TO MAKE LEATHER WEAR FOREVER.

Let it receive as much neat's-foot oil as it will take. If regularly repeated every three months, leather so treated seems to be impervious to outward action and will last for years.

TO RENDER PAPER FIREPROOF.

Whether the paper be plain, written, printed, or even marbled, stained, or painted for paper hangings, dip it in a strong solution of alum water and thoroughly dry it. In this state it will be fireproof.

TO PREPARE WATERPROOF BOOTS.

Take three ounces of spermaceti and melt it in an earthen pot over a slow fire; add thereto six drains of India rubber cut into slices, and after it dissolves add of tallow, eight ounces; amber varnish, four ounces. Mix it, and it will be ready for use immediately.

TO CURE DRUNKENNESS.

Keep the patient for one week freely dosed with figwort. This is a sure cure.

TO CURE LAZINESS.

Give the patient an occasional dose of ferri. The sulphate of ferri is the best. It acts on the liver and vital organs, and is a sure cure for laziness.

TO EXTRACT THE ESSENTIAL OIL FROM ANY FLOWER.

Take any flower you like, which stratify with common salt in a clean glazed pot; when filled to the top, cover it well and carry it to the cellar; forty days afterwards put a crape over a pan and empty the whole to strain the essence from the flowers by pressure. Bottle this essence, and expose it for four or five weeks in the sun and dew of the evening to purify. One single drop of this essence is enough to scent a whole quart of water.

TO TAKE LEAF PHOTOGRAPHS.

A very pretty amusement, especially for those who have just completed the study of botany, is the taking of leaf photographs. One very simple process is this: At any druggist's get an ounce of bichromate of potassium. Put this into a pint bottle of water. When the solution becomes saturated—that is, the water has dissolved as much as it will—pour off some of the clear liquid into a shallow dish; on this float a piece of ordinary writing paper till it is thoroughly moistened, and let it dry in the dark. It should be of a bright yellow color. On this put the leaf, under it a piece of black soft cloth and several sheets of newspaper. Put these between two pieces of glass (all the pieces should be of the same size) and with spring clothespins fasten them together. Expose to a bright sun, placing the leaf so that the rays will fall upon it as nearly perpendicular as possible. In a few moments it will begin to turn brown; but it requires from half an hour to several hours to produce a perfect print. When it has become dark enough, take it from the frame and put it into clear water, which must be changed every few minutes until the yellow part becomes white. Sometimes the veinings will be quite distinct. By following these directions it is scarcely possible to fail, and a little practice will make perfect.

TO MAKE LAMP WICKS INDESTRUCTIBLE.

Steep common wicks in a concentrated aqueous solution of tungstate of soda, and then dry thoroughly in an oven.

TO MAKE DIFFERENT KINDS OF PERFUMES.

BALM OF A THOUSAND FLOWERS.

Deodorized alcohol, one pint; nice white bar soap, four ounces. Shave the soap when put in; stand in a warm place till dissolved; then add oil of citronella, one dram, and oils of neroli and rosemary, of each one-half dram.

FRANGAPANNI.

Spirits, one gallon; oil of bergamot, one ounce; oil of lemon, one ounce: Macerate for four days, frequently shaking; then add water, one gallon; orange flower water, one pint; essence of vanilla, two ounces. Mix.

JOCKEY CLUB.

Spirits of wine, five gallons; orange flower water, one gallon; balsam of Peru, four ounces; essence of bergamot, eight ounces; essence of musk, eight ounces; essence of cloves, four ounces; essence of neroli, two ounces. Mix.

LADY'S OWN.

Spirits of wine, one gallon; otto of roses, twenty drops; essence of thyme, one-half ounce; essence of neroli, one-quarter ounce; essence of vanilla, one-half ounce; essence of bergamot, one-quarter ounce; orange flower water, six ounces. Mix.

UPPER TEN.

Spirits of wine, four quarts; essence of cedrate, two drams; essence violets, one-quarter ounce; essence of neroli, one-half ounce; otto of roses, twenty drops; orange flower essence, one ounce; oil of rosemary, thirty drops; oils of bergamot and neroli, each one-half ounce. Mix.

If you wish to make a small quantity of any of the above perfumes, use small quantities of the ingredients, preserving the same proportions.

TO WRITE SECRET LETTERS.

Put five cents' worth of citrate of potassa in an ounce vial of clear cold water. This forms an invisible fluid. Let it dissolve, and you can use on paper of any color. Use goose quill in writing. When you wish the writing to become visible, hold it to a red-hot stove.

TO PRESERVE FLOWERS SO THAT THEIR BEAUTY WILL LAST FOR YEARS.

Make a strong solution of gum arabic, two ounces of the gum to one pint of boiling water; shake until dissolved; then take your flowers and immerse in the solution, taking care that every part is well wet with the solution. When dry, repeat the operation. Do this three times. Flowers treated thus will last for years.



CHAPTER XIII.

HOME DECORATION.

The chief features to be observed in house furnishing are color, form, and proportion. All stiffness of design in furniture should be avoided. Do not attempt to match articles, but rather carry out the same idea as to color and form in the whole. It is not en regle to have decorations in sets or pairs; the arrangements should all be done with odd pieces. Every room in the house should be arranged for occupancy, having nothing too good for use, and the judicious housewife will follow a medium course and adopt no extreme of fashion.

The style and arrangement of the furniture should correspond with the size of the room, with a due regard to the place a piece of furniture or ornament will occupy. The order of arrangement in furnishing is subject to individual taste, but the following suggestions may not be inappropriate:—

In decorating a dining-room, deep, rich tones should be used; a drawingroom or parlor should have bright, cheerful shades; in a library use deep, rich colors, which give a sense of worth; a sleeping-room should have light, pleasing tints, which give a feeling of repose.

THE HALL.

The hall being the index to the whole house, due care should therefore be given to its furnishing. Light colors and gilding should be avoided. The wall and ceiling decorations now mostly used are in dark, rich colors, shaded in maroons or deep reds. Plain tinted walls and ceilings in fresco or wainscot are also frequently used. The latest shades of wall paper come in wood colors, dark olive-greens, stone color, and grays, in tile, arabesque and landscape designs, and with these are used a corresponding dado and frieze.

A tile or inlaid floor is the most appropriate, but if circumstances do not admit of one of these, a floor stained a deep wood-brown, base board and moldings to correspond, may be substituted; when India mattings and rugs may be used.

The colors now in vogue for hall carpets are crimson or Pompeiian reds, with small figures of moss-green or peacock-blue. The prevailing shades of the walls and floor should be incorporated in the stair carpet.

If the hall is narrow, none but the most essential pieces of furniture should be used; but if wide enough, there may be a lounge placed against one of the walls, an old-fashioned clock of the cuckoo style set in a quiet corner, two high-backed chairs upholstered in leather, a table, an umbrella-stand placed near the door, a jardiniere filled with tropical plants set near the foot of the stairway, and a hall mirror with a deer's head and antlers placed above it and a wooden or marble slab underneath. The slab should be covered with a Roman scarf, allowing a fall of twelve inches at each end. The hatrack must also find a place. Family portraits or a few well-selected pictures are appropriate for these walls.

If the door-lights are not stained glass, lace shades in designs of birds, cupids, and garlands of flowers are used; also, etchings in various colors and designs are worked on different fabrics. Crimson silk shades lined with black netting are very desirable, as the light penetrating through them fills the hall with a rich, subdued glow.

THE PARLOR.

The furnishing of the parlor should be subject to its architectural finish. The first things to be considered are the walls and floor. The former may be decorated in fresco or papered, according to individual taste and means. The prettiest styles of parlor paper are light tints of gray, olive, pearl, and lavender grounds, and in small scroll patterns, panels, birds, and vines, finished in heavy gold traceries, with dado and frieze to correspond.

The styles of carpet mostly used are Brussels, Wilton, tapestry, and Axminster. A tapestry carpet in light canary ground, with clusters of lotus, or begonia leaves, makes a charming background to almost all the colors generally used in upholstery.

In selecting the furniture, the first thought should be given to its true worth. Chairs and couches should be chosen for comfort rather than for style. They should be of solid make, easy, graceful, and of good, serviceable colors and materials. The most serviceable woods to select in frames are ebony, oak, walnut, cherry, and mahogany. These frames are finished in different styles—plain, carved, inlaid, and gilt—and are upholstered in all shades of satin, plush, rep, silk, and damask. These come at prices within the means of a slender purse. That slippery abomination in the shape of haircloth furniture should be avoided. The latest design in parlor furniture is in the Turkish style, the upholstery being made to cover the frame. Rich Oriental colors in woolen and silk brocades are mostly used, and the trimmings are cord and tassels or heavy fringe.

Formerly the parlor appointments were all in sets or pairs, but this fashion is no longer observed, as the most tastefully arranged parlor has now no two pieces of furniture alike; but two easy-chairs placed opposite each other are never out of place. Here may stand an embroidered ottoman, there a quaint little chair, a divan can take some central position; a cottage piano, covered with some embroidered drapery, may stand at one end of the room, while an ebony or mahogany cabinet, with its panel mirrors and quaint brasses, may be placed at the other end, its racks and shelves affording an elegant display for pretty pieces of bric-a-brac.

Marble-topped center-tables are no longer in use. Tables in inlaid woods, or hand-painted, are used for placing books or albums on. A small, airy-looking table, elaborately mounted in gilt, may stand near a window or wall. The mantel mirror, with its beveled edges and small racks arranged on each side, looks very effective when decorated with pretty oddities—ferns, grasses, and pieces of old china. A jardiniere filled with living plants and placed near a bay window makes an elegant ornament. Care should be taken in arranging that the room be not over-crowded. There should be a few good pictures or painted plaques mounted in plush hung on the walls; a portrait may be placed on a common easel and draped with a scarf in old gold or peacock-blue, and tiny lambrequins, painted or embroidered, may hang beneath a bracket supporting a bust or flower-vase.

An embroidered scarf with fringed ends may be placed on the back of a chair or sofa in place of the old lace tidy. A sack made of small pieces of bright-colored plush or silk in crazy work may be flung across the table, the ends drooping very low. The mantelpiece may be covered with a corresponding sash, over which place a small clock as centerpiece and arrange ornaments on each side—statuettes, bannerets, flower-holders, small Japanese fans, pieces of odd china, painted candles in small scenes, may all find a place on the mantel.

Window curtains of heavy fabric, hung from brass or plush mounted poles, may be gracefully draped to the sides, while the inner lace ones should be hung straight and be fastened in the center with some ornament or bow of ribbon corresponding in shade to the general tone of the room. The straight shades next to the glass may correspond in tone to the outside walls or window-facings; but this is a mere matter of taste. White or light-tinted shades, finished in etching or narrow lace, are always in vogue.

The dado shades are the latest innovation in window decoration. These come in all colors, from the lightest to the darkest shades, with dado in tile, arabesque and fresco patterns, finished in lace, fringe, and brasses.

Portieres (curtain doors) have superseded folding doors. These should be in shades to contrast with the general blending of the colors in the room. The fabrics mostly used are India goods, but they may be of any material, from expensive tapestries, satins, and plushes, to ten-cent factory cottons. The curtains, if made from striped tapestry and Turcoman, will give the finishing artistic touches to almost any room, but the last softening polish comes only from the genial presence of trailing and climbing vines.

THE SITTING-ROOM.

The sitting or everyday room should be the brightest and most attractive room in the house. Its beauty of decoration should not be so much in the richness and variety of material as in its comfort, simplicity, and the harmony of its tints—the main features being the fitness of each article to the needs of the room. In these days of so many advantages much can be done in adornment by simple means.

The wall papers mostly used come in grounds of cream, amber, rose, pale olive, fawn, ceil blue and light gray, with designs and traceries of contrasting hues.

The carpet, if in tapestry, looks more effective if in grounds of pale canary or light gray, with designs in bright-colored woodland flowers and borders to match. The new ingrain carpets, with their pretty designs and bright colors, are very fashionable for rooms that are much used.

Whatever may be the prevailing tint of the carpet, the window curtains should follow it up in lighter tones or contrast with it. The curtains may correspond with the coverings of the chairs, sofa, mantel and table draperies in color and fabric. If the furniture is of wicker, bamboo or rattan, the curtains should be of Japanese or any kind of Oriental goods. Curtains of muslin (either white or tinted), gay-colored chintzes, lace or dotted Swiss muslin, looped back with bright-toned ribbons, look very pretty and are appropriate for the sitting-room at almost any season. That clumsy structure called the cornice, for putting up curtains on, has happily given place to the more light and graceful curtain pole.

One large table, covered with a pretty embroidered cloth, should be placed in some central location for a catch-all. A low divan, with a pair of square, soft pillows, may stand in some quiet nook; a rocker, handsomely upholstered, with a pretty tidy pinned to its back; a large, soft easy-chair; a small sewing-chair placed near a table; and a bamboo chair, trimmed with ribbons, will be tastefully arranged in the room. Window stands and gypsy tables may be draped with some rich fabric, the surrounding valance being caught up in small festoons and fastened with bows or tassels, finished around the edge of the table with cord or quilted ribbon.

If the furniture is old or in sets it can be covered with different patterns in cretonne or chintz, which not only protects the furniture but breaks up the monotony and lends a pleasing variety to the room. A Turkish chair is a grand accessory to the family room. This may be made by buying the frame and having it upholstered in white cotton cloth and covering it with a rich shade of cretonne, finishing it with cord and fringe.

A foot-rest frame can be made in the same way and covered with a piece of homemade embroidery, finishing it off with a cord or narrow gimp around the edge. Homemade easels, screens, and pedestals may be made out of black walnut, and when stained and draped look exceedingly pretty. An old second-hand cabinet may be bought at a trifle, and when polished up may be set in a corner on which to display some pieces of bric-a-brac.

If the house has no library, the sitting-room is just the place for the bookcase.

With house plants in the windows, a room of this character, with floods of sunshine, makes a most attractive and comfortable living-room.

THE LIBRARY.

The walls of the library should be hung with rich, dark colors, the latest style in wall paper being a black ground with old gold and olive-green designs.

The carpet comes in Pompeiian red, with moss-green and peacock-blue patterns. Statuary and the best pictures should find a place in the library. The library table should be massive and the top laid with crimson baize. There should be a few high-backed chairs, upholstered in leather, a reading-chair, soft rugs, foot-rests, a mantel mirror, a few mantel ornaments, and the piece de resistance—the bookcase. In large libraries the bookcases are built in the wall. It is quite in vogue to hang curtains on rods in front of bookcases instead of doors, but we think the old style is the best, inasmuch as the books may be seen and the glass doors exclude the dust.

Heavy curtains of raw silk, Turcoman, and canton flannel, with a full valance at the top, are used for the window drapery.

CHAMBERS.

The walls of bedrooms should be decorated in light tints and shadings, with a narrow rail and deep frieze. Most housekeepers prefer rugs and oiled floors to carpets, but this is a matter of individual taste. Rugs are as fashionable as they are wholesome and tidy. These floor-coverings should be darker than the furniture, yet blending in shade. If carpets are chosen they should be the lightest shades and in bright field-flower patterns. Avoid anything dark and somber for the sleeping-room. Pink and ceil blue combined are very pretty, scarlet and gray, deep red and very light blue. Dark blue with sprays of lily of the valley running through it is exceedingly pretty for bedrooms. Dark furniture will harmonize with all these colors, but the lighter shades are preferable. Cretonnes in pale tints and chintzes in harmonizing colors are used for light woods. Square pillows of cretonne on a bamboo or wicker lounge are very pretty. Canton matting is often used, either plain or in colored patterns.

Formerly the bed-coverings were spotlessly white, but the profluent tide of color has included these also. The coverings now in vogue are: Nottingham lace, darned net, applique, antique lace, and Swiss muslin. These are used over silk and silesia for backgrounds, and are exceedingly pretty, with pillow shams to match. Cretonnes, chintzes, dimities, and silk in crazy work and South Kensington patterns are also used.

Cheese cloth, bunting, Swiss muslin, cretonne, and Swiss curtains are used for window drapery. These may be trimmed with the same fabric or antique lace. They are hung on poles above the windows and draped back with ribbons.

The appointments of a bedroom are a low couch, a large rocker, a small sewing-chair, a workbasket, footstools, a toilet table prettily draped with muslin, or a dressing-case, brackets for vases, flowerpots, a few pictures, small table, hanging shelves for books, etc., and the bed.

The washstand should have a full set of toilet mats, or a large towel with a colored border may be laid on it; also, a splasher placed on the wall at the back of the stand is very essential. A screen is a very desirable part of the bedroom appointments. A rug should be placed in front of the bed and dressing-case.

THE DINING-ROOM.

The dining-room should be furnished with a view to convenience, richness, and comfort. Choose deep, rich grounds for the walls—bronze-maroon, black, Pompeiian red, and deep olive—and the designs and traceries in old gold, olive or moss-green, with dado and frieze to correspond. Or, the walls may be wainscoted with oak, walnut, maple, etc. Some are finished in plain panels, with different kinds of wood; others, again, are elaborately carved, with fruit, flowers, and emblems of the chase.

The floor is the next point for consideration. It may be of tile or laid in alternate strips of different colored woods, with a border of parquetry. Rugs or carpets may be used on these floors or dispensed with, according to taste. If a carpet is used, the dark, rich shades found in the Persian and Turkish designs should be chosen.

The window drapery should be those deep, rich colors that hold their own despite time and use—the pomegranates, rich crimsons, dark blues, dull Pompeiian reds, and soft olives. These curtains may be hung on poles, and should fall in heavy folds to the floor, then looped back with a wide embroidered dado.

Screens of stained glass are now used in the windows. They are both useful and ornamental, for they exclude the strong rays of the sun, and the light filtering through them beautifies the room with its many mellow hues.

Dark wood should be used for the furniture. The chairs should be chosen in square, solid styles, and upholstered in embossed or plain leather, with an abundance of brass or silver headed nails which are used for upholstering leather and add much to the substantial appearance of the articles.

The dining-table should be low, square or bevel cornered, heavily carved, and when not in use should be covered with a cloth corresponding in shade to the window drapery.

A buffet may stand in one corner for the display of ceramics or decorated china. The sideboard should be of high, massive style, with shelves and racks for glassware and pieces of china.

A few pictures—two or three fruit pieces and one or two plaques of still life—are appropriate.

A case of stuffed birds, a few large pots of tropical plants, and a fernery are in keeping with the dining-room appointments. A three-leaf folding Japanese screen should not be forgotten; also, a lamp shade of antique lace, lined with crimson silk, is very desirable.

THE KITCHEN.

It is a remark too often made that this or that "is good enough for a servant." If all knew that unpleasant surroundings made unpleasant servants and ill-prepared meals, we think more pains would be taken to have pleasant and comfortable kitchens. There should be a pleasant window or two through which fresh air and floods of sunlight may come, a few plants on the window sill, a small stand for a workbasket, an easy-chair that the servant may "drop into" when an opportunity offers, the walls painted or calcimined with some cheerful tint, and a general air of comfort pervading the whole kitchen.—The Popular Art Instructor.



CHAPTER XIV.

FLORAL.

HOW TO CARE FOR HOUSE PLANTS.

Plants that require a high or low temperature or a very moist atmosphere and plants that bloom only in summer are undesirable. Procure fresh sandy loam, with an equal mixture of well-rotted turf, leaf mold, and cow-yard manure, with a small quantity of soot. In repotting plants use one size larger than they were grown in. Hard-burned or glazed pots prevent the circulation of air. Secure drainage by broken crockery and pebbles laid in the bottom of the pot. An abundance of light is important, and when this cannot be given it is useless to attempt the culture of flowering plants. If possible they should have the morning sun, as one hour of sunshine then is worth two in the afternoon. Fresh air is also essential, but cold, chilling drafts should be avoided. Water from one to three times a week with soft, lukewarm water, draining off all not absorbed by the earth.

DO NOT PERMIT

water to stand in the saucers, as the only plant thriving under such treatment is the calla lily; and even for these it is not necessary, unless while blooming. Dust is a great obstacle to the growth of plants. A good showering will generally remove it, but all the smooth-faced plants (such as camellias, ivies, etc.) should be carefully sponged so as to keep the foliage clean and healthy.

PLANTS SUCCEED BEST

in an even temperature, ranging from sixty to seventy degrees during the day and from ten to twelve degrees lower at night. If troubled with insects, put them under a box or barrel and smoke from thirty to sixty minutes with tobacco leaves.

FOR THE RED SPIDER

the best remedy is to lay the plants on the side and sprinkle well or shower. Repeat if necessary. If manures are used, give in a liquid form.

Some of the plants most suitable for parlor culture are: Pelargoniums, geraniums, fuchsias, palms, begonias, monthly roses, camellias, azaleas, oranges, lemons, Chinese and English primroses, abutilons, narcissus, heliotrope, petunias, and the gorgeous flowering plant, Poinsettia pulcherrima. Camellias and azaleas require a cooler temperature than most plants, and the Poinsettia a higher temperature. Do not sprinkle the foliage of the camellia while the flower buds are swelling or it will cause them to droop, nor sprinkle them in the sunshine. They should have a temperature of about forty degrees and more shade. By following these rules, healthy flowering plants will be the result.

A good way

TO START SLIPS

is to partly break off the slip (but do not entirely sever it from the parent stock), leaving it hanging for ten or twelve days; then remove and plant in a box of half sand and half leaf mold and it will be well rooted in a week. Do not water too freely or the slip will rot.

If house plants are watered once a week with water in which is mixed a few drops of ammonia they will thrive much better. Sometimes small white worms are found in the earth—lime water will kill them. Stir up the soil before pouring it on, to expose as many as possible. For running vines, burn beef bones and mix with the earth.

TO KEEP PLANTS WITHOUT A FIRE AT NIGHT.

Have made, of wood or zinc, a tray about four inches deep with a handle on either end, water-tight. Paint it outside and in, put in each corner a post as high as the tallest of your plants, and it is ready for use. Arrange your flowerpots in it and fill between them with sawdust. This absorbs the moisture falling from the plants when you water them and retains the warmth acquired during the day, keeping the temperature of the roots even. When you retire at night spread over the posts a blanket or shawl, and there is no danger of freezing.

SURE SHOT FOR ROSE-SLUGS.

Make a tea of tobacco stems and a soapsuds of whale oil or carbolic soap; mix and apply to the bush with a sprinkler, turning the bush so as to wet the under as well as the upper part of the leaves. Apply, before the sun is up, three or four times.

TO PREPARE AUTUMN LEAVES AND FERNS.

Immediately after gathering take a moderately warm iron, smear it well with white wax, rub over each surface of the leaf once, applying more wax for each leaf. This process causes leaves to roll about as when hanging on the trees. If pressed more they become brittle and remain perfectly flat. Maple and oak are among the most desirable, and may be gathered any time after the severe frosts; but the sumac and ivy must be secured as soon after the first slight frost as they become tinted or the leaflets will fall from the stem. Ferns may be selected any time during the season. A large book must be used in gathering them, as they will be spoiled for pressing if carried in the hand. A weight should be placed on them until they are perfectly dry; then, excepting the most delicate ones, it will be well to press them like the leaves, as they are liable to curl when placed in a warm atmosphere. These will form beautiful combinations with the sumac and ivy.

TO PREPARE SKELETON LEAVES.

When properly prepared, skeleton leaves form a companion to the scrapbook or collection of pressed ferns, fronds, etc. This is a tedious operation and requires skill and great patience to obtain satisfactory results. Some leaves are easier to dissect and make better specimens than others, and, as a rule, a hard, thin leaf should be chosen; that is, when a special variety is not required.

Among those which are skeletonized most successfully are the English ivy, box elder, willow, grape, pear, rose, etc. They should be gathered during the month of June, or as soon as the leaf is fully developed. The leaves should be immersed in a vessel of rain water and allowed to remain till decomposed. When this takes place, press the leaf between pieces of soft flannel, and the film will adhere to the flannel, leaving a perfect network. Dry off gradually and clean the specimen with a soft hair pencil. Place between folds of soft blotting paper, and when perfectly dry place in your collection.

TO BLEACH THE LEAVES,

dissolve one half pound of chloride of lime in three pints of rain water, strain, and use one part of the solution to one of water. For ferns, use the solution full strength. When perfectly white remove to clear water, let stand for several hours, changing water two or three times, float out on paper, and press between blotting paper in books.

In mounting use mucilage made of five parts gum arabic, three parts white sugar, two parts starch, and very little water; boil and stir till thick and white.

HANGING BASKETS.

A correspondent of the Gardener's Monthly tells of a new style of hanging basket made of round maple sticks about one inch in diameter, eight inches in length at the bottom, increasing to fourteen at the top. In constructing, begin at the bottom and build up, log-cabin fashion; chink the openings with green moss and line the whole basket with the same. These are easily kept moist, and the plants droop and twine over them very gracefully. A good way to keep the earth moist in a hanging basket without the trouble of taking it down is to fill a bottle with water and put in two pieces of yarn, leaving one end outside. Suspend the bottle just above the basket and allow the water to drip. This will keep the earth moist enough for winter and save a great deal of time and labor. Plant morning glory seeds in hanging baskets in winter; they grow rapidly and are very pretty.—Buckeye.



CHAPTER XV.

THE LAUNDRY.

TELLING OF A GREAT MANY USEFUL AND LABOR-SAVING PRACTICES FOR THE LAUNDRY.

TO MAKE WASHING FLUID.

Bring to a boil one pound of sal soda, half a pound of unslaked lime, a small lump of borax, and five quarts of water. Let cool, pour off, and bottle. Use one teacupful to a boiler of clothes. This is superior.

GALL SOAP.

For washing woolens, silks, or fine prints liable to fade. One pint beefs gall, two pounds common bar soap cut fine, one quart boiling soft water; boil slowly, stirring occasionally until well mixed. Pour into a flat vessel, and when cold cut into pieces to dry.

TO TAKE OUT SCORCH.

If a shirt bosom or any other article has been scorched in ironing, lay it where bright sunshine will fall directly on it. It will entirely remove it.

BLUING.

Take one ounce of Prussian blue, one-half ounce of oxalic acid; dissolve in one quart of perfectly soft rain water. Insert a quill through the cork of the bluing bottle to prevent waste or putting too much in clothes and you will be pleased with the result. One or two tablespoons of it is sufficient for a tub of water, according to the size of the tub. Chinese blue is the best and costs twelve and a half cents an ounce, and the acid will cost three cents.

COFFEE STARCH.

Make a paste of two tablespoons best starch and cold water; when smooth stir in a pint of perfectly clear coffee, boiling hot; boil five or ten minutes. Stir with a spermaceti or wax candle. Strain and use for all dark calicoes, percales, and muslins.

FLOUR STARCH.

Have a clean pan or kettle on stove with one quart boiling water, into which stir three heaping tablespoons flour, previously mixed smooth in a little cold water; stir steadily until it boils and thereafter enough to keep from burning. Boil about five minutes, and strain, while hot, through a crash towel. The above quantity is enough for one dress, and will make it nice and stiff.

TO MAKE FINE STARCH.

Wet the starch smooth in a little cold water in a large tin pan, pour on a quart of boiling water to two or three tablespoons of starch, stirring rapidly all the while; place on stove, stir until it boils and then occasionally. Boil from five to fifteen minutes, or until the starch is perfectly clear. Some add a little salt or butter or pure lard or stir with a sperm candle; others add a teaspoon of kerosene to one quart of starch. This prevents the stickiness sometimes so annoying in ironing.

Cold starch is made from starch dissolved in cold water, being careful not to have it too thick. Since it rots the clothes, it is not advisable to use it.

ENAMEL FOR SHIRT BOSOMS.

Melt together, with a gentle heat, one ounce white wax and two ounces spermaceti. Prepare in the usual way a sufficient quantity of starch for a dozen shirt bosoms, put into it a piece of this enamel the size of a hazelnut. This will give your clothes a beautiful polish.

TO CLEAN ARTICLES MADE OF WHITE ZEPHYR.

Rub in flour or magnesia, changing often. Shake off and hang in the open air a short time.

HOW TO CLEAN VELVET.

Invert a hot flatiron, place over it a single thickness of wet cotton cloth, lay on this the velvet (wrong side next the wet cloth), rub gently with a dry cloth until the pile is well raised, take off the iron, lay on a table, and brush it with a soft brush or cloth.

TO CLEAN RIBBONS.

Dissolve white soap in boiling water; when cool enough to bear the hand, pass the ribbons through it, rubbing gently, so as not to injure the texture; rinse through lukewarm water and pin on a board to dry. If the colors are bright yellow, maroon, crimson or scarlet, add a few drops of oil of vitriol to the rinse water; if the color is bright scarlet, add to the rinse water a few drops of muriate of tin.

TO TAKE OUT PAINT.

Equal parts of ammonia and spirits of turpentine will take paint out of clothing. Saturate the spot two or three times, and then wash out in soapsuds.

TO REMOVE INK STAIN.

Immediately saturate with milk, soak it up with a rag, apply more, rub well, and in a few minutes the ink will disappear.

TO TAKE GREASE OUT

of silk, woolens, paper, floors, etc., grate chalk thick over the spot, cover with brown paper, set on it a hot flatiron and let it remain until cool; repeat if necessary. The iron must not be so hot as to burn paper or cloth.

FRUIT STAINS.

Colored cottons or woolens stained with wine or fruit should be wet in alcohol and ammonia, then sponged off gently (not rubbed) with alcohol; after that, if the material will warrant it, washed in tepid soapsuds. Silk may be wet with this preparation when injured by these stains.

TO REMOVE IRON RUST.

While rinsing clothes, take such as have spots of iron, wring out, dip a wet finger in oxalic acid and rub on the spot, then dip in salt and rub on and hold on a warm flatiron, and the spot will immediately disappear; rinse again, rubbing the place a little with the hands.

TO TAKE OUT MILDEW.

Wet the cloth and rub on soap and chalk, mixed together, and lay in the sun; or, lay the cloth in buttermilk for a short time, take out and place in the hot sun; or, put lemon juice on and treat in the same way.

TO WASH WOOLEN GOODS.

Many woolen goods, such as light-colored, heavy sacques, nubias, etc., may be washed in cold suds and rinsed in cold water. The garments should be well shaken out and pulled into shape.

TO WASH FLANNELS IN TEPID WATER.

The usefulness of liquid ammonia is not as universally known among housewives as it deserves to be. If you add some of it to a soapsuds made of a mild soap it will prevent the flannel from becoming yellow or shrinking. It is the potash and soda combined in sharp soap which tend to color animal fibers yellow; the shrinking may be partially due to this agency, but above all to the exposure of the flannel while wet to the extremes of low and high temperature. Dipping it in boiling water or leaving it out in the rain will also cause it to shrink and become hard. To preserve their softness, flannels should be washed in tepid suds, rinsed in tepid water, and dried rapidly at a moderate heat.—Buckeye.



CHAPTER XVI.

HOW TO DO YOUR OWN STAMPING AND MAKE YOUR OWN PATTERNS.

In the following chapter are given full instructions for dry and wet stamping, explaining how to make stamping powder, how to mix white paint for stamping dark goods and black paint for stamping light goods.

The articles necessary are a sheet of writing paper and a piece of transfer paper. The transfer paper can be made by rubbing white paper with a composition consisting of two ounces of tallow, one-half ounce powdered blacklead, one-quarter pint linseed oil, and sufficient lampblack to make it of the consistency of cream. These should be melted together and rubbed on the paper while hot. When dry it will be fit for use.

In order to make a perforated pattern of any engraving, procure a piece of writing paper larger than the design to be traced and put a piece of transfer paper on the writing paper, then place both sheets directly under the engraving and pin the three sheets together at one end, having the transfer paper between and dark side facing the writing paper. You then take a quill with a fine point (a knitting needle will do nicely) and without leaning too hard go over all the outline of the engraving. You must be careful not to press your fingers on the engraving, as this would cause a deposit of powder the same color as the transferring paper on the writing paper. Now remove the transfer paper and you have the design accurately traced and the pattern is ready to be perforated. Lay a couple of folds of velvet or felt on the table, place the pattern on this, and with a needle of medium size or tracing-wheel prick out the pattern, being careful to follow the outline closely and make the perforations quite close.

MECHANICAL ENLARGEMENT OF DESIGNS.

The simplest way is to enlarge by the eye, as the artists do. One method is to divide the whole design into squares and rule off the paper to be enlarged in corresponding squares of larger size. Each portion within the square is then exactly reproduced, copying the portion in the smaller square. For embroidery designs especially we should think this would be very good.

DRY STAMPING.

This is done by a process known as pouncing. The process is as follows: Place the pattern (rough side up) on the material to be stamped, placing heavy weights on the corner to keep it from slipping; then rub the powder over the perforations with the pouncet or distributor described below till the pattern is clearly marked on the material. This can be ascertained by lifting one corner of the pattern slightly. Then remove the pattern carefully, lay a piece of thin paper over the stamping and pass a hot iron over it. This melts the gum in the powder and fastens the pattern to the material. The iron should be as hot as possible without scorching the cloth. Should the heat change the color of the material, iron it all over. Do not do any stamping by this process on a hot or damp day if it can be avoided. Keep the powder in a cool, dry place. In stamping with light-colored powder, the best way to fasten it is to hold the back of the cloth against the stovepipe or the face of the iron. French stamping is better, however, for all dark materials. To take the powder up on the distributor, have a tin plate with a piece of woolen cloth glued on the bottom, sprinkle a little powder on the cloth, and rub the distributor over it, taking care to shake off all the powder you can—enough will remain to stamp the pattern clearly.

TO MAKE A DISTRIBUTOR.

Take a strip of fine felt almost an inch wide (a strip from an old felt hat is as good as anything), roll it up tightly into a roll, leaving the end flat, and rub the end over a piece of sand paper to make it smooth and even.

TO MAKE BLUE POWDER.

Take equal parts of gum damar and white rosin and just enough Persian blue to color it. Mix well together.

Other colors are made the same, using for coloring chrome yellow (for light-colored powder), burnt sienna, lampblack, etc. Black powder is improved by adding a little blue to it.

TO MAKE WHITE POWDER.

Take one ounce white lead; half ounce gum arabic, in the impalpable powder; half ounce white rosin, in the fine powder. All well mixed.

SUPERIOR DARK BLUE POWDER.

One ounce white rosin; one half ounce gum sandarac; one half ounce Prussian blue, in fine powder. Mix all thoroughly.

FRENCH INDELIBLE STAMPING.

This is the best process for all dark materials; in fact, this and the blue powder are all that will ever be needed. By this process a kind of paint is used instead of powder, and a brush instead of a pouncet. Place the pattern on the cloth, smooth side up if you can (though either side will work well), weight the pattern down as in stamping. Rub the paint evenly over the perforations, and it will leave the lines clean, sharp and distinct. After the stamping is done, the pattern must be cleaned immediately. This is done by placing the pattern on the table and turning benzine or naphtha over it to cut the paint and then wiping the pattern dry on both sides with an old cloth, or, better still, with common waste—such as machinists use to clean machinery; this is cheap and absorbs the paint and naphtha quickly. Hold the pattern up to the light to see if the holes are all clear; if they are not, wash it the second time. Do not use the pattern for powder immediately after it has been washed; let it dry a short time, otherwise the moistened gum will clog the perforations.

TO MAKE THE PAINT.

Take zinc white, mix it with boiled oil to about the thickness of cream, add a little drying, such as painters use. Keep in a tin pail (one holding about a pint is a good size); have a piece of board cut round, with a screw in the center for a handle, to fit loosely into the pail; drop this on the paint and it will keep it from drying up. Add a little oil occasionally to keep the paint from growing too thick, and it will always be ready for use.

THE BRUSH.

Take a fine stencil brush (or any brush with a square end), wind it tightly with a string from the handle down to within one half inch of the end; this will make it just stiff enough to distribute the paint well. Keep the brush in water, to keep it from drying up, taking care to wipe off the water before using.

THE CARE OF PATTERNS.

New patterns, before being used, should be rubbed over on the rough side with a smooth piece of pumice stone; this wears off the burr and makes the stamping come out cleaner and finer. When patterns are so large that they have to be folded, iron out the creases before using them. After using the patterns for powder stamping, snap the pattern to shake the powder from the perforations. After using the patterns for paint stamping they should be washed thoroughly with naphtha until the perforations are all perfectly clear. Keep the naphtha away from the fire. After the pattern has been washed, do not use it for powder until it has had time to thoroughly dry, otherwise it will gum up the holes and spoil the pattern.

If these directions are carefully followed the stamping will always be satisfactory.—Popular Art Instructor.



CHAPTER XVII.

BRONZE WORK.

Bronzing is the latest improvement in waxwork, and if properly made cannot be detected from the most expensive artistic bronze. It answers for table, mantel, and bracket ornaments, and may be exposed to dust and air without sustaining the slightest injury. It can be dusted with a feather duster like any piece of furniture, and is a very desirable and inexpensive ornament.

The colors required in bronze are: Silver bronze, gold bronze, copper bronze, fire bronze, and green bronze.

THE ART OF MAKING A VASE IN BRONZE.

For instruction, let us take a vase to be finished in copper bronze. First the vase must be molded. The casting material is one part wax, one part spermaceti, two parts mutton tallow. Melt the three articles together and color with burnt umber. Have a coil of fine hair wire, cut into one-half inch lengths, and when the mixture is melted to the consistency of thick cream stir in the cut wire by degrees until there is a sprinkling of it throughout the mixture; then pour into the elastic mold and let stand till perfectly cold and solid; then loosen the sections of the mold and take it out. Should any of the ends of the wire project, they can be cut with a pair of sharp scissors. Trim the seams caused by the sections of the mold; then take a piece of soft flannel cloth, dip it in the refined spirits of turpentine and polish the vase with it, after which it is ready for bronzing.

Take copper bronze No. 4000, and with the tinting brush bronze the vase evenly, and polish it with a soft piece of white silk. Now take another brush and with copper bronze No. 6000 give it the last coat The vase is now ready for draping. The most simple drapery is an ivy vine. Take an embossed ivy leaf (or embossed muslin leaves, as they are named), lay a fine wire along its midrib, leaving two or three inches of wire for stem; cover the leaf with brown sheet wax, press them together well with the finger and thumb to make the wax adhere to the leaf, get the impression, and hold the wire firmly; then lay another piece of wax on the under side, press the edges together and cut away the superfluous wax, leaving the edge plain (the ivy leaf is not serrated), cover the wire stem with wax and the leaf is ready for bronzing. Rub both sides with turpentine, give one coat of bronze No. 4000, then the last coat of bronze No. 6000. When all the leaves are finished, weave them into a spray, grading them from large to small till the end of the vine is reached, then bronze and drape around the vase in an easy, natural way.

The natural fall leaves, pressed, make pretty draperies for these kinds of vases. Sprays of mixed leaves, oak leaves and acorns, small maple leaves, the holly leaf and berry, mixed ivy and fern leaves, and many other kinds of leaves and vines are equally pretty.

THE ART OF MAKING A MOTTO IN BRONZE.

Take a box frame of the ordinary motto-frame size (gilt face) and line it with either crimson or royal purple velvet, and it is ready for any design. The word "Welcome" is the simplest to begin with. Take a thick blotting pad, lay it on a table, rub some arrowroot or rice power over its upper surface, and lay a sheet of either calla or pond lily wax, extra thick, on this powdered surface. Select the style of letter preferred; German text is very appropriate for the motto "Welcome." Cut the pattern letters out in pasteboard, or any kind of thick paper, if tin letter-cutters are not convenient.

Begin with the letter W. Lay it on the sheet of wax and cut out the waxen letter after the pattern with a penknife previously dipped in water. Next cut the E, and so on till the seven letters are cut out, care being taken to powder the blotter every time a new sheet of wax is laid on. Lay the back of the box on the table, having melted glue ready, and with a camel's-hair brush apply a small portion of it to the back of each letter as it is set in its relative position, pressing it gently against the velvet with the palm of the hand. The letters should be set an inch apart, and when all on the frame should be set away until the glue is thoroughly dry and the waxen letters adhere firmly to the velvet, then they are ready for ornamenting. This is done in various ways, and all depends on the artist's taste, but a few suggestions may not be amiss.

Take a two-inch fern-cutter and cut the ferns out of double sheet wax; then bronze them as directed on both sides, either with gold or silver bronze. Begin with draping the letter W. Take the stem end of the fern leaf and with the bead end of the curling-pin fasten it to the lower side of the letter; then turn it over and fasten it down in the middle, letting the point turn outward. Set the ferns on the letters in such a way as not to obscure their form, i. e., the form of the letters. If the motto is made in white wax it should be frosted with diamond dust.

A pretty style of motto is clasped hands in the center, of pure white wax, surrounded with sprays of fine flowers and buds, finished in fire bronze.

Another style of motto is a vase in the center, from which vines in different colors of bronze run. Green, fire, and copper bronzing should have a light background; silver and gold bronzing should have a dark background.

THE ART OF MAKING A FLORAL BASKET IN BRONZE.

Take a medium-sized basket (chip or any solid substance), brush it with glue on the inside, fill it with moss, and set it away to dry till the moss is stuck to the basket. The moss should be raised in the center in the form of a mound. Have the wax sheeted in carmine. Make the center of the basket in roses, rosebuds, and carnations, as they are the most durable. Mold the petals over the embossed muslin petals and bronze them with fire bronze—Nos. 4000 and 6000—as previously directed. Drape the basket and the handle in smilax, having the wax for the smilax sheeted in chrome green; then mold over the embossed muslin leaves, bronze in green bronze, and drape loosely. Such a basket makes a pretty table ornament.

DIRECTIONS FOR BRONZING.

All kinds of ornaments may be made in bronze—small animals, fish, shells, birds, statuary, etc. The mixture for casts should be the same shade as the bronze used.

Fish may be bronzed in silver, gold, and copper bronze; shells in silver, copper, gold, and some may be tinted with fire bronze on the exterior of the shell, but the interior of almost all shells must be tinted with paint; dogs in zinc, silver, and copper; birds in almost any shade.

GREEN BRONZE STATUARY.

Prepare the mixture in chrome green No. 1. A little rosin may be added and a thick sprinkling of cut wire. Trim the object and rub with spirits of turpentine, then apply the green bronze—the two numbers, as directed.

COPPER BRONZE STATUARY.

Prepare the mixture in burnt umber and proceed as directed.

BRONZING STATUETTES.

Statuettes, or any object in plaster of Paris, may be made to resemble bronze by first rendering the plaster nonabsorbent with drying linseed oil and then painting it with a varnish made by grinding waste gold leaf with honey or gum water.

Another method is by first painting the article, after it has been rendered nonabsorbent, of a dark color made of Prussian blue, yellow ochre, and verditer, ground in oil. Before this becomes quite dry, bronze powder of several colors should be dusted on those most prominent parts which may be supposed to have worn bright. Plaster casts may also be made to resemble bronze to a certain extent by merely brushing them over with graphite, which is a brilliant blacklead.

METHOD OF MAKING EMBOSSED MUSLIN LEAVES.

Take a piece of green muslin or calico and size it well with isinglass, then take the natural leaf, lay the sized piece of muslin over it on the under or veined side of the leaf, let the muslin remain on it till almost dry and the impression is set; then with a pair of sharp scissors cut the muslin around the leaf, either plain or serrated.

The impression may be taken of any leaf or flower in this way. The use of muslin leaves tends to make the work more durable and is found very convenient for the artist.

THE ART OF MAKING EXOTIC LEAVES.

The begonia rex makes a beautiful parlor plant. Five or seven leaves make a nice-sized plant: Select five or seven healthy begonia leaves of different sizes, as no two leaves of the rex are of one size on the same plant. Cut the leaves closely off the stem and immerse them in a solution of cold water and castile soap. Leave them in this twelve hours before using. Melt the wax to the consistency of cream, in chrome green, permanent green, dark olive-green, and verdigris-green. Now take a leaf out of the soapsuds and lay it on a marble slab, keeping the under surface or veined side uppermost; then with a camel's-hair brush lay on the melted wax in different shades, following the shades of the natural leaf. The soapsuds having made the leaf transparent, all the shades and spots can be plainly seen on the veined side, which is the side the waxen leaf has to be formed on. The belt of light green over the silvery markings of the leaf should be put on with verdigris-green. Begin the leaf in the center and continue on each side of the midrib till the edge is reached and the leaf has a thick coating of wax. Then lay a wire along the midrib or center of the leaf, fasten it in the wax by pressing, care being taken to leave it long enough for eight or nine inches of stem. Wire must also be laid on all the side ribs or veins leading to the midrib. These small wires are all brought to the center wire and laid evenly by its side till they all come to the stem, where they are all twisted around it to form one long, thick stem. Give the leaf another coating of dark olive-green wax (this covers the wires), then finish with a thin coating of burnt umber tinted with Vandyke brown, and the under surface of the leaf is finished. Remove the natural leaf from the waxen and tint the veins lightly with carmine. Brush a little carmine loosely on the darkest shade in the center of the leaf, and before it sticks blow off as much as possible, when enough will be left to give it that reddish-green tint peculiar to the begonia rex leaf. The next is to finish the silver belt or silvery leaf-markings midway between the center and the edge of the leaf. This strip must be rubbed with spirits of turpentine; then with the tinting brush apply a coating of silver bronze (Nos. 4000 and 6000), care being taken that the bronze does not scatter over the leaf. Now the leaf is finished.

If the work is done according to directions, the waxen leaf will be a true copy of the original. Continue in the same way till all the leaves are made, then wax the stems and run them through the begonia stemming, when they may be arranged in their natural growing manner in a flowerpot filled with moss; or, if preferred, the flowerpot may be filled with wax, in terre-verte green, and the stems must be placed in it before the wax gets hard.

HOW TO MAKE BEGONIA STEMMING.

Procure the bristles of a very young pig, five or six weeks old. After washing, put them in a very strong solution of chloride of lime and let them remain in it till whitened; then rinse well in warm water till free from chlorine. Color them while damp, some in different shades of green and some in different shades of brown. After the bristles are ready, the next thing is to make the stemming. Take a square piece of cambric and fasten it in a stretcher, then give it a thick coating of mastic varnish, and when the varnish is dry cut the cambric on a true bias into straight strips of different widths, from an inch to two inches, and half a yard in length. Lay one of these strips on a table or some smooth surface, add another coat of varnish, then cover it with glaucous green flock, care being taken to leave a narrow margin bare on one side to lap under the other when the piping is being made. Dip the bristles in mastic varnish, sprinkle them thickly over the flock, and leave for twenty-four hours to dry; when thoroughly dry, revarnish the bare edge, and turn it in underneath the other edge, thus forming the strip into a pipe, ready to receive the wire stems of the leaves. Brown and crimson flock may be used.

For begonia rex, use crimson flock; for the rubra, use glaucous flock; and for the palmata, use brown flock. Very good stemming may be made by tinting canton flannel, which has a very long nap or pile.

GERANIUM LEAVES—ROSE GERANIUM.

This leaf is of a dark chrome green. Prepare the wax in two shades, dark chrome green and light; immerse the leaves in soapsuds for six hours; take out of the soapsuds and lay it on the marble slab. As there is neither shading nor marking on the leaf, all that is required is to give it a coat of dark chrome green, thick enough to prevent the wires from showing; then lay the wires over the veins and coat them over with a light shade of green. Remove the natural leaf, and as the texture of the rose geranium leaf is rather rough, rub it over with green flock mixed with hair powder. The stems may be left in different lengths.

The best directions that we can give for the tinting and marking of leaves is to copy from nature. The cyclamen leaf is well adapted for the practice of marking and tinting.

The leaf of the pond lily, lotus, canna, maranta, rubber tree, magnolia, camellia, orange, and all leaves which have a waxy surface, should either be varnished or bronzed.

All kinds of leaves may be made by the foregoing directions.—Popular Art Instructor.

DECALCOMANIA.

This is another name for a style that has been in vogue for an indefinite, period of time, and comes under the head of transferring. It is almost superfluous to mention the variety of purposes to which decalcomania may be applied, as it can be transferred upon everything for which ornamentation is required, and the variety of designs which are printed especially for it is so great that something may easily be procured to suit the taste of the most fastidious.

A few of the articles that may be decorated can be mentioned by way of showing what a variety this style of ornamentation will embrace: All kinds of crockery, china, porcelain, vases, glass, bookcases, folios, boxes, lap desks, ribbons, dresses, etc. The method of transferring beautiful designs is so simple, and all the materials requisite for the art so easily procured, that it brings it within the means of everyone. Flat surfaces are more suitable than concave or convex ones for this style of decorating, for when the surface is curved the design has to be cut to accommodate the shape, and in this way is often spoiled unless done by the most careful and skillful hand. The materials required are cement, copal varnish, designs, a duck-quill sable, and a flat camel's-hair brush.

Cut your designs neatly with a small pair of scissors, apply the cement by means of the sable to the article to be decorated, place on your design and press equally over its entire surface to exclude the air; dampen it a little and keep pressing equally so that the design may adhere firmly in every part. When the cement is sufficiently dry dampen again with water (a little more freely) and remove the paper. Be careful in manipulating this process, or you will remove some of the colored part with it. If such should occur, instantly replace it as well as you are able, or, if you have a knowledge of Oriental painting, your panacea will be in that. You can retouch with these colors and bring it back nearly to its original beauty. In case you have no knowledge of Oriental painting, match the colors as nearly as possible with water-color paints, allow time to dry, and varnish with copal.

Sometimes the cement becomes too thick for use. It may be restored to its proper flowing consistency by placing the bottle in a bed of warm sand, and can then be applied while warm. If you apply your design to a dark groundwork, it would be desirable to give your picture a coating of Winsor and Newton's Chinese white. The reason for this is that some parts of the picture are semi-transparent, and these would lose their brilliancy if transferred directly upon a dark background without first painting.

TO TRANSFER ON WOOD.

Dissolve some salt in soft water, float your engraving on the surface—picture side uppermost—and let it remain about an hour. The screen, box or table on which you wish to transfer the design should be of bird's-eye maple or other light-colored hardwood, varnished with the best copal or transfer varnish.

Take the picture from the water, dry a little between blotters, place the engraving—picture side downwards—on the varnished wood and smooth it nicely. If the picture entirely covers the wood after the margin has been cut off so that no varnish is exposed, lay over it a thin board, on which place a heavy weight, and leave it for twenty-four hours. If you wish but a small picture in the center of the surface of the wood, apply the varnish only to a space the size of the picture. Dip your finger in the solution of salt and water and commence rubbing off the paper; the nearer you come to the engraving the more careful you must be, as a hole in it will spoil your work. Rub slowly and patiently until you have taken off every bit of the paper and left only the black lines and touches of your picture on the wood, in an inverted direction. Finish up with two or three coats of copal varnish.

TO TRANSFER ON SILK.

Apply a coating of mastic varnish to the design and allow it to dry; then with a brush wash the paper surrounding the design carefully; this removes from the paper the preparation, which would otherwise soil the silk. Apply a second coating of the same varnish, and when this is slightly dried place the design upon the silk or other fabric to be decorated, and with the roller press it well down. With the brush wet the back of the paper covering the design, when the paper may be at once lifted off. Another method is to cut out the design carefully and cover it with a thin coating of mastic varnish, and lay it upon the silk or other fabric (which should be dampened) and roll thoroughly with a rubber roller; dampen the back of the paper with the brush and lift it off as previously directed.

TO MAKE WAX FLOWERS.

The following articles will be required to commence waxwork: Two pounds white wax, one quarter pound hair wire, one bottle carmine, one bottle ultramarine blue, one bottle chrome yellow, two bottles chrome green No. 1, one bottle each of rose pink, royal purple, scarlet powder, and balsam fir; two dozen sheets white wax. This will do to begin with. Now have a clean tin dish, and pour therein a quart or two of water; then put in about one pound of the white wax and let it boil. When cool enough so the bubbles will not form on top it is ready to sheet, which is done as follows: Take half of a window pane, 7 x 9, and, after having washed it clean, dip into a dish containing weak soapsuds; then dip into the wax, and draw it out steadily and plunge it into the suds, when the sheet will readily come off. Lay it on a cloth or clean paper to dry. Proceed in like manner until you have enough of the white; then add enough of the green powder to make a bright color, and heat and stir thoroughly until the color is evenly distributed, then proceed as for sheeting white wax. The other colors are rubbed into the leaves after they are cut out, rubbing light or heavy according to shade.

For patterns you can use any natural leaf, forming the creases in wax with the thumb nail or a needle. To put the flowers together, or the leaves on to the stem, hold in the hand until warm enough to stick. If the sheeted wax is to be used in summer, put in a little balsam of fir to make it hard. If for winter, none will be required.

You can make many flowers without a teacher, but one to assist in the commencement would be a great help, though the most particular thing about it is to get the wax sheeted. The materials I have suggested can be procured at any drug store, and will cost from $3.00 to $4.50.



CHAPTER XVIII.

Dear lady subscriber, if you are a housekeeper, or ever intend to be one, this chapter will more than repay you for what you have given for this book. It will tell you how to save a large percentage of your household expenses, and also how to have a great many of the articles you use in your daily household work of a superior quality—vastly better than the ones you are using at the present time.

It is a fact not generally known that a great many of the articles used in daily household work cost little more than one-tenth of the price the consumer pays for them. We propose to show the ladies of our great Continent how to have, in most instances, better articles than those they are in the habit of purchasing, and at a small percentage of the cost. To do this, we have, by our own personal investigation, gathered a number of valuable recipes together, and have paid for the privilege of using them. Remember, these are not common recipes, but a full explanation of the manufacture of different articles needed in every household; and they combine the embodied wisdom of practical and successful men and women of the past and present.

We give in this chapter a number of recipes which have never before been published, and which, once possessing, you will never wish to be without, as they are truly marvelous discoveries. The first three every mother should have; the remainder no housekeeper should be without.

No. 1 is

HEALING SALVE.

This salve heals all sores, chaps, cuts, bruises, sore lips, chafed limbs, roughness, etc. It is invaluable as a healing ointment and may be applied to the tenderest skin without injury, and yet it will heal the most painful sores. A three-ounce box will only cost you ten cents, and the directions are so plain that a child can follow them.

Recipe: Take one ounce of sweet oil, one-half ounce of camphor gum, and one-half ounce of mutton tallow. Melt all together over a slow fire, and stir continually until cold.

To use: Rub on part affected at night; wash off in the morning with warm water and castile soap.

No. 2 is

MAGNETIC CROUP CURE.

This is the best remedy for croup ever discovered. It will save parents much trouble and anxiety. With this remedy all that is necessary is (if you have any fear of croup on putting your child to bed) to take a piece of brown paper large enough to cover the throat and chest and spread it with the ointment and put across the throat and lungs; place over that several thicknesses of flannel so as to keep the stomach warm, and keep in place with a string or bandage. Put the child to bed, and you need have no fear of croup that night. This ointment is also excellent for cuts, bruises or sores. Twelve cents will make enough to last a year, even if you use it frequently.

Recipe: One-half pound of lard, quarter of a pound of raisins, quarter pound of fine cut chewing tobacco. In the morning place the tobacco in a tin can and cover it with water; set it on the stove and let it cook and boil all day, replacing the water when it is necessary; then squeeze all the juice from the tobacco. The next morning chop your raisins, put them in the tobacco water and cook well till noon; then again squeeze the raisins out of this water. Now to this water add the lard and let them simmer together until the water is evaporated. Now the croup remedy is ready for use. On putting the child to bed, if you fear an attack, take a piece of brown paper large enough to cover the throat and chest and spread it over with the ointment and put it across the throat and lungs. Place over that and tie several thicknesses of flannel; put the child to bed, cover up warmly, and you need have no fear of croup that night.

If taken with croup unexpectedly, on hearing the cough, spread a piece of brown paper with the ointment and lay it across the throat and chest; then heat flannel as hot as can be borne and lay over the paper; change in about ten minutes for another hot cloth. If no fire is on while waiting for it, heat cloths on a lamp chimney. As soon as you get the stomach covered and warm, give a teaspoonful of melted butter; repeat the dose in five minutes.

No. 3 is

WORM ELIXIR.

The best remedy for worms known. No mother should be without it. Also, if given occasionally it is a splendid preventive. Children will never be troubled with worms who are given a dose of this once a month, or fortnight.

Recipe: Take gum myrrh and aloes, of each one ounce; saffron, sage leaves, and tansy leaves, of each half an ounce; tincture in a pint of brandy two weeks, and give to children a teaspoonful once a week to once a month as a preventive. They will never be troubled with worms as long as you do this.

WORM VERMIFUGE.

Make a strong decoction of sage, two parts; wormseed, one part; strain, and add sugar enough to make into candy, and let the child eat of it. Infallible.

No. 4 is

BRILLIANT SELF-SHINING STOVE POLISH.

This is one of the greatest inventions of the age. It has been the result of a large amount of study on the part of the inventor to perfect a polish that would work easily and satisfactorily in a perfectly dry state, thereby obviating the disagreeable task of mixing and preparing. A good stove polish is an absolute necessity in every family. To be assured that this is the best you need give it only one trial. Now, remember, first, that this polish requires no water or mixing like the various cake and powder polishes; second, that it is self-shining and no labor is required; and third, that it has no equal in the world.

Below are the recipe and directions for preparing this polish. You can prepare enough in ten minutes to last a year. A box holding two ounces will cost but three cents.

Recipe: Get from the hardware store plumbago (blacklead), pulverize it finely and it is ready for use.

Directions for use: Use a damp woolen rag, dip in the polish and apply to the stove; then rub with a dry cloth, and a most beautiful polish will appear.

No. 5 is

WONDERFUL STARCH ENAMEL.

For polishing shirt bosoms, collars, cuffs, lace curtains, etc., putting on the same gloss and hard pearl finish as when bought at the store new. Every lady should use the wonderful enamel for the following reasons: It enables an ordinary ironer to compete with any laundry; it makes the clothes clear and white; it makes clothes iron smoothly, and prevents the iron sticking; it makes old linen look like new; and it saves a woman many hours' hard work each week. It is easily made, and five cents' worth will last an ordinary family six months.

Recipe: Melt half a pound of refined paraffine wax in a tin pan over a slow fire. When melted remove from the fire and add twenty drops of oil of citronella. Take a tin pan and oil with sweet oil, put the pan on a level table, and pour in enough of the hot wax to make a depth of an eighth of an inch. When cool, but not cold, cut in pieces about the size of an ordinary candy lozenge. Lay them aside to cool, but do not let them touch each other.

Directions for use: To a pint of boiling starch stir in one cake. Use starch while warm.

No. 6 is

ROYAL WASHING POWDER

—the laundress' assistant; warranted not to injure the finest fabric. No acid; no potash. In the wash room it saves time, labor, expense, muscle, temper, and hands. The clothes will come out cleaned and white, without wear or tear or rubbing on washboards, therefore will last twice as long. For housecleaning it is unequaled. One girl can wash more clothes, paint, walls, windows or floors in a day with perfect ease with this powder than she could in four days with hard labor, soap, and scrubbing brush, and the paint will look new and bright. It only requires to be tested to be appreciated. Packages of one pound will only cost seven cents.

Recipe: Mix any quantity of soda ash with an equal quantity of carbonate of soda crushed into coarse grains. Have a thin solution of glue or decoction of linseed oil ready, into which pour the soda until quite thick. Spread out in a warm apartment to dry. When dry shake up well and pack away for use. Use as other washing powders.

No. 7 is

MAGIC ANNIHILATOR.

Removes all kinds of grease and oil spots from every kind of wearing-apparel—such as coats, pants, vests, dress goods, carpets, etc.—without injury to the finest silks or laces. It will shampoo like a charm, raising the lather in proportion to the amount of dandruff and grease in the hair. A cloth wet with it will remove all grease from door knobs, window sills, etc., handled by kitchen domestics in their daily round of kitchen work. For cleaning silver, brass, and copper ware it cannot be beaten. It is certain death to bedbugs, for they will never stop after they have encountered the Magic Annihilator. It is useful for many other things. A quart bottle costs about ten cents.

Recipe: To make half a gallon, take aqua ammonia, one pint; soft water, one-half gallon; best white soap, one-half pound; saltpetre, one ounce. Shave the soap fine, add the water, boil until the soap is dissolved, then add the saltpetre, stirring until dissolved. Now strain, let the suds settle, skim off the dry suds, add the ammonia, and bottle and cork at once.

Directions for use: For grease spots, pour upon the article to be cleaned a sufficient quantity of the Magic Annihilator, rubbing well with a clean sponge and applying to both sides of the article. Upon carpets and coarse goods where the grease is hard and dry use a stiff brush and wash out with clear cold water. For shampooing, take a small quantity, with an equal quantity of water; apply to the hair with a stiff brush, brushing into the scalp, and wash out with clear water. For killing bedbugs, apply to the places they frequent.

No. 8 is

I X L BAKING POWDER.

An unsurpassed article. Can be relied on for strength and purity. So many of the baking powders sold contain injurious substances and are altogether unreliable. This powder can be relied on for strength and purity. It produces the most delightfully white, light and flaky biscuits. For cakes it is unsurpassed. Try it and be convinced. This powder is composed of the very best and purest substances, and therefore is perfectly wholesome. Any lady can prepare enough in a few minutes to last her six months. It will only cost a trifle—not one-quarter of what you would have to pay your grocer for the same amount.

Recipe: Take one pound of tartaric acid (in crystals), one and one-half pounds bicarbonate of soda, and one and one-half pounds of potato or corn starch. Each must be powdered separately, well dried by a slow fire, and well mixed through a sieve. Pack hard in a tin, or paper glazed on the outside. Buy the articles from a druggist.

Directions for use: For biscuits, pie crust, johnnycake, etc., use three teaspoonfuls to one quart of flour or meal; for cakes, two teaspoonfuls to a teacup of flour. Mix well with the flour.

No. 9 is

ELECTRIC POWDER.

This is one of the best articles on our list—something that every housekeeper needs. It is used for gold, silver, plated ware, German silver, copper, brass, tin, steel, window glass, or any material where a brilliant luster is required. To make two ounces costs but three cents, and it is the best article of its kind known.

Recipe: To one pound best quality whiting add one-half pound cream tartar and three ounces calcined magnesia. Mix thoroughly together and store away for use.

Directions for use: Use the polish dry, with a piece of canton flannel moistened with water or alcohol, and finish with the polish dry.

No. 10 is

FRENCH POLISH OR DRESSING FOR LEATHER.

This is a grand article. All that is necessary is to have your boots clean and apply this dressing with a sponge. The boots appear like the very best French leather. Much hard work is saved, as no brushing is required. To make a quart vessel full will only cost about twenty cents.

Recipe: Mix half a pint of the best vinegar with a quarter pint of soft water; stir into it one ounce of glue (broken up), two ounces log-wood chips, one-sixteenth ounce of finely-powdered indigo, one-sixteenth ounce of the best soft soap, one-sixteenth ounce of isinglass. Put the mixture over the fire, let it boil ten minutes or more; then strain, bottle and cork. When cold it is fit for use. Apply with a sponge.

No. 11 is

ARTIFICIAL HONEY.

Equal to bee honey, and often mistaken by the best judges to be genuine. It is palatable and luxurious. All persons are more or less aware that honey should be used in every household, and it would be so if every family could have it at a very moderate price. As a health-establishing nutriment in the chamber of the invalid, and as a delicious luxury for the well, honey cannot be too highly recommended. Any one using this honey regularly will find that he is strengthened and refreshed by it. He will have greater energy and if at all inclined to dyspepsia will find himself greatly helped. This honey costs but eight cents per pound to prepare, and our directions are so simple a child ten years old can follow them.

Recipe: Take two ounces of slippery elm bark and put into three quarts of warm water and let it stand four hours; strain and add eight pounds of white sugar; boil four minutes; then add one pound of bee honey while hot. Flavor with a drop of the oil of peppermint and a drop of the oil of rose.

* * * * *

Any lady will readily see what a saving the possession of the above recipes may cause in her household expense. Thus, you can get a ten cent box of stove polish for three cents, a twenty-five cent package of washing powder for seven cents, a twenty-five cent box of starch enamel for five cents, etc. Any of the articles contained in the list will take but a short time to prepare a large supply.

POISONS AND THEIR ANTIDOTES.

The first thing to do in a case of poisoning is to cause the ejection of the poison by vomiting. To do this, place mustard mixed with salt on the tongue and give large quantities of lukewarm water; or, tickle the throat with a feather. These failing, instantly resort to active emetics, like tartar emetic, sulphate of copper or sulphate of zinc. After vomiting has taken place with these, aid it, if possible, by copious draughts of warm water until the poison is entirely removed. Of course, if vomiting cannot be induced the stomach pump must be employed, especially if arsenic or narcotics have been taken. The following table may be useful for emergencies:—

POISONS. ANTIDOTES. Acids, Alkalies: Soap and milk, chalk or soda. Alkalies, Vegetable acids, vinegar, oil in abundance. Alcohol, Common salt, moderately. Arsenic, Send for the doctor and his stomach pump. Antimony, Oak bark, strong green tea. Baryta or lime, Epsom salts, oils, magnesia. Bismuth, White of eggs, sweet milk. Copper, White of eggs, strong coffee. Gases, Cold douche, followed by friction. Iodine, Starch, wheat flour in water. Creosote, White of eggs, sweet milk. Lead, Strong lemonade, Epsom salts. Opium and other narcotics, Emetics, cold douche, and heat. Phosphorus, Magnesia in copious draughts. Zinc, White of eggs, sweet milk. Mad-dog bite, Apply fire in some form to the wound, thoroughly and immediately. Bite of insect, Ammonia, applied freely. Bite of serpent, Same as for mad dog, followed by whisky to intoxication.

The foregoing are the more common and more important poisons and their antidotes.—Buckeye.

TURKISH LOTION.

The New and Wonderful Discovery for Beautifying the Skin.

Gives to a woman of forty the fresh, bright complexion of a girl. No more wrinkles, crow's-feet or sallowness.

Turkish Lotion completely cures freckles, pimples, blackheads, moles and superfluous hair, tan, greasy skin, blotches, redness, sore or chapped lips, chapped and red, rough hands; and, best of all, completely eradicates and prevents wrinkles, crow's-feet, and sallowness.

Turkish Lotion creates a perfect complexion.

After using Turkish Lotion for a short time a lady's skin will be as exquisitely soft and velvety, as clear and pure, as that of a little child. It is not an artificial cosmetic, but a cleansing, refining, whitening tonic. It feeds and nourishes the skin, preventing and banishing wrinkles, crow's-feet, and sallowness. It is perfectly harmless and composed of the purest ingredients.

Turkish Lotion is invaluable to every lady. It conceals the evidences of age. By its use a lady of middle-age will have the charming, fresh look of a girl. Every womanly woman desires to appear fresh and youthful as long as possible, thereby making herself the wonder of her own sex and the admiration of the opposite. By using this lotion according to directions every lady may have a fresh, rosy tinted complexion of exquisite pearly fairness, free from wrinkles, crow's-feet, and sallowness.

One application will make the most stubbornly red and rough hands beautifully soft and white.

Turkish Lotion is not a paint or powder, but a new and great discovery—a cleansing, healing, whitening tonic that causes the cheek to glow with healthy action of the skin, and the neck, arms and hands to assume an exquisite pearly whiteness. By its use all redness and roughness is prevented and the skin is beautified and rendered soft, smooth, and white, thereby imparting a delicate, refined loveliness impossible to describe. Any lady using Turkish Lotion will present a fresh, youthful, natural appearance, with a pearly, rose-tinted complexion that is positively bewitching. It is without doubt the best face lotion ever discovered, being as it is a medicated lotion possessing healing qualities. Many ladies are troubled during cold weather with sore lips, rough, parched skin, and chapped hands upon the slightest exposure. By moistening at night with this wash the parts affected, all soreness and roughness will be completely cured and the face and hands will be as delicately soft and smooth as those of a little child.

No one need suffer any longer from any defect of the skin.

* * * * *

Recipe for Turkish Lotion: To one fluid ounce of tincture of gum benzoin add seven fluid ounces of distilled rose-water and one-half ounce of glycerine.

Directions for use: Bathe face, neck, and hands with Turkish Lotion at night, letting it dry on. Wash off in the morning with a very little pure white castile soap and soft water. If the water is hard, add a very little dissolved borax. This will prevent and cure greasy skin, freckles, tan, wrinkles, pimples, blackheads, crow's-feet, blotches, sunburn, chapped hands, sore lips, rough skin, etc.

To Cure Sallowness: Use as above directed, and ask your druggist for some good iron tablets. Take as directed. In a short time your complexion will be beautifully white and rose-tinted.

To Remove Hairy Moles and Superfluous Hair: Procure prepared pumice stone from your druggist; cut the hair as close as possible to the skin, dip the pumice in cold water and rub on the part on which the hairs grow, commencing gently at first (as it may cause slight irritation of the skin), then gradually increase the friction. After using the pumice stone, anoint freely each time with Turkish Lotion. Do this twice daily, and it will surely remove superfluous hair.

Always, after using Turkish Lotion, rub gently with the hands until the skin becomes dry. This will remove and prevent wrinkles and lines.



INDEX.

PAGE. Almond paste for the hands, 48 Apt to be hasty, 80 All is fair in love and war, 81 Age to marry, the best, 99 Age of puberty to marriage, from the, 107 A happy marriage, the basis of, 118 Abortion, 128 Abortion, the cause of, 129 Abortion, means of preventing, 133 Amenorrhoea—suppression of the menses, 140 Alterative, or liver powder, 147 Anti-dyspeptic pills, 147 Ague pills, 148 Ague drops, 149 Anodyne headache pills, 149 Arrowroot jelly, 157 Arrowroot gruel, 159 Autumn leaves and ferns, to prepare, 181 Articles of white zephyr, to clean, 184 Artificial honey, 205

Breath, to purify the, 31 Bleach and purify the skin, to, 31 Bloom rose, 34 Brilliant, beautiful eyes, how to have, 35 Beautiful eyelashes, how to have, 36 Beautiful mouth and lips, to have a, 39 Bleaching lotion, 47 Baldness, to cure, 61 Bleach the hair, to, 63 Boston Burnet powder, 65 Birth of the first child, 89 Bleeding at the lungs, 151 Barley water, 157 Bread jelly, 159 Beef liquid, 159 Beef tea, 160 Bedbugs, to get rid of, 166 Bleach the leaves, to, 181 Bluing, 183 Blue powder, to make, 188 Brush, the, 189 Bronze work, 191 Bronzing, directions for, 193 Bronzing statuettes, 194 Begonia stemming, to make, 195 Brilliant self-shining stove polish, 202

Cleopatra's freckle balm, 29 Cure profuse perspiration, to, 31 Cleopatra's enamel, 31 Cure freckles, to, 31 Cosmetic bath, a, 32 Certain cure for eruptions, 34 Clear the complexion, to, 34 Cure and refine a blotched skin, to, 34 Cure and prevent wrinkles, to, 34 Cure weak eyes, to, 36 Cure watery and inflamed eyes, to, 37 Care of the teeth, the, 40 Cure foul breath, to, 44 Cure toothache, to, 44 Camphorated chalk, 45 Camphor paste, 45 Cure red hands, to, 48 Coarse hands, to whiten, 49 Chapped hands, 51 Cause the skin to become satin-smooth, to, 51 Cause the bloom of youth to return, 52 Cause the hair to grow, to, 60 Charm those whom you meet, to, 72 Courtship a momentous matter, 83 Conception, 121 Change, a remarkable, 121 Changes in the breast, 122 Childbirth a natural process, 123 Cramps of the legs, etc., 126 Chlorosis, or green sickness, 137 Cessation of the menses—change of life, 141 Cathartic and liver pills, 147 Certain remedy for ague, 148 Consumption, for, 151 Cough syrup, 152 Cough mixture, 152 Compound tincture of myrrh, 152 Cordial for summer complaints, 153 Coffee milk, 160 Crust, coffee, 161 Cranberry water, 161 Chicken broth, 161 Calves'-foot jelly, 162 Chambers, 176 Coffee starch, 183 Copper bronze, 194

Decayed teeth, for, 44 Decayed teeth, mixture for, 46 Dye the hair flaxen, to, 63 Days of the week—their importance, 68 Duration of pregnancy, 123 Diet, the, 124 Detection of pregnancy, sure test for the, 127 Delayed menstruation, 135 Duty of mothers, 135 Dyspeptic ley, 148 Dr. Jordan's cholera remedy, 154 Deafness, 155 Drink in dysentery, 161 Drunkenness, to cure, 168 Different kinds of perfume, to make, 169 Dining-room, 177 Do your own stamping, how to, 187 Dry stamping, 188 Distributor, to make a, 188 Dark blue powder, 189 Decalcomania, 196

Eruptions, 24 Extreme paleness, 26 Excoriations, 28 Eyes, to cure weak, 36 Eyes, to care watery and inflamed, 37 Eyes, general care of, 37 Eyelashes, to improve the, 36 Eyelashes, to have beautiful, 36 Elegant hair, to have, 60 Electrical psychology, 69 Early marriage, 99 Everything for love, 111 Expectorant tincture, 152 Eggs, 165 Extract the essential oil from flowers, to, 168 Enamel for shirt bosoms, 184 Exotic leaves, 194 Electric powder, 205

Freckles, 25 Freckles, to remove, 29 Flesh-worms, to remove, 30 French face wash, 32 French lip salve, 40 Fine tooth powder, 44 Finger nails, the, 49 French remedy for baldness, 63 Fortunate and unfortunate days, 67 Fondness for cousins, 95 Flirtation, 96 False sense of duty, 112 Falling of the womb, 143 Fever powder, 149 French milk porridge, 160 Fluid, No. 1, 2, and 3, 163 Fresh-blown flowers in winter, 166 Flour starch, 184 Fine starch, 184 Fruit stains, 185 Flannels, to wash, 186 Floral basket in bronze, 193 French polish for leather, 205

German lip salve, 41 Golden hair secret, the, 62 Gestation, period of, 122 Gum acacia restorative, 164 Get rid of bedbugs and mosquitoes, how to, 166 Gall soap, 183 Grease, to take out, 185 Green bronze, 193 Geranium leaves, 196

Hands, chapped, 51 Hair, the, 52 Hair restorative, 61 Hair, to bleach, 63 Hair, to dye flaxen, 63 Hair, keeping curled and crimped, 63 Hair, powder for preserving, 64 Hair to make grow quickly, 64 Hair falling out, to prevent, 65 Human temperaments, the, 66 How to charm those whom you meet, 72 Hop bitters, 146 Home decoration, 171 House plants, to care for, 179 Healing salve, 200

Itch, the, 17 Improve the skin, to, 33 Improving the hair, for, 63 Important advice to females, 68 Inverted toe-nail, 156 Irish moss jelly, 158 Isinglass jelly, 158 Iron rust, to remove, 185 I X L baking powder, 204

Kalydor for the complexion, 33

Lemon cream, 29 Lip salve, white, No. 1, 40 Lip salve, No. 2, 40 Love and respect, 77 Love and marriage, 94 Leucorrhoea, whites, flour albus, 144 Laziness, to cure, 168

Milk of roses, 33 Mouth pastilles, 44 Mixture for shampoo, 64 Mesmerism, 70 Marriage, 73 Married people, 102 Monogamy, 116 Marriage customs, 117 Morning sickness, 126 Menstruation, 134 Malt infusion, 164 Milk for infants, 165 Magnetic croup cure, 201 Magic annihilator, 203

Necessary evils, 109 Nutritive fluids, 162

Preparation for whitening the skin, 30 Pimples, to remove, 32 Pomade d'Hebe, 34 Preservative tincture for the teeth, 45 Powder for preserving the hair, 64 Polygamy, 125 Polyandry, 117 Pregnancy, labor, parturition, 121 Parturient balm, 128 Premature labor, 128 Pills for asthma, 151 Pills for chronic bronchitis, 151 Pills for neuralgia, 151 Pills for dysentery, 150 Pile ointment, 155 Panado, 160 Prevent horses being teased by flies, 167 Prevent flies lighting on windows, pictures, etc., 167 Poisons and their antidotes, 206

Rouge, liquid, 33 Rye tooth powder, 45 Red hands, to cure, 48 Rough hands, to cure, 49 Rheumatic pills, 150 Rice water, 157 Refreshing drink, a, 157 Rice, 158 Rice jelly, 158 Rice gruel, 158 Restorative jelly, 160 Render paper fireproof, to, 168 Royal washing powder, 203 Rashes and redness, 27

Skin, the, 22 Scurf, scurvy, 27 Soften and whiten the skin, 30 Soft, white hands, 46 Sexual intercourse—its laws and conditions, 105 Seduction, 110 Soothing cough mixture, 152 Scrofulous syrup, 153 Sago gruel, 159 Scorch, to take out, 183

Turkish lotion, 207

Wrinkles, 28 Wrinkles, to remove, 35 Wrinkles, lotion for, 35 Wrinkles, wash for, 35 Wash for scald heads, 65 Whiten the skin, to, 65 Warts, 51 Waterproof boots, to prepare, 168 Worm elixir, 201 Wonderful starch enamel, 203



TRANSCRIBER'S NOTES

Obvious typographical errors have been fixed. See below for the detailed list.

page 11—typo fixed: changed 'Decalcomanie' to 'Decalcomania' page 14—typo fixed: changed 'Feuchwanger's' to 'Feuchtwanger's' page 15—typo fixed: changed 'Montey' to 'Montez' page 27—typo fixed: changed 'expoliation' to 'exfoliation' page 31—typo fixed: changed 'pitachia' to 'pistachia' page 32—typo fixed: changed 'skum' to 'scum' page 39—typo fixed: changed 'domimonde' to 'demimonde' page 43—typo fixed: changed 'opreation' to 'operation' page 44—typo fixed: changed 'Teuchwanger's' to 'Feuchtwanger's' page 45—typo fixed: changed 'Talk' to 'Take' page 51—typo fixed: changed 'particulary' to 'particularly' page 59—typo fixed: changed 'strengh' to 'strength' page 72—typo fixed: changed 'magnitized' to 'magnetized' page 72—typo fixed: changed 'through' to 'though' page 90—typo fixed: changed 'bady' to 'baby' page 93—typo fixed: changed 'elevaton' to 'elevation' page 101—typo fixed: changed 'eighteeth' to 'eighteenth' page 102—typo fixed: changed 'probabilty' to 'probability' page 106—typo fixed: changed 'Carpentar' to 'Carpenter' page 122—typo fixed: changed 'preceptible' to 'perceptible' page 128—typo fixed: changed 'increase' to 'increases' page 153—typo fixed: changed 'rhubard' to 'rhubarb' page 155—typo fixed: changed 'corbonate' to 'carbonate' page 191—typo fixed: changed 'tupentine' to 'turpentine' page 202—typo fixed: changed 'diagreeable' to 'disagreeable' page 206—typo fixed: changed 'flower' to 'flour'

THE END