by Lina Beard
White Clover Design.
CHAPTER XII.
BOTANY AS APPLIED TO ART.
THERE is a book of most lovely designs open to everyone whose eyes are open to see.
Grasses, leaves, blossoms, and even buds and seed-vessels supply material for beautiful patterns.
We need not look far for suggestions. Truly “that is best which lieth nearest; shape from that thy work of art.”
At your very doorway the wonders of botany may be studied. Carefully inspect the tree blossoms in the early spring; the maple, willow, birch, any in fact which happen to be convenient, and you will find suggestions of rare designs.
Clover, plantain, pepper-grass, dandelions, vines and twigs, offer ideas which can be adapted to ornamental art.
A love of nature will quicken and stimulate the faculties; take the flowers and plants for instructors, and they will teach and guide you.
Though there cannot be found an exact duplicate of any blossom or leaf, still these may be conventionalized by arranging them in all sorts of symmetrical designs.
There is no mystery about the matter, for all the designs are conceived upon the most simple of geometric laws. We are now following in the steps of the old masters, and an unlimited field of new combinations opens before us.
When making designs for this chapter, the writer did not select the objects she thought would be most decorative, but anything which chanced to fall in the way; and what she has done you can do, provided, of course, that you have ordinary skill with the pencil.
The Peony Leaf.
Suppose you do not know how to draw at all! Even then you can design. Take the first thing you see, which in this case happens to be a peony leaf (Fig. 68). That is, assuming that you are seated by the side of the writer.
Fig. 68.
Fig. 69.
Now watch! We will pull it apart thus (Fig. 69). Next with a pair of scissors, a knife, or fingers snip off the stems, and group the leaves in any way we chose. We will try this combination (Fig. 70). If you do not understand drawing, we must fasten the leaves down upon a piece of paper as they are arranged, and trace around them, following their edges with a pencil until the outline is complete (Fig. 70). By simply repeating this figure at regular intervals we have a very pretty border design and one that is truly original, for the writer had no more idea than you, what was to be the result of this experiment. In order to make the pattern exact, draw lines as in Fig. 71, for a guide; then draw the figure according to the foundation lines (Fig. 72). When finished, erase the lines and the design stands a conventionalized peony leaf, Fig. 73. By making a tracing of the first pattern, you can repeat it any number of times. It requires no great or peculiar genius to design well, and it is a mistaken, old-fashioned idea to suppose because you never have done any original work in art that you never can. Do not slavishly follow other people, but believe that there is implanted in you the same elements that belong to those whose designs you admire, then commence and design for yourself. That you may have a start in your new art, we will try something else, a vegetable this time, for here comes the green-grocery man with a basket full of as quaint decorations as are ever painted with bamboo-handled brush by the Japanese.
Fig. 70.
Fig. 71
Fig. 72
Fig. 73
A Bunch of Turnips.
Take the first bunch of vegetables on the top of the basket. What are they? turnips? Well that requires a little skill as a draughtsman, but we will sketch this one and you can copy it (Fig. 74). Now repeat it (Fig. 75), or place the bunches in a row and you will have another border design. After a few experiments you will see that anything will make a decoration even the humble kitchen vegetables.
Fig. 74
Bunch of Turnips
Fig. 75.
Decorative Lines.
Figs. 76 and 77 are simply graceful curves, such as anyone can make with a pen or pencil, and may be used in many ways: cross them and they form Fig. 78, use this as half the design, duplicating it for the other half and it gives Fig. 79. We now have graceful and beautiful foundation lines on which any vine or flower may be placed as ornamentation. We will select the select the rose, allowing the lines to form the stems and using as ornament the bud, flower and seed-vessels, remembering that one side must be an exact duplicate of the other (see Fig. 80).
Fig. 76.
Fig. 77.
Fig. 78.
Fig. 79.
Fig. 80.
With these curves invent new designs by placing them together in different ways, and choose for decoration anything which may strike your fancy.
Plant Cross-section Designs.
Have you ever noticed how curiously some leaves are curled before opening? Watch them as they commence to expand and grow, and you will be delighted with the great variety and unique designs formed by the folding and rolling of these leaf-buds.
Cut a bud square across in the centre with a sharp knife, and this will show the nicety of arrangment of the young leaves. The leaf-bud of the sage (Fig. 81), rosemary (Fig. 82), apricot (Fig. 83), and still another variety of pattern (Fig. 84), are all singular natural designs.
Fig. 81
Fig. 82
Fig. 83
Fig. 84
The petals of flower-buds are also folded in many ways, affording odd designs; if cut in like manner as the leaves, the cross-sections will be as beautiful. Fig. 85, the lilac bud, and the oleander (Fig. 86), give some idea of these odd designs.
Fig. 85
Fig. 86
Submit all kinds of buds to the test by cutting them in halves, and carefully examining the two parts, observe how nicely and orderly the leaves are folded together. In this way you will find many natural ornamental patterns.
Fig. 87
Nor must we neglect the seed-vessels; when these in their turn are cut open, they present excellent designs. Fig. 87 is a cross-section of the seed-vessel of the harebell. Other seeds will furnish queer forms and figures to be obtained in no other way.
Flower Sprays.
The common white clover with its trefoil leaf is very pretty, and if a few sprays are placed together in a graceful manner it is surprising how readily they lend themselves to decoration. Experiment with these, gather a few blossoms and leaves, group them on the centre of a piece of paper, and make an outline of the group; then trace it off in order to repeat the copy at equal intervals from the central figure (see illustration, page 138); this makes a very simple and yet beautiful design for embroidery, needle-work, or wall-paper pattern. In the same manner try grasses and different kinds of flowers.
Fig. 88
Conventional designs can also be formed by simply inclosing a natural spray in a geometrical figure. Fig. 88 is a circle, but a square, triangle, diamond, oval, or any geometrical figure may take the place of the circle.
Changing the Color
of a natural object gives still another style of ornamental art. A spray of flowers and leaves in one color on a background of different tint is an example. The spray may be brown on a yellow background, or a dull blue on white background, either way it will be conventionalized. So you see that by merely making natural objects all in one tint, you can have a great variety of designs suitable for china, embroidery, wall paper, and many other decorations. It is instructive to examine the panels, screens, or painted china of the Japanese. There is a freedom and crispness about their ornamental art, which is very attractive.
Fig. 89
The method the Japanese frequently employ is to diminish the size of the fruit or flowers while increasing the size of the leaves, and vice-versa; in this way they invent designs without losing the character of the object they copy, and it is really a very simple, yet effective method.
Suppose you try and see what you can make with it. The next time you have an opportunity, notice how the Oriental artists carry out this idea in their decorations, and it will help you in making your designs.
Fig. 90.
Bu
rs.
The tenacious little burs found clinging to your dress after a country walk, when grouped together are not without beauty. Fig. 89 is formed of four of these burs placed at right angles making an ornament, and when the ornament is repeated at regular intervals as in Fig. 90, it forms a border design.
Fig. 91
Seeds with downy or feathery tails are well adapted for decorations; three grouped together (Fig. 91), is a design of itself, which may also be re-duplicated (Fig. 92). The horse-chestnut or buckeye is decorative, and makes an odd design (Fig. 93). Also the seed-vessel of the Velvet-leaf or Abutilon avicennæ (Figs. 94 and 95).
Fig. 92
The Water-Lily.
In the illustration of the water-lily, the writer has conventionalized it by curving the stem around the flower and duplicating the same, always making the stem meet the next lily, then inclosing the flowers in two straight lines, so forming a water-lily border. Now, girls, you can realize how very simple it is to apply botany to art, and make for yourselves new and original designs.
Fig. 93
The knowledge of plants is not only interesting but useful in connection with art, in selecting and determining appropriate designs for wood-carving, hammered brass, or any kind of ornamentation or decoration. The cross-section of some trees will furnish very good designs and the differently formed roots of plants and flowers will aid you in ornamental art.
Fig. 94
Fig. 95
So we find that Nature offers us exquisite designs, in many shapes and forms, and we have only to stretch out our hand and take what we want.
Fig. 96
“Beauty doth truly inhabit everywhere,” for “it is mind alone that is beautiful, and in perceiving beauty, we only contemplate the shadow of our own affections.”
CHAPTER XIII.
DOOR-STEP PARTY AND QUIET GAMES FOR HOT WEATHER.
IN the State of Kentucky, in one of whose towns the writer’s early childhood was spent, the summers are long, and frequently very hot spells occur when even in the early morning hours there is no refreshing coolness in the air. As the sun rises higher and higher in the heavens, its rays grow fiercer and fiercer, until by afternoon, the heat is so intense that few persons care to venture out of doors, unless compelled by business or necessity to do so.
At dusk, however, after the heat of the day is spent, and the air, although not cool, is a degree or two less hot, the population of the town makes itself visible. Ladies and children clad in the thinnest of white and light colored muslin gowns, emerge from the houses to sit upon piazza and door-step, and there welcome the husband, father, and brothers of the family upon their return from business; that business which is never neglected no matter what the thermometer may register. After tea the door-steps are once more taken possession of, and to enter the house again until ready to retire for the night, is not to be thought of. Friends and neighbors making social calls are received and entertained informally upon the door-steps, and sometimes when the party becomes too large for the steps to accommodate, chairs are placed upon the pavement immediately in front of the door, and no one feels, while occupying one of these seats, that the position is at all public or conspicuous.
Hatless and bonnetless as all of the ladies and children are, the warmth of the evenings making all head coverings and extra wraps unnecessary and uncomfortable, the streets present a gay and fête-like appearance seldom seen in our eastern towns.
At least this is as it was when, as one of the band of merry children, I played “Oats-peas-beans” and “Come Philanders,” upon the sidewalk, and I do not think these customs have changed much since then.
Later, when I and my young friends had outgrown the “ring-around-arosy” games, we used to gather upon the doorstep, and there chatter away about the day’s doings, or whatever interested us at the time. When tired of talking, we would amuse ourselves by playing quiet games or telling stories. Sometimes the thoughtful mother of our young hostess would add to our enjoyment by serving some light refreshment, such as ice-cream or fruit. The greatest treat, and the one most appreciated, was when we were invited to partake of a great crisp frozen water-melon, whose blood-red core, sweet as sugar and cold as ice, quickly melted away between the rosy lips of the little guests. We were not always thus favored, however; the refreshments were ever a pleasant surprise, but the pleasure of our evening was not marred by their absence.
The remembrance of what very pleasant times we used to have at these impromptu little parties, urges me to devote some pages of this book to the description of a door-step party, that by acting upon the suggestion, others may enjoy them even as did that group of little Kentucky girls.
Now is just the time for a door-step party; now when the beauty of the evening lures us from the lighted parlor to the shadowy piazza whose coolness is so attractive after the long, hot summer day. Here soft breezes fan our cheeks, and here, perhaps, the moonlight filtering through vine and trellis, is carpeting the floor with lacy shadows, and with its soft mysterious light is casting a glamour over all familiar things.
It is a modest little fête, this door-step party, a simple way of entertaining one’s friends of a summer evening when the heat will not permit of the exertion of active games. The delightful out-door surroundings give it a novel charm and make it entirely different from the frolics usually indulged in during the winter season.
Because the entertainment is not noisy it need not be the less enjoyable, and a party of bright, merry girls will derive plenty of amusement and fun from the quiet games of a door-step party. The following will give an idea of what games are suitable for an occasion of this kind.
Five Minutes’ Conversation
is not exactly a game, although there are rules which must be obeyed in order to make it interesting.
A programme with small pencil attached, like the one shown in Fig. 97, should be given to each guest upon her arrival. The engagements for five minutes’ conversation are made by putting your name down on your friend’s card opposite the time chosen for your conversation with her,
Five minutes only are allowed for one conversation.
Two or more consecutive engagements with one person are not allowable. When engagements are made and programmes filled, the hostess, or anyone willing to be time-keeper, must ring a bell giving notice that the conversation is to begin.
At the end of five minutes the bell is to be rung again, when all talking must instantly cease, the exchange of positions be quickly made, and a new conversation be commenced.
Fig. 97
The time-keeper should be strictly attentive to her duties, for the bell must be rung regularly at the end of every five minutes.
The hour allotted to this new mode of conversation will pass very quickly, and cannot become in the least tiresome, as the time spent in talking to any one person is so very short.
Blind-man’s Singing-school.
One of the party must be blindfolded to take the part of teacher. The class composed of the rest of the players should sit in a line facing her.
The teacher informs her scholars that they will begin the lesson by singing the scales. Then the head girl, or the one at the top of the line, sings ah! and the next, ah! a little higher or lower, and so it goes down the line; each one in turn uttering ah! in any key or note she please; in a high shrill voice, or the deepest tone a girlish throat is capable of. The teacher should listen attentively, and when she thinks she recognizes a voice she must command the class to stop while she makes some criticism on the manner in which the note is sung, at the same time calling the singer by name.
When one of the players is named correctly, she must be blindfolded and become teacher, while the former teacher takes her place in the class.
A general exchange of seats is made before the singing lesson recommences, that the voices may not be guessed by the direction from which they come. To give variety to this game the second teacher may direct the class to sing a song, selecting some well-known nursery rhy
me; then, beginning at the top of the line as before, each player must sing the word which comes to her to supply. It is the privilege of each teacher to direct the class to sing whatever she may choose, either song or exercise.
A Game of Noted Men,
is played in this way: The hostess begins the game by saying, I know a celebrated poet; the first part of his name is very black, and the last is an elevation. Whoever gives the right name, which is Coleridge (coal, ridge), in her turn describes the name of some noted person. She may choose Shakespeare and say, I give the name of a noted author and poet; the first part is something people are apt to do when they are cold, the last is a weapon of warfare.
There are quite a number of names which will do nicely for this game; a few of them are—
Wordsworth—words, worth.
Shelley—shell, lea.
Cornwall—corn, wall.
Washington—washing, ton.
Howitt—how, it.
Fillmore—fill, more.
Milman—mill, man.
Longfellow—long, fellow.
When giving a name to be guessed, the profession of the man, whether poet, author, statesman, or soldier, must be given, but nothing else should be told about him.