The American Girl's Handy Book

by Lina Beard

  CHAPTER XXVII.

  A CHAPTER ON FRAMES.

  AFTER the foregoing chapters on drawing and painting, it is surely our duty to provide the means of framing the various pictures which we hope will be the result of their teachings. Unframed, a picture is apt to be tucked away out of sight, or it becomes rumpled and spoiled when left lying about, and a picture-frame, as a rule, is quite an expensive article; but with a little ingenuity and good taste almost any girl may manufacture frames, if not of equal finish, at least as durable and quite as artistic as any the dealer can produce.

  The cost? The cost is the price of a wooden stretcher and a bottle of gold paint.

  The first sketch shown here (Fig. 189) will give some idea of the appearance of a frame decorated appropriately for a marine picture. The articles necessary for this frame are a stretcher, some rope, a piece of fish-net, several dried starfish, and gold paint. The stretcher must first be gilded; then the rope, upon which the fish-net has been strung, should be fastened with small tacks around the outer edge, joining it at the corner, where the starfish will hide the ends. The net must be large enough to drape gracefully across one corner, along the top, and fall a short distance down the other side of the frame. When the starfish, graduating in size, are tacked around the draped corner, and they, as well as the rope and net, are given a coat of gilt, a pretty, unique, and substantial frame is the result.

  If starfish are not to be had, sea-shells may be used instead (these of course will have to be glued in place), and if fish-net is also out of reach, a piece of fine netted hammock can be used as a substitute.

  Fig. 189

  Original Design—Marine Picture Frame.

  For the benefit of those who spend their summers at the sea-shore where such things are obtainable, I would advise that a small collection be made of the quaint and pretty products of the place, as they will be found useful in various ways for decorative purposes.

  The next sketch (Fig. 190) shows a corner section of frame especially appropriate for a flower piece. The open lattice-like border is cut with a sharp penknife from stiff pasteboard and tacked along the edge of the frame.

  The pattern shown in diagram (Fig. 191) is simple, quite easily made, and well suited for a border, though other and more elaborate ones may be used. This border must, of course, be made in sections. The edges to be connected should be cut to fit exactly, then after tacking them upon the frame the whole may be laid upon a table, face downward, and strips of paper pasted across the joints (see Fig. 192), which will hold them securely together. If the work is neatly done, when the gilt is applied all traces of the joints will disappear. The decorations of this frame consist of a spray of artificial rosebuds and leaves, gilded and tacked on the upper left-hand corner. A few scattered rosebuds look well upon the lower part of the frame near the right-hand side.

  Fig. 190.—Section of Decorated Frame.

  Fig. 191

  Fig. 192

  Section of Border for Decorated Frame.

  Figure 193 is the section of a frame which will look well on almost any kind of picture. It is made by tacking a small rope around the inside edge and then covering it and the frame with crumpled tin-foil, which, after it is pressed to fit the rope, is brought around and tacked on the wrong side of the frame, joining that edge which is turned over the top. Care should be taken while handling the tin-foil not to flatten it, as its beauty depends upon its roughness. The pieces are joined by simply lapping one edge over the other, the uneven surface hiding all seams. This frame like the others must be gilded.

  Fig. 193.—Section of Frame covered with Tin-foil.

  A very effective rough surface on a frame can be produced by dabbing on it with a palette-knife the scrapings of the palette. Of course this frame cannot be made in a day, but if every time the palette is cleaned the paint is used in this way it will not be long before the surface is covered and ready for gilding.

  The cork paper used in packing bottles makes quite a handsome frame for black and white pictures or photographs (Fig. 194). This paper is sprinkled all over with small bits of cork, making a rough surface and one admirably suited to the purpose.

  First the foundation of the frame is cut of stiff pasteboard exactly the size and shape desired; then the cork paper is cut the width of the frame and glued securely to it, the corners being joined as in Fig. 195. The frame is very pretty when left its natural color, as it resembles carved wood at a little distance, but it can be gilded if preferred.

  Fig. 194

  Cork Frame.

  The inside mat is made of white or gray-tinted cardboard, cut with the open space for the picture, from half an inch to an inch smaller than the opening of the frame. The mat is pasted to the back of the frame and then the entire back is covered with strong paper pasted at the top and two side edges, and left open at the bottom until the picture is shoved in place, when the lower edge is fastened also. The mat will look well if the inside edge is gilded.

  Another frame is made in the same manner as the one just described, only instead of using cork paper a thick coating of glue is put all over the face of the foundation, and sand or small pebbles are sprinkled over the entire surface. This must be quickly done before the glue has time to harden.

  Fig. 195.

  The writer has in her possession a pretty little winter landscape done in water-colors. It is a snow scene, and its light effect is well set off by the frame, which is made simply of two pieces of heavy brown strawboard or pasteboard. The two pieces are cut exactly the same size; then the centre is cut out of one, leaving a broad frame of equal width on all sides. The picture is placed between these two boards, which are then glued together. The cord for hanging it is fastened to two small brass rings which are attached to pieces of tape glued to the back of the frame, as in Fig. 196. Fig. 197 shows how a piece of paper is pasted over the tape to hold it more securely.

  When making a frame of this kind the picture to be framed should first be measured and the width of the frame decided upon; then cutting a piece of paper the size the open space is to be, or one-half inch smaller all round than the picture, it must be laid upon the pasteboard and a mark drawn around it showing its exact size and proportion (Fig. 198). The width of the frame can then be measured from these lines, which will place the opening exactly in the centre (Fig. 199). The lines must be perfectly straight and the measurements correct or a lop-sided frame will be the result.

  Fig. 196

  Fig. 197

  In cutting out the frame a sharp knife should be used, and it will be a great help in keeping the lines straight if a ruler is held down firmly close to the line to be cut, and the knife guided by that.

  Fig. 198

  Fig. 199

  CHAPTER XXVIII.

  THANKSGIVING.

  NOT to Pagan ancestors in far-away countries, but to our own Pilgrim Fathers do we trace the origin of Thanksgiving Day—as purely American as our Independence Day. Instituted by William Bradford, the Governor of Plymouth, and first observed by the Puritans, who, suffering from hunger and privation, were truly thankful when the first harvest brought them the means of support for the approaching winter, it has come to us as “the religious and social festival that converts every family mansion into a family meeting-house.” The pleasant New England custom of the gathering together of families to celebrate Thanksgiving is now observed in most of our States. From far and near they come, filling the cars with merry family parties, who chatter away of anticipated pleasures to be found in the old home. Little children taught to lisp grandma and grandpa are instructed by their mammas not to be afraid of the old gentleman who will meet them at the depot, nor the dear old lady who waits with open arms at the door of grandpa’s house.

  Children old enough to know what a Thanksgiving at grandpa’s is like are wild with delight at the prospect before them. Their eyes brighten at the thought of the great pantry where grandma keeps her doughnuts and cookies; of the cellar with its bins of sweet and juicy apples; of th
e nuts and popcorn, all of which taste so much nicer at grandma’s than anywhere else. And then what fun the games will be which they will play with cousins, who, though rather shy at first, will soon make friends. The lovely young aunties, too, who help grandma entertain all these guests, will join in the games and suggest and carry out schemes of amusements which the children would never think of.

  One Little Indian.

  What a happy holiday it is, how social and pleasant and comfortable and easy! How near and dear all the bright faces gathered around the long table at the Thanksgiving-dinner, seem to be. Truly, we should all be thankful that we have a Thanksgiving.

  However, this chapter is not written merely to generalize upon the pleasures of the day, but in order that we may offer something new, in the way of amusement, which will add to the fund of merriment on this occasion. The series of

  Fig. 200

  Pilgrim’s Spectacles.

  Impromptu Burlesque Tableaux

  illustrating some of the principal events in our history will be appropriate for this national holiday, and will prove a mirth-provoking entertainment.

  Fig. 201

  Fig. 202

  Fig. 204

  Fig. 203

  Fig. 205

  Patterns of Pilgrim Father’s Hat and Collar.

  When two rooms are connected by folding-doors, a whole room may be used for the stage. In this case no curtains are necessary, as the doors take their place, and, for impromptu tableaux, answer very well. When there are no such connecting rooms, one end of a large room can be curtained off with sheets, or any kind of drapery, suspended from a rope or wire stretched from one wall to the other. It is best to keep the audience as far away from this improvised stage as the room will admit of, for distance greatly assists the effect.

  Landing of the Pilgrims.

  TABLEAU 1.—The good ship Mayflower has just touched Plymouth Rock. Pilgrim Father stands upon the rock, and reaches down to help Pilgrim Mother to land. A number of Indians sit upon the edge of the rock, fishing unconcernedly over the side, while the Pilgrims take possession. In the ship Pilgrim children are standing, with outstretched arms, waiting to be taken ashore.

  Costume of Pilgrim Father.

  COSTUMES.

  PILGRIM FATHER.—Cape, a broad-brimmed, high-crowned hat and large, white collar, over ordinary boy’s dress, spectacles—cut from black paper (Fig. 200). The cape may be of any material, so that it is of a dark color.

  The hat can be made by cutting from stiff brown paper a crown (Fig. 201), fitting it around the crown of an ordinary flat-brimmed hat, bringing it into a conical shape, and pinning it in place (Fig. 202). The brim should be cut from the same paper in a large circle (Fig. 203), the hole in the centre being just large enough to fit nicely around the crown, over which it is slipped, and pushed down until it rests upon the real hat-brim (Fig. 204). The paper brim should be about seven inches wide, and the crown nine inches high. Figure 205 is the pattern of collar, which can be made of white paper or muslin.

  Fig. 206

  Fig. 207

  Fig. 208

  Fig. 209

  Manner of Makini Pilgrim Mother’s Cap.

  PILGRIM MOTHER.—Full, plain skirt, white kerchief, small white cap, and large spectacles. A gentleman’s linen handkerchief, put around the neck and crossed over the bosom, answers for a kerchief. The cap, too, can be made of a large handkerchief in this way.

  Fold the handkerchief in the manner shown in Fig. 206; lay it flat upon a table, and turn the folded corners over as in Fig. 207; turn up the bottom edge over the other, and roll over about three times (Fig. 208); take the handkerchief up by the ends and the cap (Fig. 209) is made.

  CHILDREN.—The young Pilgrims’ costumes are like the others, on a smaller scale, but they wear no spectacles.

  Costume of Pilgrim Mother.

  INDIANS. —Bright-colored shawls for blankets, and feather-dusters for head-dresses. The duster is tied on to the back of the Indian’s neck with a ribbon which passes under the chin, and the shawl is placed over the handle, partially covering the head and enveloping the figure.

  PROPERTIES.

  The ship is a large wash-tub, which is placed in the centre of the stage; its sail is a towel, fastened with pins to a stick, the stick being tied to a broom, as shown in illustration. It is held aloft by one of the children in the tub.

  Plymouth Rock is a table, occupying a position near the tub. On top of it is a chair, placed on its side to give an uneven surface, and over both chair and table is thrown a gray table-cover. The fishing-poles of the Indians are walking-canes with strings tied to the ends.

  The Good Ship Mayflower.

  First Harvest.

  TABLEAU 2.—Pilgrim families, grouped in the centre of the stage, examining an ear of corn and rejoicing over their first harvest.

  PROPERTIES.

  A broom, upon which is tied one ear of dried corn, or popcorn, it doesn’t matter which, and if neither is to be had, an imitation ear of corn can be made by rolling paper into the shape of Fig. 210, cutting husks after the pattern Fig. 211, and putting them together like Fig. 212. The broom is held erect, with the handle resting on the floor, by Pilgrim Father.

  Fig. 210.—Paper Ear of Corn.

  Fig. 211.—Pattem for Outside Husks of Corn.

  Fig. 212.—Ear O. Corn Finished.

  Devastation by the Indians.

  TABLEAU 3.—A long table reaches across centre of stage; upon it are empty dishes, and the remains of a feast.

  At each end and at back of table are grouped the Indians, who are gnawing large turkey-bones and eating huge pieces of bread and pie. The Pilgrim family stand at each side, and view with horror the destruction of their dinner.

  The Corn-field.

  PROPERTIES.

  The table is a board placed across the backs of two chairs. In the centre of the table is a large pie-plate, with only a very small piece of pie remaining in it; most of the other dishes are empty.

  The Revolution.

  TABLEAU 4.—This is represented by the revolution of a wheel. Pilgrim Mother stands in the centre of the stage, at a spinning-wheel, which is set in motion just as the curtain is parted.

  PROPERTIES.

  If a real spinning-wheel cannot be obtained, a velocipede, baby-carriage, or child’s wagon, turned upside down, will answer the purpose. In the illustration the curtain has been made transparent, to show how the two back wheels of a velocipede are disposed of. A broom is fastened in an upright position to the velocipede, and on the handle is tied a piece of gray linen (a handkerchief will do), to represent flax. A string tied to the linen is held by Pilgrim Mother. The curtain must be dropped before the wheel ceases to revolve.

  The Spinning-wheel.

  Slavery.

  TABLEAU 5.—Pilgrim Mother is bending over a wash-tub, with sleeves rolled up to shoulders, washing; a great pile of clothes lies on the floor at her side; she looks angrily at the Pilgrim Father, who sits opposite to her with his legs crossed, calmly reading a newspaper.*

  PROPERTIES.

  The tub used for the ship, placed on two chairs; a washboard and a pile of clothes, white predominating. A rocking-chair for the Pilgrim Father.

  Rebellion.

  TABLEAU 6.—Pilgrim Mother stands in defiant attitude, facing Pilgrim Father, who has just arisen from his chair.

  The tub and one of the chairs upon which it stands are tipped over, and the clothes are scattered about.

  PROPERTIES.

  Same as in preceding tableau.

  Peace and Plenty.

  TABLEAU 7.—Table extending across the centre of stage is heaped with all sorts of edibles—whole pumpkins, vegetables, fruit, and flowers. At one end of the festive board stands Pilgrim Father, at the other Pilgrim Mother, smiling at each other.

  The Festive Board.

  Pilgrim Father holds a long carving-knife, as though about to carve a large pumpkin in front of him. Pilgrim Mother is in the act of cutting a huge pie. At
the back of the table are ranged the Pilgrim children, each holding outstretched an empty plate, waiting to be served, and all smiling. At each side of the stage, extending to the front, is a line of Indians sitting on the floor, smoking the pipes of peace. The Indians also are smiling.

  Side View.

  Back View.

  Front View.

  Fig. 213.—Pumpkin Lantern.

  PROPERTIES.

  Table same as in Tableau 3: Dishes, fruit, and vegetables. The Indians’ pipes are canes with bent handles.

  If, in arranging the stage, clothes-horses, with drapery thrown over them, are placed at the back, they will not only form a background for the pictures presented, but the space behind makes a nice dressing-room or retiring-place for those taking part.

  Pumpkin lanterns, set in a row on the floor just inside the curtain, will be funny substitutes for footlights. They will decorate the stage appropriately, and at the same time be quite safe. Fig. 213 shows how they are made. The face is not cut through, but the features are scraped thin enough to allow the light inside to make them visible. If they were cut, as in ordinary pumpkin lanterns, the light would shine out from instead of on to the stage.