In regard to the preparation of wardrobes : Ermine is made of cot-
ton flannel, with tags of lion skin cloth sewed on, or black tags painted.
Pelisse wadding is sometimes used. Powdered wigs can be made of
tow, raveled yarn, or gray-colored horsehair ; beards and mustache of
the same, or a piece of buffalo skin. Crowns and sceptres are easily
made of pasteboard and gold paper. Velvet talma cloaks, capes, or
even the loose velvet sack can be converted into cavalier cloaks (the
armholes in the sack must be fastened up on the inside) by fastening
them gracefully over one shoulder. Then put on a large, old-fashioned
60 ENTERTAINMENTS.
lace collar, ruffles around the hand, a Kossuth hat, looped on one side
with a paste pin or buckle, fastening a white or black plume, stockings
drawn over the pantaloons and fastened at the knees with bows and
buckles, and with but little trouble you have a cavalier of the olden
times.
PROVERBS AND CHARADES.
"There is no use in crying over spilt milk." The scene is a farm
kitchen. In the center stands a milkmaid, dressed in a short, striped
chintz skirt, a white muslin waist, and jaunty cap which she holds in
her hand. She is crying over the pail of milk which has fallen at her
feet. The milk is pouring out (use cotton, as it makes an excellent
imitation of milk). Standing beside her is a young farmer who is try-
ing to comfort her; he points to the milk and shrugs his shoulders, as
if quoting the proverb, " There is no use in crying over spilt milk."
"Listeners hear no good of themselves" — a parlor scene. — In the
foreground are two girls. One of them is holding out a miniature to
the other, who puts it aside with an expression of anger and contempt.
The one who holds the miniature is laughing heartily ; she points her
finger at the second as if teasing her about the picture. Peeping out
from behind a window curtain is a young man who, with an expression
of rage, is shaking his fist at the girls in the foreground.
Charades are easier and take less time. A few simple ones are here
given as examples, and as one progresses harder ones can be studied up.
" Penny " — A dust-pan on the floor, standing beside it is a girl dressed
as a servant. In one hand she has the dust-brush, in the other a
" penny." She holds it up to the audience with a look of delight.
"Tent" — Make a "tent" atone side by fastening a sheet down at
the corners ; stand a pole in the center of it. On the other side stand
a peasant girl in a chintz dress and large straw hat. Seated before her,
holding her hand, is a woman in a red dress, turban and shawl crossed
over the breast. Long hair falling loosely adds to the gypsy's appear-
ance. She is reading the girl's fortune. Peeping out from the tent,
behind the young girl, is a man in peasant's dress, who tries to catch
the woman's eye.
" Penitent " — A room with a crucifix on a table, rich dresses thrown
carelessly over the chairs, a soft light. Kneeling in front is a young
girl in white, her hair falling over her shoulders, her hands clasped, her
head bowed. By her side stands a man in a monk's dress who looks
upward. One hand is pointed up, the other is extended, as if inviting
the " penitent" to rise. Soft music adds very much to the effect.
Page 53
Presented as published in 1886. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
In regard to the preparation of wardrobes : Ermine is made of cotton flannel, with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used. Powdered wigs can be made of tow, raveled yarn, or gray-colored horsehair ; beards and mustache of the same, or a piece of buffalo skin. Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack can be converted into cavalier cloaks (the armholes in the sack must be fastened up on the inside) by fastening them gracefully over one shoulder. Then put on a large, old-fashioned
lace collar, ruffles around the hand, a Kossuth hat, looped on one side with a paste pin or buckle, fastening a white or black plume, stockings drawn over the pantaloons and fastened at the knees with bows and buckles, and with but little trouble you have a cavalier of the olden times.
PROVERBS AND CHARADES.
"There is no use in crying over spilt milk." The scene is a farm kitchen. In the center stands a milkmaid, dressed in a short, striped chintz skirt, a white muslin waist, and jaunty cap which she holds in her hand. She is crying over the pail of milk which has fallen at her feet. The milk is pouring out (use cotton, as it makes an excellent imitation of milk). Standing beside her is a young farmer who is trying to comfort her; he points to the milk and shrugs his shoulders, as if quoting the proverb, " There is no use in crying over spilt milk."
"Listeners hear no good of themselves" — a parlor scene. — In the foreground are two girls. One of them is holding out a miniature to the other, who puts it aside with an expression of anger and contempt. The one who holds the miniature is laughing heartily ; she points her finger at the second as if teasing her about the picture. Peeping out from behind a window curtain is a young man who, with an expression of rage, is shaking his fist at the girls in the foreground.
Charades are easier and take less time. A few simple ones are here given as examples, and as one progresses harder ones can be studied up.
" Penny " — A dust-pan on the floor, standing beside it is a girl dressed as a servant. In one hand she has the dust-brush, in the other a " penny." She holds it up to the audience with a look of delight.
"Tent" — Make a "tent" atone side by fastening a sheet down at the corners ; stand a pole in the center of it. On the other side stand a peasant girl in a chintz dress and large straw hat. Seated before her, holding her hand, is a woman in a red dress, turban and shawl crossed over the breast. Long hair falling loosely adds to the gypsy's appearance. She is reading the girl's fortune. Peeping out from the tent, behind the young girl, is a man in peasant's dress, who tries to catch the woman's eye.
" Penitent " — A room with a crucifix on a table, rich dresses thrown carelessly over the chairs, a soft light. Kneeling in front is a young girl in white, her hair falling over her shoulders, her hands clasped, her head bowed. By her side stands a man in a monk's dress who looks upward. One hand is pointed up, the other is extended, as if inviting the " penitent" to rise. Soft music adds very much to the effect.