three-quarters of an inch above the outside of the umbrella4 ,drop a little glue into the cavity to hold the reed in place4 ,now take end ,no4 #b of the handle reed and curve it to form a ring or to appear like the handle of a real umbrella4 ,tie it with raffia to keep it in place and lay the umbrella aside to dry4 ,when it is thoroughly dry1 clip the points of the ribs to equal lengths4 ,this little toy suggests the invention of primitive life or of an uncivilized nation of which the pupil has some previous knowledge4 ,it is most attractive1 and to have made it greatly pleases the child4 #ag ,miniature ,chair ,no4 ,i ,material--,no4 #d reed3 one piece #ae inches long2 one piece #f inches long2 four pieces #aj inches long4 ,several lengths of raffia4 ,take three ten-inch lengths of reed and bend them so3 ,illustration ,fasten them together at the joints and wrap with the raffia for about two inches to form the front legs4 ,next attach the fifteen-inch length of reed1 placing the ends together to form the back legs and allowing the extra amount to extend above in a bow to form the back4 ,you now have the framework of back1 seat1 and legs4 ,at the back1 where the bow extends above the line of the seat1 place a five-inch piece of very wet reed to the front of the bow and at the edge of the seat2 carry it around and lap it at the back and fasten to hold the back legs together and shape the seat4 ,illustration3 ,,chair ,no4 ,i ,made of reed and raffia4 ,this chair has a woven seat of raffia4 ,use a very long needle and carry the raffia from one side of the seat to the other in close lines until the space is covered one way4 ,then reverse the action and work from front to back1 weaving in and out among the cross threads exactly as you do in darning4 ,be careful to keep the thread even1 to prevent sagging4 ,when the seat is woven whip the edge all around with raffia for a finish4 ,next take the remaining ten-inch piece of reed1 bend it to a four-inch square and insert it between the legs one inch below the seat4 ,tie it to each leg and wrap the intervening space with the raffia as you go from leg to leg4 ,this forms the brace which holds the legs in position4 ,for the back take a very long thread of raffia in your needle1 make seven cross threads and weave a spider's web1 having the center fill about one-fourth the space4 ,when the web is finished1 buttonhole around the reed to fasten the spirals in position and to give a finish to the frame of the back4 ,lastly measure and trim off the legs to equal length4 ,the back should extend two and one-half inches above the seat1 and the legs should be two and one-fourth inches long4 #ah ,miniature ,chair ,no4 ,,ii ,material--,no4 #a reed3 six spokes1 #aj inches long2 one spoke1 #f inches long4 ,no4 #d reed3 two #ae-;inch lengths2 six #aj-;inch lengths and one #ab-;inch length4 ,several lengths of raffia4 ,weave two mats two inches in diameter in the following manner3 ,lay three ten-inch spokes across three ten-inch spokes at right angles4 ,place beside the under set the six-inch spoke4 ,take a piece of raffia1 not too thick1 for a weaver1 and beginning as you would begin a basket or mat with a reed weaver1 weave until the mat is two inches in diameter4 ,do not cut either spokes or weaver4 ,have the reed well soaked1 that it may be very pliable and in no danger of breaking4 ,to construct the back1 take a mat and a fifteen-inch length of reed1 bend the latter to a bow and place it back of the spokes at the edge of the last row of weaving4 ,bend each spoke consecutively over this reed and bring the end of the spoke through between the last row of weaving and the reed4 ,this forms a loop over the ,no4 #d reed4 ,thread the weaver into a needle1 and take it in and out where the ,no4 #a reed1 or spoke1 crosses between the mat edge and the ,no4 #d reed in the form of a back stitch4 ,the first one fastened1 continue in the same way until ten spokes are bent over and tied down4 ,next take the twelve-inch length of ,no4 #d reed1 bend it to this shape3 ,illustration then fasten the three remaining spokes to the two-inch space as you have done with the other ten4 ,take the second fifteen-inch length of ,no4 #d reed1 bend around again and fasten by running a piece of raffia in and out and over through each space between the loops4 ,lay it aside until the seat is prepared4 ,illustration3 ,,chair ,no4 ,,ii ,made of reed and raffia4 ,seat4 ,the mat is ready4 ,bend a ten-inch length of ,no4 #d reed into a #b-a_/d-;inch square4 ,set this around the mat1 bend the spokes over it and fasten as you did those of the back4 ,again take three ten-inch lengths of ,no4 #d reed and bend so3 ,illustration ,place these around three sides of the prepared seat and fasten them by wrapping them over and over with raffia1 and the front and two sides of the chair are formed4 ,adjust the back to the fourth side of the seat2 fasten it by wrapping it closely with raffia4 ,next bend to a form near the size of the seat a piece of ,no4 #d reed4 ,place this around the legs1 to form a brace1 about one inch below the seat in front and about three-fourths of an inch below in the back4 ,let the joining point of the reed come at the back4 ,with a piece of raffia fasten this to one leg1 then wrap the raffia over and over along the brace until the next leg is reached1 secure it and pass on to the third1 then to the fourth1 when the entire brace will be wrapped with raffia and the four legs held in place4 ,illustration3 ,,back ,,of ,,chair ,no4 ,,ii ,where the back is attached to the seat1 you will have four ,no4 #d reeds coming together to form the back legs4 ,this would make them too thick and clumsy and they would not be symmetrical with the front ones4 ,to prevent this1 clip two of the reeds between the seat and the brace on the legs4 ,cut out the ends of the one of the back first worked in1 and the ends of the one forming the back brace4 ,there is left the outer fifteen-inch spoke you put on and the one which came around from the side of the seat4 ,these two form the back leg on each side4 ,wrap closely with raffia the intervening spaces between the seat and the brace so as to leave no unsightly ends4 ,in bending the reed to fashion the legs it is impossible to have it all the same length2 adjust this by letting the unevenness come out at the foot of the leg and when the chair is finished measure and cut off the legs to the same length4 ,,rules ,,for ,,caning ,,chairs ,first3 ,verticals4 ,setting up3 ,begin at the center hole of the front1 pass the cane up through the hole from the underside and down through the corresponding hole at the back1 leaving about four inches to tie off2 then up through the next hole to the right1 pass to the corresponding hole to the front1 continue to the right and then to the left1 until all the holes are filled except the corner ones4 ,second3 ,horizontals4 ,begin at the center hole at the left1 pass the cane up through the hole and over all the verticals and down through the corresponding hole on the right1 filling all the holes toward the front and then toward the back until all the holes are filled except the corner ones4 ,third3 ,verticals4 ,begin at the center hole at the back1 pass the cane up through the hole at the front1 then fill all the holes to the right and the left1 except the corner ones4 ,fourth3 ,weaving ,horizontally4 ,begin at the right-hand side1 pass the cane over the upper vertical and under the lower vertical1 pulling the upper one to the right and keeping the weaver to the back of the first horizontal3 continue this until you have two horizontals in each hole4 ,fifth3 ,diagonals ,running from ,left to ,right4 ,pass the cane up through the front left-hand corner1 under the verticals and over the horizontals1 working toward the upper right-hand corner2 first the right1 and then the left-hand side of the frame is filled in this manner4 ,sixth3 ,diagonals ,running from ,right to ,left4 ,pass the cane up through the front right-hand corner and work toward the back left-hand corner1 passing the cane over the vertical and under the horizontal pairs2 continue in this way until the entire frame is filled with these diagonals4 ,tie all the ends securely on the under side of the frame4 ,bind ,off4 ,lay a piece of cane over the holes on the upper side of the frame4 ,take a second long piece of cane as a weaver1 pass it from the under side of the frame up through a hole1 over the cane1 and down through the same hole to the under side again4 ,carry it along to the next or second next hole1 pass up1 over cane1 and down in the same way4 ,continue this until the entire frame is bound around4 ,,part ,v ,,the ,,school ,,garden ,illustration ,,the ,,school ,,garden ,,introductory ,,remarks ,in the spring of #aijf1 at the request of ,president ,r4 ,w4 ,silvester of the ,maryland ,agricultural ,college1 ,i wrote1 for publication as a ,college ,bulletin1 my experience of one year's work in a city school garden4 ,the introduction of school gardens as a factor in the school curriculums was then in its infancy4 ,three years have shown great advancement along this line1 though the main issue is the same to-day as it was then4 ,this paper is a revised edition of the ,m4 ,a4 ,c4 ,bulletin4 ,that ,president ,silvester was a pioneer in the thought that agriculture should enter into education is shown by the following quotation from his introduction to my article of #aijf3-- ,the time must come when the child of rural environment must find in the only school which ninety per cent will ever attend1 a training which will give it an intelligent adjustment to its environment4 ,with this adjustment1 the future work of the child cannot reasonably expect to escape the state of drudgery4 ,when a life's work degenerates into this condition1 then contentment with it1 or happiness as a result of it1 becomes an idle dream4 ,can the accuracy of this statement be questioned8 ,if so1 it would be a great privilege for the writer to receive from some teacher a letter setting forth the particulars in which he is wrong4 ,let all who are interested in the child from the country1 and every one should be1 take this as a motto in this great work before us3 ',the country is entitled from its state and from its county1 to that consideration which will give him every opportunity to secure an education as well suited to his conditions1 as is enjoyed by his city brothers and sisters4' ,a ,,city ,,school ,,garden ,if a country boy were to hear his little city brother say1 ,our class has a garden and ,i have a share in the working of it1 the country chap would non plus him by quickly exclaiming1 ,what's that6 ,i work in my father's garden every year and know all about raising and gathering vegetables4 ,but to the city child1 who sees only cobblestones beneath his feet1 whose view is contracted by rows of dingy houses1 or who plays on a lot used both as a dump-pile and as a baseball ground1 the privilege of working in a garden plat is a great one and the products of its soil a revelation4 ,illustration3 ,,weeding ,,the ,,beds ,the aim here is to give an account of one season's work in such a garden--a garden treasured by children whose only knowledge of vegetable foods was that mother got them in the market4 ,through the courtesy of the ,city ,park ,superintendent of ,baltimore1 sections of ground in some of the parks are placed at the disposal of the ,board of ,education for school gardens1 and the privilege of cultivating these gardens is granted to teachers in an adjacent building4 ,it is of the section in ,riverside ,park that ,i am writing1 and the accompanying illustrations are pictures of this garden1 taken at various times through the season4 ,these sections are not in prominent places1 but for the most part in undesirable corners that the park gardener is willing to relinquish for the good of the cause4 ,in ,riverside ,park the plat is adjacent to the summer playground1 and the second year that ,i had the garden1 at the end of ,june when school closed1 a few of the children volunteered to attend to it during vacation4 ,illustration3 ,,girl ,,interest ,the interest of these children attracted the attention of the director of the playground and she offered to oversee the work while the playground was in session if some of her children might have the privilege of working in the garden4 ,this proved to be an amicable arrangement1 as by it the garden was kept in good condition all summer4 ,when school opened in ,september ,i took charge again1 that the children might have the full experience4 ,in my memory lingers a most vivid picture of a cold ,november afternoon when we gathered what remained of the crops1 cleaned off the beds1 heaped the refuse in the center of the garden1 and had a most glorious bonfire1 though it was not election day4 ,we watched the last spark die out1 closed the gate1 and with regretful steps wended our way back to the schoolroom1 to await the coming of another spring4 ,our plat measures fifty by twenty-five feet and is enclosed by a fence4 ,the park gardener became interested in the children's effort and added to the success of the work by giving the necessary top soil1 lending wheelbarrows1 and offering occasional suggestions4 ,illustration3 ,,may ,i ,,come ,,in8 ,as a preparation for the outside work we made a thorough study of soil composition and seed germination early in the winter4 ,the children brought pieces of rock1 pebbles1 shells1 wood1 and leaves as concrete illustrations and with these before us the following lessons were developed3-- ,i ,that soil is made from the wasting away of all kinds of rock4 ,,ii ,that soil is made by decaying wood4 ,,iii ,that soil is made by decaying leaves4 ,,iv ,that the above composites combine to form productive soil4 ,the object of the first lesson was to teach that soil is made from rock4 ,the pupils examined stones1 pebbles1 and shells4 ,they found some rough1 some smooth4 ,through the teacher's questions--,why are some rough8 ,why are some smooth8 ,if those having a smooth surface now were once rough1 what has become of the particles which must have broken away8--the class was led to express opinions until the final generalization was made3 ,soil may be formed from the breaking up of rocks and shells4 ,each topic was treated in a similar manner1 the specific qualities of the specimen being brought out1 until we were able to make the summary3-- ,soil is made from decayed rocks and shells2 soil is made from decayed leaves2 the rocks make a coarse soil called sand2 the wood and leaves make finer soil called loam2 the mixture of these soils makes productive soil4 ,illustration3 ,,whose ,,bed ,,looks ,,the ,,best8 ,this summary led to the next lesson1 ,the ,productive ,qualities of ,soil4 ,the question was asked1 ,how can we determine the productive quality of soil8 ,we can plant some seeds in each kind of soil1 said a child4 ,several pupils volunteered to bring pots of earth4 ,ready for the experiment1 we proceeded to analyze as follows the soil brought by the children3-- ,take some of the soil in your hands1 powder it as finely as possible4--,john1 what do you find in yours8 ,i can feel grains of sand1 said ,john4 ,do you think there is more sand or more loam8 ,i think there is more loam1 said another child4 ,why do you think there is more loam8 ,because1 when ,i rub it between my fingers there seems to be more soft material than grains1 came the answer4 ,can any one suggest a means of proving that there is some of each kind of soil in what we have here8 ,various suggestions were made1 but none directly to the point4 ,illustration3 ,,last ,,day ,,of ,,school ,mary1 fill that glass jar three parts full of water4 ,we will now drop into the water some of this soil and mix it well4 ,what do you think will happen when we stop stirring8 ,the sand will settle at the bottom of the jar1 was the ready reply from a bright child4 ,the coarse loam will settle next1 was a second answer2 and then came the statement that the finest loam would remain on top4 ,we waited a few days and were rewarded by seeing the soil in distinct layers in the jar4 ,now we will try to discover which kind will produce the best plant4 ,how shall we determine this8 ,plant some seeds1 was the immediate suggestion4 ,one pot was filled with the original soil1 and one each with the kinds of soil that we had gotten from our experiment4 ,a seed bean was placed in each pot1 and all pots subjected to the same conditions and watched by anxious eyes4 ,illustration3 ,,studying ,,nature ,i see a bean pushing up1 came the statement one morning and every child wished for a peep at the tiny plant4 ,in which soil did the plant appear8 ,another look was taken and answer given that the plant came from the mixed soil4 ,the second plant to appear came from the bed of coarse loam2 the one in the pot of fine loam came third2 and last the one in the sand struggled to a small shoot1 then died of starvation4 ,after this the life of one plant was studied4 ,thus slowly and cautiously the study of seed germination was made1 the teacher getting all from the child possible1 and aiming to have him cull his information from the plant before his eyes4 ,now that we were familiar with the facts concerning soil composition and seed germination1 we felt prepared to take up the outside work4 ,between the first and the fifteenth of ,april our first visit to the garden was made4 ,the ground was so saturated with water that it was impossible to think of working it in that condition4 ,after taking a view of the surroundings we discovered that the plat was on low ground and that the water from the rising slopes at the back ran down and settled upon it4 ,the question which naturally arose was1 ,how may this water be gotten rid of8 ,a short talk on drainage solved this problem4 ,the children decided that ditches1 ten feet apart1 should be dug crosswise in the garden4 ,they were dug1 and1 as the weather was favorable1 in a week's time the soil was in condition to be worked4 ,meanwhile interest did not flag1 though it was impossible to accomplish any outside work4 ,writing letters to an imaginary hardware dealer1 stating what tools we needed and inquiring the price1 became an all-absorbing exercise4 ,next1 we turned dealers ourselves and rendered itemized bills and receipts to purchasers of garden materials4 ,in this way two forms of letter-writing were taught and the children derived both pleasure and profit from the work4 ,in the construction period were made the labels they would need when the planting-time came4 ,these were cut from small pieces of wood with penknives and marked ready for use4 ,a plan by which to landscape this same plat had been drawn the year before by the supervisor of our city school gardens4 ,this plan suggested a talk on landscape gardening and intense interest was at once aroused4 ,the talk developed such questions as these3-- ,is the plan before us a good one8 ,can we improve on it8 ,is there any waste space which we should utilize8 ,is the plan artistic in its arrangement8 ,suppose we work out some plans to see what is possible4 ,a lesson such as this followed3-- ,a rectangle was drawn on the board to represent the plat4 ,beside it was a statement of the number of beds to be laid off and the width of the paths between4 ,in the arrangement of these beds and paths there must be artistic effect4 ,illustration3 ,a ,,flower ,,from ,,the ,,country ,each child then drew a rectangle on paper and made an original plan for landscaping4 ,those showing most thought were placed before the class and their good points commended4 ,the children decided that not one met every requirement4 ,the supervisor's plan was again shown1 discussed1 and adopted4 ,this plan called for twenty rectangular beds #caa feet in area1 four shorter rectangular beds with a triangular section marked off from the end of each toward the center of the garden2 and a circular bed1 four feet in diameter1 in the middle of the plat4 ,it also allowed for one three-foot path running through the center the entire length of the garden1 and a one-foot path separating the beds4 ,there was to be a #a-a_/b-;foot path around the middle circle4 ,in a further study of this plan the following arithmetic problems were developed3-- ,what is the area of a garden plat fifty feet long and twenty-five feet wide8 ,what would be the cost of this plat at one dollar and twenty-five cents a square foot8 ,how many feet of fence will be required to enclose this plat8 ,if the posts are set five feet apart1 how many posts will be required8 ,there are two rows of cross beams1 and each beam is ten feet long2 how many will be needed for the fence8 ,how much will it cost to fence this garden at twelve cents a foot8 ,what is the area of a garden bed three feet by eleven feet8 the perimeter8 ,what is the circumference of a circular flower bed four feet in diameter8 ,by this time the ground was in condition to be worked4 ,which should we do first1 spade it up1 or lay it off8 ,we decided that we would first dig up the entire plat and level it4 ,now1 in spacing off1 should we begin at the center or from opposite ends8 ,the advantages of each method were strongly advocated1 and finally1 the children themselves concluded that it would be easier to measure for the center and space off from that point4 ,stakes and cord had been brought4 ,children stood at the sides and ends of the garden4 ,the middle points of the sides were determined and connected with a cord1 and likewise the two ends4 ,the intersection of the cords was the center of the plat and here a stake was driven4 ,attaching a cord to this stake two feet along the cord was measured and a small stick tied there4 ,using the cord as a radius1 a circle was made and the middle bed staked off4 ,next the three-foot path to opposite ends was marked off1 then the center one-foot path to opposite sides4 ,this much accomplished1 spacing the rest of the plat was easy4 ,two small boys1 with lines and stakes1 marked off the remaining portion and when the ends were reached the measurements were found to be accurate4 ,the paths between the beds were next made and the ground prepared for planting4 ,illustration3 ,a ,,suggestion ,,for ,,recess ,,hour ,after spading1 leveling1 and thoroughly pulverizing the native soil1 we added a top layer of foreign soil as a fertilizer4 ,the latter came from a compost heap of street sweepings which had been standing two years and was supposed to be nutritious4 ,as it turned out1 however1 this soil contained little nutriment and was productive of more fine weeds than fine vegetables1 and it required much labor to fight these enemies4 ,now came the seed-planting1 which was intensely interesting to the children4 ,rows twelve inches apart were marked off across the beds and the seeds planted according to the relative height of the plants which they would produce1 those that would grow tallest being placed next to the fence1 and the rest graduating to the center2 thus3-- ,fence ,corn ,pole ,beans ,peas ,string ,beans ,lettuce ,radishes ,lettuce ,parsley ,flowers ,first came corn1 three grains to a hill1 the hills twelve inches apart4 ,then pole beans1 three beans to a hill and these hills separated twelve inches4 ,next we planted two peas in a hill and made the hills six inches apart4 ,the string beans were planted just as the peas had been4 ,then came a row of lettuce1 next radishes1 a second row of lettuce1 and last parsley4 ,the end of the bed was left for flowers4 ,on ,arbor ,day1 in the classroom1 we had sown tomato and lettuce seeds in boxes1 that we might have the plants ready for transplanting when our outside soil was in condition4 ,the lettuce plants turned out satisfactorily1 but1 for some unaccountable reason1 the tomatoes were a failure4 ,to replace the latter1 we took a corner bed in the garden1 divided it into three sections and planted tomato1 onion1 and cabbage seeds4 ,in five weeks the tomato and cabbage plants were large enough to transplant1 and1 as the radishes and lettuce matured and were used1 tomato and cabbage plants were put in the vacant places4 ,two pumpkin seeds were planted in each bed1 but if they both came up1 after the plants had reached a good size1 the weaker one of the two was weeded out 7as the bed was too small to support both7 and the stronger one left to bear fruit4 ,why had we planted onion seed8 ,one of the boys had brought an onion and asked if he might plant it in his bed1 and if it would produce other onions4 ,i explained to him and then allowed him to plant the seeds in the supply bed at the same time that he planted the onion in his own bed4 ,the onion planted produced seed1 while the seeds sown yielded the small sets for the next year's planting4 ,thus by the act of one child the fact was clearly demonstrated to the class that fruit produces seed1 and seed produces fruit4 ,the supervisor had given us a wren-box1 made by a child in a more advanced class as manual work4 ,the children were delighted with the gift2 they built a framework around a stout pole in the center bed and set the wren-box on the pole4 ,they then suggested that a vine should cover this framework4 ,consequently1 ,japanese morning glories were chosen as the vine and the remaining space in the bed was filled with marigolds1 nasturtiums and coleus4 ,illustration3 ,a ,,garden ,,in ,,the ,,yard ,,of ,a ,,city ,,school ,the seeds being planted1 the work in the garden was at a standstill until the plants appeared1 then systematic visits began4 ,the class was divided into three groups and two children were assigned to a plat4 ,we worked in the garden on ,mondays1 ,wednesdays1 and ,fridays for half an hour each day4 ,thus1 each group had its day once a week regularly4 ,finding that it was impossible to direct satisfactorily more than twelve children at a time1 ,i devised the above plan1 which worked admirably4 ,to go to and come from the garden took a half-hour1 and with half an hour's work there the child was away from the classroom one hour a week4 ,this allowed ample time to keep the beds in order1 for two children were apportioned to a bed1 and these two went on separate days1 so that each plat was worked twice a week4 ,illustration3 ,,garden ,,beds ,,around ,,three ,,sides ,,of ,,the ,,playground ,the first crop of peas and of beans were gathered as vegetables4 ,when the plants ceased to bear a second planting was made and the yield from this was left to mature as seedlings4 ,when ripe1 the seeds were gathered and carefully put away in the sectional seed-boxes which the children had constructed for the purpose4 ,illustration3 ,,another ,,section ,,of ,,the ,,same ,,garden ,the children took care of the garden during vacation1 gathered the vegetables as they ripened1 and with pardonable pride carried them home to their parents4 ,the parents1 in turn1 were gratified and as much interested as the children4 ,several of the boys had individual appliances made by their fathers for use in the garden4 ,often on ,monday mornings would come the account of the ,sunday walk with mother and father1 the visit to the garden and how much the parents admired it4 ,one instance occurred which proved the value of this garden work and showed how devoid of a knowledge of vegetable growth many city children are4 ,i noticed a boy digging around the root of his tomato vine as though he were searching for something4 ,i asked what he was doing4 ,i want to see if there are any small tomatoes there1 he replied4 ,as the fruit of the radish had come from under the ground he expected to find the tomato there1 too4 ,the value of educating the child through his self-activity was proved in several instances1 one of which ,i will mention4 ,a large boy of the fourth grade1 though a poor student1 was placed on the list of garden children and proved to be the most industrious and active child of the group4 ,why8 ,his father was a baker2 the boy worked in the bakery until eleven every night2 slept until four1 then arose and delivered goods until eight1 and was in the classroom at nine4 ,is there any wonder that this child lacked energy as a student8 ,when he was removed from the confinement of the classroom the pure outside air acted as a tonic1 his interest was awakened and his work well done4 ,this same child1 whenever relieved of home duties out of school hours1 spent the time in the garden instead of devoting it to play4 ,he hauled a quantity of shells with which to pave the paths1 and brought all the sod we needed to form a firm edge around the center bed4 ,can there be any doubt that this boy was benefited8 ,there is a social side to this industrial outside work which is superior to that of the classroom4 ,first3 ,the teacher has but a small number of children under her care at one time2 consequently1 she is enabled to learn more of each individual nature4 ,secondly3 ,the child is under no apparent restraint1 so expresses himself freely and shows his natural self4 ,thirdly3 ,the boys and girls mingle with one another with the same freedom that they have on their own playground4 ,in the two months spent in the garden not a single child took undue advantage of the privileges allowed1 and the opportunity afforded the teacher for the study of child-nature was of great value4 ,some one might ask1 ,while garden work is being done1 does not the work of the classroom suffer8 ,no1 it does not4 ,when classes are taught in sections1 this outside work may be fitted in as a sectional part and the routine be kept intact4 ,in summarizing1 the lessons developed from garden work were these3 ,science 7soil physics and seed germination72 geography2 arithmetic2 spelling2 ,english2 drawing1 and construction4 ,the greatest benefit to the teacher was the chance to study the child under natural conditions4 ,the greatest benefit to the child was his awakening to a knowledge of things by personal contact4 ,i sincerely believe that the after-life of each one of these children will be the richer for this experience of outdoor study4 ,illustration3 ,,gathering ,,the ,,vegetables ,in some of the school yards the pavement near the fence has been removed1 and the space divided into small beds for gardening4 ,many of these gardens make a fine showing and you will find here three pictures of such a yard1 illustrating what may be done within the limits of the playground of a city school4 ,when you consider that between six and eight hundred children play in this yard at the same recess time every day1 you can appreciate what it means to yield a portion of the limited space to vegetables and flowers2 and1 since these plants are never molested1 how much the children are pleased to have their playground so decorated4 ,nearly all the garden products may be correlated with the classroom work4 ,the kindergarten children use peas in construction4 ,the peas raised in the garden may be applied here4 ,the first-grade children use lentils in construction4 ,why not as well use pumpkin seed and grains of corn--the product of the garden8 ,every class enjoys having a ,jack-o'-lantern at ,hallowe'en1 so here again the pumpkin from the garden comes into play4 ,in the construction of miniature wagons and wheelbarrows of paper1 peas may be soaked and used as axles for the wheels4 ,both peas and beans may be soaked and given to the small children to string for chains1 thus teaching number and spacing4 ,every layer of husk 7beneath the outside one7 from the ear of corn may be dried and made into a basket by the more advanced pupil4 ,if a city teacher1 with opportunities so limited and numberless disadvantages1 can accomplish even a little in this line for the children in her charge1 how much more should the teacher of the rural school accomplish when she has space at her command1 children in the environment of country life1 and seemingly all things that tend to work together to produce good results6 ,so much interest is shown in this phase of industrial work all over the country that ,i doubt that there is anywhere a teacher who does not wish to add the study of it to the curriculum1 unless she is already working along these lines4 ,feeling sure of the sympathy aroused in every teacher's heart1 ,i have included among the illustrations of this article three scenes from rural school life4 7,see pages #aac1 #aae1 and #aag47 ,in connection with these pictures let me say a few more words to the rural teacher4 ,you may think yourself much poorer than your city co-worker1 but the fact is that you are the one of affluence1 she is the struggler4 ,you have all about you the materials that a city teacher can secure only at second hand4 ,all the riches of nature are at your command--the birds that nest at your door1 the fishes that swim in the brook1 the grasses that grow by the roadside1 the trees of the forest1 and the flowers that spring up everywhere2 the ground space for your garden2 the intelligent child of country environment who does not need to work the garden to learn how vegetables grow1 but who does need to work it for the education1 the aim and object of school gardens4 ,if you are not interested in such work1 try doing it once because you should4 ,next year there will be no should2 love will lead you on4 ,i have the same feeling in my heart about the school garden that the poet who wrote ,the ,little ,fir ,trees must have had about them4 ,each stanza winds up with ,and so1 ,little evergreens1 grow6 ,grow1 grow6 ,grow1 little evergreens1 grow6 ,i would say3 ,and so1 ,grow1 school gardens1 grow6 ,grow1 grow6 ,grow1 school gardens1 grow6 ,the three pictures1 ,studying ,nature1 ,a ,flower from the ,country and ,a ,suggestion for ,recess ,hour1 came to me from a country school4 ,they speak so vividly for themselves that ,i feel that each one carries with it its own message and appeals so strongly in behalf of the deepest love of nature in even the youngest child as to point to the possibilities of what might be when this love is fed and made to grow with the physical nature of the child4 99 99 99 99 99 ,transcriber's ,notes ,corrected minor punctuation typos4 ,moved some of the illustrations to avoid breaking up paragraphs of text4 ,page references pertain to the original book but link to the correct image_/topic in the ,,html version4 ,page #ag3 ,changed ,portiere to ,portire for consistency4 7#i ,miniature ,portiere--,knotted7 ,page #ee3 ,changed sand-papered to sandpapered for consistency3 7and nothing is properly sand-papered until all roughness7 ,page #ef3 ,changed the page reference from #ei to #eg3 7with the grain of the wood1 and how to cut corners4 7,see page #ei477 ,page #fe3 ,changed exend to extend3 7,to construct a box having lid and bottom exend beyond sides47 ,page #ajg3 ,original text might be missing child after country3 7',the country is entitled from its state and from its county17 ,page #aji3 ,changed attenion to attention3 7,the interest of these children attracted the attenion of the7