Tuesday, March 19, 2013

Easter Eggs That Imitate Wedgwood Blue Earthenware

Typical wedgwood blue
plate with white decor
      I have always been in love with Wedgwood blue earthenware. It is very expensive, however, so it is not likely that I will ever acquire much of it. I did find some "Wedgewood" look-alikes  in a hobby shop many years ago and adhered these medallions to Styrofoam eggs. Then, I covered the back half of my eggs with blue paint, glitter and some vintage lace. I strung my blue, "Wedgwood"eggs on glass bead hangers. These eggs are my favorites and I hang them on one of my Easter egg trees every year.
      In 1765, Wedgwood created a new earthenware form which impressed the then British Queen consort Charlotte of Mecklenburg-Strelitz who gave permission to call it "Queen's Ware"; this new form sold extremely well across Europe. The following year Wedgwood bought Etruria, a large Staffordshire estate, as both home and factory site. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and new ware types Black Basalt and Jasper Ware. Wedgwood's most famous ware is jasperware. It was created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel which is now a museum piece.. (The first jasperware colour was Portland Blue, an innovation that required experiments with more than 3,000 samples). In recognition of the importance of his pyrometric beads (pyrometer), Josiah Wedgwood was elected a member of the Royal Society in 1783. Today, the Wedgwood Prestige collection sells replicas of some of the original designs as well as modern neo-classical style jasperware. Read more . . .

Easter eggs featuring Wedgewood look-alike medallions. Push the medallions gently
 into the foam egg before gluing these in place with a tacky white glue.


My family has visited here during the summer months.
This makes for a relaxed, family friendly trip.

Craft a Humpty-Dumpty Easter Egg


The Humpty egg from different view points.

       This Humpty-Dumpty Easter egg is much easier to make than he looks. I used a small face mold and a bit of Sculpey clay to make his face. Although, some of you who do not like to paint, could use a bit of flesh colored polymer clay instead. 

       Humpty-Dumpty named after a famous nursery rhyme was actually a relatively popular character to craft during the mid to later half of the 20th century during Easter and also for nurseries. I've included more examples of this funny egg fellow below.


Supply List:

  • Sculpey or air-dry clay
  • acrylic paints
  • white scrap paper for collar
  • hot glue and hot glue gun
  • wood glue
  • Mod Podge
  • wooden egg
  • press mold of an old man's face

Step-by-Step Instructions:

  1. After un-molding the clay mask, I then pressed it onto a wooden egg with a generous amount of wood glue sandwiched between the clay and wooden surface. 
  2. Then I baked the entire egg in an oven for only a few minutes at recommended temp. on the package. If I had to make the Humpty egg again, I would probably opt for air dry clay. 
  3. I then let the egg cool. 
  4. Paint the head in flesh colored paint and the lower portion of the egg in blue to suggest his shirt.
  5. Hot glue on a simple white collar and a bow tie.

Above are examples of face molds from my vast collection.

Humpty Dumpty's Easter Surprise by Dick Clarke

Saturday, March 16, 2013

The Living Butterfly

Paper butterfly pattern.

      Cut out the wings all around the outside black lines and fold them together at the dotted line A. Cut out both sections of the body and paste them together, with the exception of the legs and antennea, which are to be spread apart. Now slip the body between the wings at the white space. BB and bend the wings down at right angles to it at the dotted lines CC. The butterfly is now finished. To set it in motion hold it between the thumb and forefinger, as shown in the model, and pinch it gently, being sure to have the thumb and finger high enough under the wings so that they will be raised every time they are pinched and lowered when the pressure is relaxed. If you do this just right the butterfly will look like a little living creature poised for flight and an observer will be scarcely able to see what makes the wings go up and down. If you like to paste a thin piece of note paper on the wrong side of the wings to cover the printing and to color them on both sides. You will have a very pretty toy to add to your collection of cut-outs.

Friday, March 15, 2013

Futuristic Fashions Parade Easter Morning

Illustration by James Henry Daugherty from a newspaper published in 1915.

      James Henry Daugherty (June 1, 1889 Asheville, North Carolina – February 21, 1974) was an American modernist painter, muralist, children's book author, and illustrator.
      He lived in Indiana, Ohio, and at the age of 9 he moved to Washington, D.C., where he studied at the Corcoran School of Art. Later, he went to London and studied under Frank Brangwyn. During World War I, he was commissioned to produce propaganda posters for various US Government agencies, including the United States Shipping Board.
      Daugherty wrote and illustrated several children's books during his career. In his book Daniel Boone won the Newbery Medal. His book with Benjamin Elkin, Gillespie and the Guards, won the Caldecott Honor in 1957. He was also the author of Walt Whitman's America Selections and Drawings by James Daugherty.
      In September 2006, controversy erupted at Hamilton Avenue School, an elementary school in Greenwich, Connecticut, over Daugherty's depiction of Bunker Hill hero and Connecticut native Israel Putnam in a mural commissioned by Public Works of Art Project for the town hall, and installed in the school in 1935. The mural was restored, and revealed a scene, filled with violent and richly-colored imagery, including snarling animals, tomahawk-wielding American Indians, and a half-naked General Putnam strapped to a burning stake. School officials objected to the violent imagery, and ordered the mural removed to the Greenwich Public Library.
      Daugherty will be included in the exhibition The Société Anonyme: Modernism for America at the Yale Gallery in 2010.

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Thursday, March 14, 2013

How You Wear Hat Key To Character?


Read a person's character by how they were their hat.
       
Character reading by hats is a new and interesting pastime...
  • The girl or woman who wears her hat firmly and squarely is called the girl or woman who has determination and ability to do things and does them.
  • The girl with a flabby hat set so it seems ready to blow off any minute is said to be of the butterfly variety, without aim or ambition. Hat at a dangerous angle means the wearer is liable to be fickle and to like flattery.
  • She with the bonnet tilted back on her heard, according to fans in character reading by hats, is prone to self-indulgence.
  • Then there is the secretive kind, hiding her eyes behind a curtain and pulling her hat down to her eyebrows.
  • The girl who is continually rearranging her hat and primping her hair may have a fitful mind.
note: Now that we no longer wear hats often, people can never tell what our personalities are like by just looking at us.


What do you think these bonnets reveal?
from Abiana Studio

Stuffing Easter Eggs


      I purchased these dessert shop Easter eggs shaped like ice cream cones, cupcakes and petit fours. I loved the unique shapes. However, as you can see, appearances are all that I paid for; I will need to stuff them a bit more than I thought.


      I also purchased a pack of Squinkies to stuff into the little people's Easter eggs, just for fun. Extra candy, a few toys, coins and printed scriptures will make up the contents of these eggs for my family's Easter egg hunt this year. Why not swipe of few of the Easter scriptures below and print them out for your little ones?




Wednesday, March 13, 2013

Comforting Easter Bells

Comforting Easter Bells

Sweet is the comfort that the chimes
Are throbbing down upon the ear
In pulsing beat of wordless rhymes--
Life and death, human breath,
Joy and pain, naught is vain,
For Christ is risen! Heaven is near!

If sorrows come, they also go:
If joys must fly, they reappear.
Still, gladsome bells, swing to and fro--
Life and death, human breath,
Joy and pain, naught is vain,
For Christ is risen! Heaven is near!

Then ring for joy, ye Easter bells,
That love divine has conquered fear!
Immortal hope your rhythm tells--
Life and death, human breath,
Joy and pain, naught is vain,
For Christ is risen! Heaven is near!

            by Helen Evertson Smith.            

"The Realities of Two Worlds"

Here is an interpretation of the meaning of Easter for average men and women
 by Paul Jenkins: Has this ancient festival ever had any real spiritual significance for you?
TEXT--Jesus saith unto them, come and break your fast. And none of the disciples durst inquire of him, who art thou? knowing that it was the Lord.--John 21:12.

      Unless you remember the circumstances involved in the situation described in the text, its words will seem to you unimportant and meaningless, perhaps utterly absurd as the text of an Easter sermon. But if you remember the circumstances involved, those simple words will describe to you a situation that which you can find none more significant, more startling, more dramatic, more thrilling, more glorious, between the first chapter of Matthew and the last chapter of Revelation. 
      To bring the true situation before you, let me describe a picture of the scene, from the marvelous brush of the French master painter of the Christ so much of whose lifetime has been given to the production of those wonderful paintings of the life of Christ that have been the marvel of the artistic and the delight of the Christian world for more than a decade, And of all the hundreds of canvases the J. James Tissot has delighted to fill with charming, passionate, dramatic and spiritual depictions of movements in the earthly life of the Savior, that which shows the moment described in our text is one of his masterpieces indeed.
      The picture makes the hour of the scene to be, as we know that it was, the most charming hour of the loveliest season of the year, just as sunrise of a cloudless day in spring. Beneath the azure sky and clear in the sunrise glow of that hour, the lake of Galilee shines translucent from turquoise to pearl.
      Resting at the water's edge are the two boats, the large and the small, of which we read, simple and clumsy specimens of the boat builder's craft of that day. Oars, poles, and nets in them tell their use. Upon the pebbles lies a hastily discarded net, still damp and dark from the water, and close by lies the heap of splendid fish, fresh, wet, gleaming and silvery in the sun. The coals of fire glow ruddy in a little heap, and a tiny thread of opal smoke rises straight in the air of the windless dawn. On an outer garment, placed blanket-wise for him, perhaps by the tenderness of a disciple, sits the Lord. In even so simple a pose the noble and commanding presence of his personality is yet unmistakable. At his right hand lie heaped up a dozen flat cakes of the newly baked bread whose luscious brown almost suggests their fragrant aroma. On a simple split stick a fish is spitted, and the Lord holds it in one hand above the coals to brown, with the other hand moving in simple gesture and with uplifted face, as he speaks naturally, familiarly, and with most evident fascination to the spellbound men that squat in oriental fashion facing him across the fire. "Spellbound," did we say? You should see the picture to know with what divine power they are held. Motionless as statues, the most of them yet lean eagerly, amazedly, passionately forward, their eyes centered on his face as if no looking would ever satisfy the hearts that feed on the joy of seeing him, hearing him, participating in the heavenly marvel of the hour.
 
"J. James Tissot has delighted to fill with charming, passionate, dramatic and spiritual
 depictions of movements in the earthly life of the Savior."
 
      Such is the scene. I cannot know just what it means to you. But may I not tell you what it means to me?
      It has been my privilege, now and again, to sit as friend or guest at the tables of the rich, where snowy damask gave joy alike to the appreciative eye and the touching hand, where countless silver gleamed, where glass sparkled like the diamonds that is approached in value, and where the daintiest china of France supported fish, flesh and fowl of two continents and two seas. It has been my honor, and now and again, to sit at the tables of the great, where men of intellect and fame and women of intellect and charm have made an hour unforgetable and have taught one more than a whole university of mere classrooms could do. It has been my profit to sit at banquets where hundreds sat about the tables and listened to the worlds of heroes, heroes of war and heroes of peace, captains of soldiery and captains of industry, and felt the while they listened, that they were in touch with the men and the forces that move the world. It has been my benefit to sit at meat in the homes of the humble, in log cabins and huts, dining off metal plates and plain fare, and there to learn that not circumstances, but characters make men and women. It has been my delight to sit about the table of the grass, in forests and wildernesses, the campfire at hand and the viands won from stream or forest only by gun or rod. But when I contemplate the circumstances of that morning meal beside the lake of Galilee and realize the realities that were there present--things, emotions, sights, that surpass words to describe-- I know that I had rather have been one of those men that ate the bread that Lord baked, the fish his hands caught and cooked for them, that saw what they saw and heard what they heard, than to have attended any other banquet that wealth ever bought or meal that the friends of one's bosom prepared for friendship's tribute!
      "Why so? Tell me, who were there. Tell me whom that group consisted of!" "Oh, a group of coarse fishermen, fagged out by a night's work, listening to a chance rabbi who is getting breakfast for them while he talks." Yes; you can make that answer if you have succeeded in wiping Easter day out of your calendar.
      Who were there? "Oh, let's see, wasn't that the time when Jesus met his disciples and the miracle of the great draft of fishes occurred.?"
      It was one of many occasions of which Jesus shared fish with his disciples, I answer, and this is about the way the average churchgoer (shall I have to say the average Christian?) would answer.
      Who was there? Listen! Men were there that had seen the man in their midst die in pain on the horrid cross of a Roman criminal execution, had witnessed his writhings of agony had seen the sweat of blood, had heard from those lips at which their eyes now gazed as if enchanted the last scream as the body sank lifeless in the nail-suspended collapse of death. Men sat there who had taken that body down in tears and dismay and in the shock of disillusioned hopes had buried it and gone away feeling as if their universe had tumbled in wreck about their heads, murmuring to one another as they went: "And this is the end of him whom we hoped that it had been he that should have redeemed Israel!" And that man sat there before them alive! Alive? He had caught fish and made a fire and baked bread and helped them to make one of the great hauls of their fishermen's experience, and now while they at stunned, amazed, astounded, incapable almost of realizing what had occurred-incapable, as they afterward wrote, of speaking a syllable of inquiry--he calmly served and fed them while he talked to their white faces!
      "Oh, impossible, incredible! false, never to be believed! a myth, a lie, a dream, a delusion, a frenzy or fantasy of disappointed, overwrought and fanatical brains." Yes, and if you can think of any other terms of denial to write against it, set it down! And when you have said and done it all, the plain statement of these men who sat there will challenge you to your face to hear them tell you that it happened, that he whom they had laid in that sealed-up grave sat in their midst in the same body that they had known, and cooked for them and ate and served them as he catted the while! God be praised for heaven's sweet simplicity, that it was not in some awful, supernal shape, "trailing clouds of glory," that he came back to them, but that if was in the shape of the man whom they had known, had lived with, walked with, talked, slept and eaten with--and lo! before their eyes he moved and breathed and walked and ate and talked, the unmistakable and now incredible, but still actual being that he was before! Oh, if you will let these things, these truths, even this simple scene, get into your head and your heart--what an amazing Easter this day would be to you! "Why?" Because, I care not who and what you have been before, if you have never realized that mighty meaning of this simple scene, you may have known a dead Jesus, but you have never known the risen Savior!
      We have asked who were there? Let us take a final moment to ask what else was there? There, in that hour, all the mighty realities of the two worlds were gathered; this world of which they were catching faint but dazzling, astounding glimpses as they gazed on him; the world that he had been born in, lived in, worked in, died in--and the world that he was living in at the time that he ate and talked before their eyes!
      The realities of this world were there. Labor was there--they of the toil-worn hands, calloused by the wet net cords, they of the many a night of fruitless toil, they know what the weariness and uncertainty of labor is as few others know. Hunger was there, the meal that his love prepared to meet their famished bodies, doubly worn with abstinence and disappointment. Death was there, the end fo all earth--or why the meal to keep the body going, the labor for one's loved ones, and why the amazement at seeing one over whom the omnipotence of death had no power?
      And the realities of the world beyond were there. Life was there--such life as never a soul had dreamed of since Adam cowered beneath his sentence of mortality. The body was there; and now we know why it is called the "Apostle's Creed," that says: "I believe in the resurrection of the body!" What other faith, what other verdict, what other creed could they have that saw the nail marks in the hands that served him, who, though already in the life beyond so loved them that he could reward their work-a-day toil and could prepare for them the food that was affection's tribute itself. And the Christ was there!
      Language fails. Words can say no more. But this--all this--is the true Gospel of Easter day. Mount Vernon Signal.
 
LIFE’S DISCIPLINE A TRAINING FOR HEAVEN.
SIR HUMPHRY DAVY


All speaks of change: the renovated forms
Of long-forgotten things arise again.
The light of suns, the breath of angry storms,
The everlasting motions of the main,—
These are but engines of the Eternal will,
The One Intelligence, whose potent sway
Has ever acted, and is acting still,
Whilst stars, and worlds, and systems all obey;
Without Whose power, the whole of mortal things
Were dull, inert, an unharmonious band,
Silent as are the harp’s untuned strings
Without the touches of the poet’s hand.
A sacred spark, created by His breath,
The immortal mind of man His image bears;
A spirit living ’midst the forms of death,
Oppressed, but not subdued, by mortal cares;
A germ, preparing in the winter’s frost
To rise, and bud, and blossom in the spring;
An unfledged eagle by the tempest tossed,
Unconscious of his future strength of wing;
The child of trial, to mortality
And all its changeful influences given.
On the green earth decreed to move and die,
And yet, by such a fate,  repaired for heaven! 

Tuesday, March 12, 2013

Fan Folded Palm Branches


       This Palm Sunday craft may be used during a procession in the church but it also is an excellent method for creating a palm branch prop for a play. Although it is simple the project has much better results when completed by older students, fifth grade and up. You will need eight sheets of green construction paper in all to complete a palm similar to this one. However, you can use this method with any number of sheets if you should desire to alter the size of the project. Fold the paper in an accordion fashion and then snip off the tips of the fonds in a curved-like fashion as seen in the far left hand photo above. The center photo shows how your accordion folds should look. You will then need to glue the edges of sets of four papers together to form a continuous sheet of palm leaves.


      Left, I then bound both sets of palm leaves together with masking tape over the end of an old yard stick, one palm half on either side of my yard stick/ruler. Center, I added more tacky white glue to the edges of the palm leaves on the stick for strength. Right, I covered my tape with a small strip of paper, thereby giving the palm a clean look. 


      After leaving the palm branch to dray, I then glued the two accordion folded palms together down the center of my project and then wrapped the trunk of my branch with brown twine and white tacky glue to hide the writing on the old yard stick. On the far right you can see the completed palm branch. 
 

      As you can see by the photos, you may open the palm all the way into a circular shape and pin it down to the trunk of it's branch with a clamp of some sort. This gives the palm a very aesthetically pleasing appearance. However, I suggest that you only clamp this into place, not glue it permanently. This is because the palms store better when they are flat and closed at the top. Clamping them temporarily while on display will allow you to use them time and time again in future parades.

Vintage needlepoints of flowers in baskets

      "This little bag for holding money or jewels is most useful to any woman blessed with such desirable possessions, and one as pretty as this would appeal to any woman of fastidious tastes as the daintiest and most useful of all simple presents to be made by the clever fingers of an artistic friend." 
      This antique needlepoint pattern of violets in a basket appeared in the Washington Times, Sunday, April 17, 1904.
 
Three lovely designs of cross stitch flowers in baskets.
 
      "No. 718 is a design for embroidering baskets of flowers in cross stitch style. The large basket is five and one-quarter inches in height by five and three-quarters in width; the smaller baskets are four and one-half inches in height by four and one-quarter in width. Transfers for one large and two small baskets are given here.
       In the pattern, all the stitches are crosses but, in the above illustration, some are made single and some fancy as a suggestion for color. The single stitches in the smaller design represent the baskets, the crossed stitches leaves and the fancy stitches flowers, with a few single stitches at the center for darker coloring. In the larger design, the single stitches represent the basket, the crossed stitches the leaves and bow knots and the fancy stitches flowers. As the flowers are conventionalized, any preferred colors can be used.
      The window pane method is perhaps the simplest and is particularly successful when the material is thin such as batiste, lawn, or handkerchief linen, the best plan is to pin the sheet of paper and the material together an hold them up against the window pane and with a sharp pencil trace the design on the fabric, or else lay the material on the pattern on top of a table or other hard surface, and carefully trace the design with a well pointed pencil. The design may also be transferred to heavy material by using a piece of transfer or carbon paper, to be placed between the pattern and cloth, using a sharp pointed pencil to secure a clean line."

Stencil Easter Rabbits Eating Clover


      The Easter bunny picture above was made by the use of a series of stencils. The rabbits and the dandelions (taraxacum) where drawn by one method and the clover by another. I also combined colored pencils and crayons in this picture.

Step-by-Step Instructions:
  1. In order to make the soft appearance of the fuzzy animals and the dandelions, I gently rubbed the side of my colors over the top of each stencil with a grey crayon first. The effect resulted in a feathery appearance. 
  2. Next, I traced around the clover and colored in the shapes left behind in a brilliant green crayon, resulting in harder brighter lines and shapes. 
  3. Then I copied the same process from step 1. to draw the dandelion puffs.
  4. Draw the center details of the puffs with colored pencils red and black.
  5. Use Crayons or pencils to color in the sky blue, clover leaves green and the clover buds lavender.
      Teachers in this lesson may then discuss with young students the differences between design elements that are sometimes difficult to communicate in a drawing only. The rabbits look soft; the clover looks smooth. The fur and seeds look fuzzy, the clover looks bright and so on . . . Tactile ideas are easier to communicate through a fabric assignment but sometimes this is not affordable. Visual textures may be easier to believe when associated with objects that are obviously associated with textures small students enjoy in both their toys and in small animals that they are fond of.
      Teachers will need to make stencils in advance for the assignment. These should look similar to the black silhouettes that I have pictured below.

Stencil shapes for drawing above. Enlarge these as needed.

Monday, March 11, 2013

Collecting Early Vintage Bunnies and Chicks for Easter

The following article is from the Ogden Standard, Ogden City, Utah. It was published on March 23, 1918.

Easter toys and candy carts from 1910 - 1920
War Time Favors Include Plenty of Easter Chicks

      Like good old Santa Claus, the Easter rabbit and the Easter chick admit a Teutonic origin, but one is sure that they --like the beloved folk of fairy lore ---have abandoned the land of their birth for a kindlier environment and will never more return. 
      At any rate children, the world over, will never let them go back. They are world-traditions now and may claim no special country. They belong to the realm of childhood and if grown-ups choose to get pleasure out of them, it is a vicarious pleasure at best and not to be compared with childhood's ecstasy. Watch any little boy or girl in front of a confectioner's window where enchanting bunnies and downy Easter chicks are displayed and you will have no doubt of the matter.
      There seems to be just as many rabbits and chicks as ever this year, white rabbits and gray rabbits and pretty brown and white fellows with pink bows standing up behind their pink-lined ears. The white cats are are fascinating too and are only less downy and soft then the baby chicks --some of them live chicks that scurry about in lively fashion. The little people love these bunnies and chicks mush better than the ambitious Easter favors, ribbon decked and candy filled, which please grown-up sister; and the modern child with an Easter brim-full of joy in bunny and chick gifts, misses not at all the  excitement of making Easter eggs that little folks of a generation ago found so thrilling and so satisfying. 
      Scraps of colored prints and calico used to be hoarded long before Easter time in preparation for the egg-coloring fun. The eggs were tied up in the gay colored cloths and boiled until hard. Then with their parti-colored shells and edible, hard-boiled interiors, they were piled on the breakfast table Easter morning. This is not one of the good old economical fashions to be bemoaned in later, more extravagant times; for dairy eggs served in such profusion, no matter how their shells were disguised with printed calico, would be a very very extravagant breakfast dish just now, and would doubtless cost more then a supply of bunnies and feathered chicks to go all 'round.
      Quite appropriate and Hoover-ish for this war-time Easter are favors representing one of the excellent vegetables recommended in a conservation diet.  Corn is also a patriotic food, since it saves wheat flour; and an attractive Easter favor of this year respresenting an ear of corn and a feathered chick is pictured. Beside is is a cunning white Easter bunny with pinks ears, popping out of a top hat in suggestive magican manner. But it you lift the bunny out of the hat, you will find a store of candy.
      For a table center at Easter season is the pretty dove cote "Jack Horner." The tissue-wrapped gifts are hidden in the dove cote and each dove, perching on a bracket before a crepe paper covered window, has attached to his feet a long ribbon. When the doves are jostled from their perches their weight drags the gift tied to the other end of the ribbon through the crepe paper pasted across the window. The dove cote is one of the interesting crepe paper novelties, of which there are many new sorts this year. Pasteboard covered with crepe paper was used for the little house and the standard is of wood also covered with crepe paper, leaves and vines of crepe paper clamor over the dove cote and in the paper grass at its foot nestle two natural looking barnyard friends, a rabbit and a rooster. Another Hoover suggestion you see; for the injunction now is to eat roast, fried and fricasseed rooster in preference to hens which must be saved and coaxed to lay eggs for the Allies.
      Still another crepe paper novelty is pictured in the aeroplane which is quite a gem of its kind. Even the propeller is evident in this nicely balanced craft which is equipped with a formidable amount of ammunition in the way of "bombs" each "bomb" an Easter egg filled with candy. the intrepid pilot sits at the wheel, clad in a saucy uniform of checked silk gingham. Who would ever guess that the long, low rakish body of his craft is filled to the brim with gifts, each attached to a ribbon? When you seize one of the booms--the aeroplane being suspended from the chandelier over the supper table-- you pull the gift attached to your particular ribbon through the crepe paper cover of the airplane's body.
      Very naturally, there is a war-time flavor in many of this year's Easter Novelties. Besides airplanes and observation planes, there are various sorts of artillery, even the cumbersome British tank being represented in a structure of pasteboard and crepe paper. And there are fighting men too. There are the useful favors too--practical gifts that may be tied up in tissue and white or daffodil ribbon and tucked into Easter Jack Horners. Of course, there is a war-time flavor to these also. The boy back home from camp for the Easter week-end will receive a sowing kit or some leather-bound contrivance for photographs, writing materials or the like: or his favor may be a pair of woolen socks, knitted by friendly feminine hands. Field glasses are valuable gifts and no soldier or sailor objects to receiving a well-used pair, in such demand are these glasses just now. For feminine guests there are jeweled service flags, photograph frames, lockets that will hold a picture of the special hero at the front, and of course, all sorts of knitting belongings--reticules, needle cases, bracelet wool holders and so on.

An Easter antique collection.

Easter toys and candy boxes from 1910

The Children

Cantoria (singing gallery) by Luca della Robbia, from the Basilica
di Santa Maria del Fiore, now in the Museo dell'Opera del Duomo.
Photographed in 2009.

      Longfellow said, "Ah, what would the world be to us if the children were no more?" for in their hearts "are the birds and the sunshine." in their thoughts "the brooklet's flow." In Florence there stands in the museum one of the best sermons in stone the world has ever enjoyed. "Frozen music" indeed are these exquisite "Singing Children" of Della Robbia.
      Just of the Via Propose, in Florence, that city called most appropriately the Lily of the Arno," is a narrow street wherein is located the Bargello. This building is veritable casket enclosing priceless treasures: a very sermon in stone, this mass of carving, this play of light and sunshine over the old columns and courts. Standing here since before the memory of man, history tells us it was erected for the chief magistrate of Florence and was renovated in 1373.
      Pass through the court of the stairway and loggia where Dante walked. Here we come to the superb Hall of the Judges, and find that for which we seek--the "Singing Children" of Luca Della Robbia. These exquisite carvings were executed for the organ loft of the cathedral. The choristers now rest in this magnificent hall. The figures of these animated children are an interesting study, separately or in groups. The merry faces; the dancing bodies; the eager fingers holding the choir books or instruments of music; the parted lips singing praises to the Lord.

Serene in the rapturous throng,
Unmoved by the rush of the song,
With eyes unimpassioned and slow,
Among the dead angels, the deathless
(Children) stand listening breathless
To sounds that ascend from below--
From the spirits on earth that adore,
From the souls that entreat and implore
In the fervor and passion of prayer;
From the hearts that are broken with 
losses,
And weary with dragging the crosses
Too heavy for mortals to bear.

      The creator of these exquisite carvings was Luca Della Robbia, born in 1388 in Florence. The world rolls on leaving behind a wide track of history. Here in the peaceful city, the quietly flowing river, the beautiful Arno, rolls murmuringly by this treasure-house on this narrow street, this home of the "Singing Children." Within, near the blue arch of heaven, the singing and dancing and playing girls and boys lift up their silent timbrels, as they have been doing during these centuries, as if in Easter rejoicing.
      The world rolls on, up the slopes of progression, and the world of art fills with pictures of beautiful children, good to look upon. Madonnas and the Christ child, playing children and singing children, mirthful children and sorrowful children. Truly what would this world be without children!

Sunday, March 10, 2013

The Children's Easter Party

How To Arrange A Children's Easter Monday Party by Louise E. Dew, 1904

      From the beginning to the end, the children's Easter party must be as unique and attractive as time and ingenuity can make it. All the details are to be planned with care, not excluding the sending out of the invitations. Invitations are to be written with violet ink on pure white note paper, at the top of which is a hand-painted little yellow chic holding a single violet in its beak. The point on the envelope flap should also have a chick painted on it, with a violet in its beak and one below the flap.
Don't forget to teach the children
how to paint Easter eggs!
      As the little guests arrive the young hostess should present them with boutonnieres of pansies with which the basket which she carries on her arm is filled. Violet colored ones should be given to the little girls and yellow ones to the little boys.
      The dining room decorations should be entirely in yellow and violet pansies and smilax. A window box should be filled with these dainty blossoms, and they are to be massed in crystal bowls on the sideboard.
      Whenever an egg is used for a week before Easter, and end should be chipped off and the contents removed. The shell should then be rinsed with water, and when the shells have generously accumulated they should be dyed violet and yellow along with the regular Easter eggs. A pretty arrangement for the shells is to fasten a knotted end of violet and yellow ribbon to each one with a drop of glue, covering the broken end with a circle of gold paper. These ribbons should be of unequal lengths and suspended in a mass close to the chandelier for a decorative effect.
      Underneath the egg shells a large white crepe paper egg should be suspended by violet and yellow ribbons. The heads of tiny yellow chickens, should be peeping out of the egg, as if they were just breaking the shell. Attached to the necks of the chicks should be violet and yellow ribbon leaders, arranged alternately, and passed to the place cards of each small guest. The cards will consist of diminutive oblongs on which tiny yellow chicks and violets are painted, with a quotation about flowers and Easter. 
      The paper egg center piece will contain dainty souvenirs of the occasion, which may be pulled out during the interim between the luncheon and dessert or after all the food has been served.
      In the center of the table make a nest of smilax and fill it with pansies and saucy little egg-shell faces, painted or sketched in India ink. Their faces may represent demure little maidens, popular cartoons or little creatures from the woodlands. These odd little egg people, peering from the smilax nest, will furnish the children with a great deal of amusement while they are eating, and will afterward make appropriate souvenirs.
      The menu card at each place will be in the shape of a snow-white swan, cut of deckled paper. The head and wings are cut in one piece, and the tail in another. After printing the menu in violet ink on the tail, the bits of yellow and violet baby ribbon attached to it should be passed around the neck of the swan, which will hold the head in position with that proud curve for which the swan is noted.
      These menu cards may be purchased if one is not handy with scissors and pen. The list should read:
Menu
Chicken Sandwiches
Apple Salad
Cream Cheese Eggs
Olives
Egg Punch
Easter Eggs
Angel Sugar Nests
Ice Cream
Assorted Nuts
Candy
Fruit Phosphate
Cake
      Cut the sandwiches in egg-shapes before serving them. Individual salad made of apples should be served with them in white paper cases tinted yellow and violet and imbedded in leaves of parsley.  Roll the olives in powdered sugar, to resemble eggs. Cream cheese, eggs can be made out of cottage cheese, mixed with cream and rolled into the shape of eggs additionally. Each one should have a large walnut meat pressed firmly into the side of the "egg." Serve on crisp curled lettuce made into a nest. The punch will be simple egg-nogg, of which most children are fond, with nutmeg, vanilla and fruit syrup flavoring. 
      Easter eggs make an appropriate dessert, wholesome enough to satisfy the heart of a hygienist, and yet delightful to all children. They are made of velvety blanc mange or sparkling translucent jelly. Serve these either piled in a nest of stifly whipped cream or accompanied by a boat of sauce. The prettiest way is to serve an old-fashioned bird's nest in jelly.
      To make, empty the contents of egg shell through a fair sized hole in the large end. Rinse the shells and set upright in a pan of flour or cracked ice, if gelatine is used. Fill with the jelly or blanc mange, and when cold and firm peel the egg shell from around it. A pint of jelly will usually fill six, if colored eggs are preferred, use the color paste which is sold by grocers, and which is perfectly harmless. Harlequin eggs may be made by using remnants of different colors, letting each one harden, then adding another color, until the shell is filled. Bewitching rainbow effects will be the result.
      To make the nest, use a mould of jelly partly full. When hardened, pile gelatine eggs on top. Arrange over and about them a suitable quantity of "straw" yellow sponge sugar, which any confectioner can supply, or orange peel cut in tiny shreds. Angel sugar nests may be made out of angel food, cut round, and with a depression in the center. This cake should be piled high with candy eggs in all colors. The ice cream may be served an egg mould. A simple and harless phosphate may be home-made, and should in the shape of eggs, with the aid of consist of the juices of oranges, lemons and pineapple, with sugar water and cracked ice added.
      Make the cake in the shape of a big egg and frost it yellow. Surmount the cake with tiny yellow and violet candles to light as the cake is being presented and after the first course of sandwiches, salad and relishes clear the table for the chick centerpiece. This impressive "chicken pie," made of yellow and violet crepe paper and covered with artificial chicks is set in the center of a hay or straw arrangement quickly assembled in the center of the table. Violet and yellow ribbon leaders should be placed within reach of each guest around the table. These leaders are tied to the souvenir egg cups, sprayed with hand-painted pansies. Each child's place setting should consist of a gilded egg with corresponding initials of the guest along with a diminutive nest of green moss on top of a plate, piled high with candy eggs off to one side of the dessert plates. Serve the cake and ice cream and wait for the children to finish before encouraging them to pull their ribbon leaders at your signal, whereupon they will be rewarded with amusing little snapping bon-bons.
      After luncheon, organize an egg contest as a surprise event. Present a large hen's egg and ask the children to guess how large the circumference of the egg is. Give everyone time to answer and then reward the closest guess with a prize in the shape of a papier mache chick or something similar.
      A ping pong or small billard table will make an excellent "lawn" on which to roll the colored Easter eggs, which will be provided by the "host child." A game may be made of the egg-rolling and prizes offered. (edited version)

A contemporary presentation of a children's Easter party table.

Saturday, March 9, 2013

Collecting Milk Glass and Jadeite For Easter


A display of Jadeite Fire King in an antique
 shop. Rarer blue Azurite milk glass tableware is also shown.
      Jadeite (kitchenware), also known as "Fire King Jade-ite", is a type of glass tableware made of Jade-green opaque milk glass, popular in the United States in the mid-20th century. A blue variety called "Azur-ite" was also produced for several years. Jade-ite and Azur-ite were both produced by Anchor Hocking. It should not to be confused with jadite, a green jade-coloured shade of vaseline glass product made in the early 20th century.
      The "Jadeite Fire King" brand was first produced by the United States glassware firm Anchor Hocking in the 1940s. Most of Anchor Hocking's output of Jadeite was between 1945 and 1975. A durable product in a fashionable color, it became the most popular product made by Anchor Hocking.
      The glassware's popularity also makes it an affordable and popular collectable today. Reproduction items are produced today by various manufacturers. Fire King Jadeite is still produced in reproduction lines by Anchor Hocking, which designs variations into its reproductions so that they are not mistaken for originals, to maintain the integrity of the genuine status of original Jadeite articles.
      Jeannette Glassware was a United States manufacturer of green milk glass tableware similar in appearance to Jadeite Fire King. Kitchenware in other materials, such as aluminum canisters and bread containers, were produced in the mid-20th century in the same shade of Jadeite green, to match the glassware. White milk glass is an opaque or translucent, milky white or colored glass, blown or pressed into a wide variety of shapes. First made in Venice in the 16th century, colors  include blue, pink, yellow, brown, black, and the white that led to its popular name.
Decorative pedestal milk glass bowl.
      First made in Venice in the 16th century, colors include blue, pink, yellow, brown, black, and white. 19th-century glass makers called milky white opaque glass "opal glass". The name milk glass is relatively recent. The white color is achieved through the addition of an opacifier, e.g. tin dioxide or bone ash.
      Milkware was made into decorative dinnerware, lamps, vases, and costume jewelry, milk glass was highly popular during the fin de siecle. Pieces made for the wealthy of the Gilded Age are known for their delicacy and beauty in color and design, while Depression glass pieces of the 1930s and '40s are less so. Perhaps one of the most famous uses of opal glass (or at least the most viewed example) was for the four faces of the information booth clock at Grand Central Terminal in Manhattan.

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Video by Vintage Variety.

A Mirror Duck Pond Makes a Picturesque Table Decoration

Build a miniature pond scene at the center of a children's
Easter table.
      Every trick and surprise of the table decoration is appreciated by children who possess special aptitude for absorbing every tiny detail; nothing seems to escape their scrutinizing attention. 
      A comparatively inexpensive idea is to place a table mirror, the larger the better, in the center of the table and fringe it with greens. Watercress makes an attractive border; so does smilax and asparagus or maiden-hair fern. At intervals station miniature artificial trees. In the center place little goslings, setting several among the greens. Fill a toy boat with wee chickens, out of consideration of their non-aquatic abilities. The chickens and goslings may be purchased for mere pocket change at a local toy shop.
      More realistic, of course, would be a wide, low dish, filled with water, having fuzzy yellow creatures floating upon the surface. Daffodils, crocuses or jonquils laid at intervals among the green would add a picturesque touch.

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