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NATURE IN RECREATION

By the Same Author

ARTS AND CRAFTS: A Practical Handbook

NATURE

IN
RECREATION

BY
MARGUERITE ICKIS

A. S. BARNES AND COMPANY
NEW YORK

•S^^S^^r+sS^^^s^^S^^i^sy*^^

COPYRIGHT, 1938, BY MARGUERITE ICKIS

All rights reserved. Reproduction of this booJ^ in whole or in part
forbidden without written permission from the copyright owner.

Printed in the United States of America

CONTENTS

INTRODUCTION vii

FOREWORD ix

NATURE IN CAMPING-Section I

Make Your Camp Nature Conscious 3

A Nature Plot 5

Outdoor Museum 7

Collecting Rocks and Minerals 13

Collecting Hints 17

Nature Hikes 20

Photographing Flowers 27

NATURE IN HANDCRAFT-S*r//o« II

Nature Motifs Applied to Design 33

Nature Notebooks 38

Plaster Casts from Mud Pies 41

Modeling Your Pet 41

Pinhole Telescope 42

Barometer 42

Cardboard Printing Frame 43

Nature Prints 44

NATURE IN GAMES— Section III

Nature Jackstraws 53

Pierrot Top 53

Bird Flight 54

Ball and Reed Game 55

Corncob Dart Game 55

Nature Arches 56

Nature Skittles 56

Handkerchief Sling 57

Tree Graph 58

String Game 58

vi Contents

NATURE IN DRAMATlCS-Section IV

Lantern Slides 63

A Nature Theatre 64

Puppet Shows 65

Nature Conservation 71

Animal Track Campfire 72

Simple Masks 72

NATURE IN WJSIC-Section V

Cornstalk Fife 78

Pan Pipes 78

Gourd Instruments 79

Marimba 79

Shepherd's Pipe 80

Shell Trumpet 81

Wishbone Harp 81

Squash-Leaf Oboe 81

Songs With Nature Themes 82

NATURE IN DANCING— Section VI

Dances for Seasons 87

Other Nature Dances 89

NATURE IN AQUATICS— Section VII

Nature at the Shore 95

The Barometer 96

The Weather Vane 97

Hygrometer 97

NATURE CRITERIA 101

BIBLIOGRAPHY 107

Acknowledgment is made to A. M. Mainland for his chapters on Collecting
Rocks and Minerals and Nature at the Shore; to Mrs. Elizabeth H. Price for
Themes for Adventures Afield; to S. Tissenbaum for Photographing Flowers
and General Camera Hints; to Mary E. Taylor for the Chapter on Nature Motifs
applied to Design; to Morris Shapiro for Nature Games; to Sylvia Lee for Nature
in Music and to Valda Smith for Nature in Dancing.

INTRODUCTION

THE PURPOSE of Nature in Recreation is two-fold: first, to inject fun into a
recreation program by introducing Nature through the different activities
and, second, to indicate some workable approaches and methods that will
create an "awareness" of living things in the world about us. There is no
intention here to stress microscopic examinations, give names by the score,
catalogue species, or attempt scientific classifications. It is hoped that this
book will be the means of introducing Nature to hundreds of boys and girls
in a friendly, intimate fashion.

Since the conservation of natural materials has become so vital a problem
in American life, the spirit of "letting live" and learning to know the nature
objects in their natural settings is carried throughout the book. The young
naturalist will find many suggestions for carrying on his study of living
things without possessing them, and the chapters on Handcrafts and Pho-
tography will give him information on how to keep data and records with-
out picking specimens for collections.

If Nature in Recreation can give a knowledge and enjoyment of living
things and the way they live without destroying them, it will have given

to youth one of the greatest possible gifts.

vii

FOREWORD

I WAS ORIGINALLY asked to review a first draft of this material for critical
evaluation. I found that the content matter was absorbingly interesting and
carried me along to the last page.

The organization of the material lends itself to effective use for the leader
or Administrator in Recreation, with a hundred and one suggestions for
utilizing new materials and giving new ideals of the effective use of nature
as a fascinating media for recreational purposes.

This book, I am certain, will find a real place in the literature on Recrea-
tion.

The content and method of presentation grows out of a wide and rich
experience gained by Miss Ickis as a leader in nature exploration, crafts and
recreation; and as a teacher of teachers. All people concerned with the
guidance of young minds should go through this material, which is fasci-
nating and indicative of the wide scope of Nature in Recreation. For those
who have program in Camping, Handcraft, Games, Dramatics, Music, the
Dance or Aquatics the volume should find particular use as a reference work

and will be an invaluable text.

FRANK S. LLOYD
Professor of Education

New York University

ix

SECTION I — NATURE IN CAMPING

N

ATURE should fill one of the most important parts of the camp program
because it is there that the child finds everything growing in its natural
setting. Other parts of the camp program such as dramatics, handcraft and
dancing have been adapted to camp use, but nature has a natural right to
be there. Because there is so much source material written on them already,
such as nature trails, games without equipment, museums, etc., many impor-
tant nature activities are not mentioned in this book. So this space is given
to more unusual and perhaps less used projects. The nature activities men-
tioned here should stimulate the leader to look for additional material to
incorporate with the following suggestions.

MAKE YOUR CAMP NATURE CONSCIOUS

The nature counselor can use many subtle ways to interest children who
come to nature camp. One of the favorite methods always has been to build
a nature means where, it is hoped, all campers will come to see displays and
be inspired with a desire to find out more about nature. Very often the
building which usually has been devoted to this purpose is unattractive
and not very stimulating, a long way from the center of the camp ground.
Why not have your nature displays in a cabin where the campers congregate
or in the dining hall where everyone meets three times a day? Attractive
displays can be placed over the fireplace, on window sills or porches; or
flowers and ferns might be transplanted to add beauty to the landscape
gardening. It is important that you keep your specimens fresh and change
the water often in the aquariums.

In trying to make the whole camp nature-conscious one should plan
the program to include all the campers, not just nature students.

The following suggestions should start thoughts of other ways to stimu-
late interest.

A Bulletin Board hung in the spot where campers congregate is one way.
It is important to have the displays changed often and always is more interest-
ing when living plants are included with the exhibit rather than mere printed
matter. The background should be made of soft wood or covered with a
material into which thumb tacks easily can be forced. The diagram suggests
a board with small shelves on which can be placed rock specimens, seed
pods, pine cones or anything you wish to display. The small test tubes on

3

Nature in Recreation

the side will hold water to keep flowers or plants alive for several days. The
hooks at the top may be used in various ways. Ample space should be allowed
for weather charts, coming events, bird migrations or nature activities. Nature
pictures or small posters will add further color to the board.

MATURE

Label the Trees and Flowers in the camp ground. There are several methods
of making attractive labels, but first of all it should be decided whether
you want them to last only one season or to be permanent. Temporary ones
usually are printed on cardboard with India ink and made water proof with
white shellac. Permanent ones are printed on wood or metal. The shapes of
the labels can be varied by cutting them into the shapes of the leaves or
flowers of the plants on which they are to be placed. If naming trees it
would be helpful to have the labels cut in the shape of the fruit found on
the tree part of the year. Double labels are helpful in training and are made
by cutting a piece of cardboard 3"* 4" and folding it in the center as
shown in the diagram. A question is printed on the top piece and the
answer underneath.

Label Woods Around Camp — What kind of wood is in your table, victrola,
bowl, matches, etc? Label them so everyone in camp can identify them.
Identify the wood in the wood pile, making note that the soft wood burns
quickly and is for kindling while the hard wood is for coals. Place notes on
the various trees in the camp ground telling what their wood is used for
commercially.

Nature Poetry should be used whenever possible. A nature poem might be
read as a grace at meal time, or at the close of campfire; or nature poem

Nature in Camping 5

posted on the bulletin board and made into illustrated posters. Read them to
the children in your nature group and encourage them to make poem col-
lections for their notebooks.

Decorate the Tables — Keeping the camp tables decorated and changing the
flowers offers a good project for the nature group. The nature students are
familiar with the wild flowers and know which species are plentiful so that
no rare ones are picked.

Floral arrangement is another important part of the program which such
a project should include, each flower in the centerpiece being labeled so that
the campers at the table can learn its name.

Every once in a while it is well to surprise the campers by enclosing a leaf
in their napkins and asking the head of each table to see if all the children
know the name of their leaves. Attractive place cards can be made also by
using such natural materials as fruits or shells.

A NATURE PLOT

An excellent way to introduce nature to a beginner is to mark off a small
plot of ground, say 100 paces or more square, and identify all the plants
growing on the plot. This may be used for individual study, or for a group
of children working together. The method is good because it limits the
field of nature to a few square feet of ground and keeps the child from
becoming bewildered or discouraged. On the plot there should be three or
four species of trees, a half dozen flowers, a few ferns, some moss, etc. This
gives the child experience in identifying in several fields of nature and at
the same time enables him to decide which is the most interesting for him
if he wishes to pursue his study at a later date.

Nature in Recreation

The plot is not limited to the trees and plants that are growing on it, but
offers all kinds of adventures in animal life. Just by turning over a stone
new insects might be discovered. Or a record might be kept of the butter-
flies and other insects that visit the plot during the camping period. Birds
also will visit the plot and some may build their nests low enough for
study. Or if a lake or stream borders on the plot, a search along its banks
would uncover aquatic life that might offer material enough for filling an
aquarium to take home and enjoy during the winter months.

The making of a picture map of the plot as a final study adds likewise
to the value of the project. A compass used in pacing the plot and drawing
the map allows for marking north at top of the paper, south on the
bottom, east at the right, and west on the left. The pictures of the flowers,
trees and so on may be placed on the map by simply judging the distances.
Measurements do not have to be perfectly accurate. The child uncon-
sciously sketches in the shapes of the trees, the number of petals on each
flower, etc., so that it is not necessary to tell him to do so — which sometimes
is too discouraging for the beginner. The map is attractive in colors.

A group might want to spend several weeks studying its plot, in which
case it should choose one that presents a problem to be solved other than
identification. The plot might border on a lake, for instance the children
could separate the aquatic plants from the land plants and study their
contrasting characteristics. Note that a road or a trail running through the
plot often changes its vegetation. If trees and shrubs are cleared away it
lets in more light and brings in the meadow flowers. Since man often drops
foreign seeds and minerals while traveling along the trail and it is fre-
quently possible to find wheat growing in the middle of the woods or a
piece of coal many miles from where it was mined! A plot half in the woods
and half in the meadow also makes an interesting study for differences in
plants.

Nature in Camping

OUTDOOR MUSEUM

An outdoor museum can be an all-summer project of special interest to
camps or day camps that are limited in space. Such a museum offers a sub-
stitute for a nature trail to campers who have made nature trails for several
years and are looking for something new, or it may also take the place of
an indoor museum.

A sheltered spot in the woods near the camp where the children can
drop in at any time to help with the planning and construction is the most
suitable location. It should have an attractive entrance and include space
enough to eliminate crowding the exhibits and permit the children room
for play. Everything should be well labeled so that a person can go in alone
and know what it is all about.

Labels

The labels go well on white cardboard printed with India ink. After the
ink is thoroughly dry, cover both the front and the back with white shellac
to make them waterproof. Such labels will last for one season if at all shel-
tered by the trees. Permanent markers are made by cutting a piece of tin
or other metal to the desired size and painting on it with black asphaltum.
A coat of shellac keeps them more waterproof and prevents rusting. Labels
for trees are made more attractive by cutting them in the shapes of the
leaves on the trees to which they are to be fastened. Sew the label on the tree
with white thread whenever possible.

The following projects are suggested for an outdoor museum. Many
more may come to mind as you work along, and always use the ones
suggested by children themselves. Other campers besides the nature stu-
dents will find pleasure in working in the museum. Those interested in
art can make the posters: others who like to handle tools will want to do
the constructing; the little ones will prefer to dig in the dirt. Find a job
for everyone.

A Bird Cafeteria

Place a board between two trees about six feet from the ground, or if you
have another board or two put up several shelves. By laying grain, bread

8

Nature in Recreation

crumbs, berries or suet on the boards for the birds it becomes a "Bird
Cafeteria." A dish of water at one end serves as a beverage. Suet of course
is the meat dish, the bread and the grain the main meal, and berries the
dessert. Different bird menus may be tacked along the boards to suggest
that all birds do not have the same diet. Thus the children will learn that
some feed almost exclusively on insects, others on grain, and still others on
an equal amount of each. A picture of the bird at the top of the menu makes
it more colorful. Be sure to feature only birds found in your camp locality.
Keep a record of the birds that visit the cafeteria.

Medicine Chest

Take an orange rrate that already has a shelf, and cover the front with
a door. Paint "Medicine Chest" on the front and fill it with any medicinal
herbs to be found in the neighborhood. You should find boneset, sassafras,
witch hazel, elder and many others. You might also add some minerals
such as lead, which is used in the making of adhesive, and iron found in
iodine. The herbs can be diplayed in various ways. Perhaps the nurse will
be good enough to donate a small bottle of the medicine and you can
display the plant just back of it. Another way is to press the plant, mount
it on a piece of cardboard and cover with cellophane.

Woodland Pantry

A pantry might be made either by building a cupboard like the one
illustrated above, or by piling several orange crates on top of each other

Nature in Camping 9

and nailing them together. Gather plants or herbs that are edible or might
be used for medicinal purposes to place them on the shelves. Be sure they
ate well labeled, giving name, use, and other information you can find.
Keep in mind that in a real pantry things that are used very little are placed
on the top shelves, the perishable ones are on the middle ones where they
are easy to reach and the dried herbs underneath. If berries or other perish-
able plants are used, be sure to change them often so they will not attract
insects.

Fernery

A fernery is made by transplanting ferns that are found in the neighbor-
hood in one corner of the museum, preferably near a stream. Dig up the
ferns carefully, leaving the roots covered with earth and replant -them as
quickly as possible. Small paths made of stones should lead through the
fernery so visitors will not step on the ferns. Each species of fern should
be well labeled, giving the name of the fern, its habitat, range, etc. Poems
about ferns could be printed on cardboard in India ink and shellacked.

Zoo

Since it is against the law in many states to cage animals and the proper
care of them is a real problem, why not build a zoo that will take care of
itself? The Museum of Natural History has a display of wild animals that
were stuffed and placed in their natural setting. The same plan might be
used in making a zoo for your outdoor museum. Get a number of wooden
packing boxes and paint them green if you can; otherwise leave them plain.
Draw the animals that frequent your camp site on cardboard, cut them
out and paint them. Cover them with white shellac so they will be water-
proof. The inside of the box should be painted to show the natural setting
of the animal; that is, the frog should be near the water, the chip-munk in
the woods. Other studies are possible of the food they eat with samples
placed in the box. A list of enemies or any other information could be
tacked on the outside. Somewhere in the zoo have posters telling how to
handle different animals, their use, games, laws.

io Nature in Recreation

Sa\a\aweas Trail »

Sakakawea was the Indian woman who led Lewis and Clark on their
expedition through the Northwest. She knew the names and songs of all
the birds and for this reason her name might be used for a bird trail.

Divide the more advanced nature students into groups of two or three
and assign one bird to each group. Then ask each one to find all the
information he can about that bird. This would include the kind of nest,
a drawing of the bird, samples of the food, etc. When the study is com-
pleted assemble the material and place it along the trail. Shellac the posters
and cutouts to make them waterproof. Be sure to select only birds found
in your neighborhood.

Star Circle

Find a small clearing near your outdoor museum that can be used for
star gazing at night. Cut away all small brush and keep the grass short
so that the children can sit on the ground while star gazing and will not
be annoyed with the insects.

Nature in Camping u

By indicating where to look for the different constellations the circle can
be made into a chart to represent the sky. Drive stakes or sticks into the
ground on which tin arrows are attached at the top. Twist the end of the
arrow around a nail and drive it into the top of the stick as shown in the
diagram. Have the arrow point to the part of the sky in which the con-
stellation printed on the side can be found. The arrows will have to be
moved as the seasons change, or according to the time of evening you do
your star gazing.

A large star box might be kept in the circle for teaching purposes while
the group is waiting for the stars to appear. An ordinary wooden box with
a coat of paint will be attractive. Decorate it with gummed stars. Cut as
many pieces of cardboard as there are constellations you wish to study,
making them the same size as the opening of your box. Cut stars about half
an inch in diameter. They are spaced to form a constellation. Paint both
sides of the cardboard with black paint and shellac.

When using the star box place a flashlight or candle inside and cover with
one of the star charts. The light will come through the stars, thus showing
the general shape of the constellation.

Still another project that might be added to the star circle is a sun dial.
A simple sun dial can be made by cutting a strip of tin two inches wide and
25 inches long.

Mark off a half inch at each end for overlapping and divide the rest into
twenty-four one inch spaces to represent the twenty-four hours in one day.
Make the lines with black asphaltum paint, but do not put in the numbers
until later.

Next get a strip of metal 13 inches long and bend it in a semi-circle as
shown in the diagram. Part of a barrel hoop will serve equally well. Drill
a hole in each end and one in the center, to which the other piece of tin is
attached so it will form a circle. Run a wire down through the center and
fasten to each end of the semi-circular piece. The wire will cast a shadow
onto the large hoop. Fasten the bottom of the semi-circle to a large board
or the trunk of a tree. Observe the sun dial and see where the shadow
falls at twelve o'clock noon and mark it in the circle; the other hours should

12

Nature in Recreation

follow one inch apart but make sure by observing one whole day and
marking the location at the beginning of each hour.

Wood Pile

During the early part of the past century every farmer had a wood pile
from which he drew fuel for his fireplace during the long winter months.
He knew that soft woods burn easily and quickly, so he usually cut them
into very small pieces for kindling. The hard woods would burn much
longer and turn into coal, so they were cut into large pieces that would
burn several hours. All the wood then was placed in neat piles with stakes
driven in on both sides to keep them in place.

There was no need for the farmer to label his wood because he knew
the quality of every stick.

Why not have two wood piles in your out-door museum, one of hard
wood and the other of soft? Pile the pieces into a neat pile and attach a
label to each piece as shown in the illustration. Besides giving the name
of the wood, other information such as its use, ranges, and habitat might
be included.

Tree Nursery B1^

First of all make a survey of the camp grounds and see what trees are
needed for re-forestation. Here are a few hints to follow:
i. Trees for shade

All kinds of Oaks
American Elm

Nature in Camping 13

Horse Chestnut

2. Trees for dividing lines

Lombard Poplar
Pines

3. Trees that feed birds

Staghorn Sumac
Wild Cherry
Mountain Ash

4. Trees for landscape gardening

Gray Birch
Arbae Vitae
Red Cedar
Hemlock
Spruce Pine

So there will be plenty of sunlight, choose a spot for your nursery in a
clearing near the outdoor museum. The soil should be sandy so that the
young roots can penetrate easily and enlarge their rooting systems. Dig up
the young seedlings, being careful to keep all the soil around the young
roots so they will not wither. It is best to wrap a piece of damp cloth or
burlap around the roots until the trees are transferred to the nursery.

It is best to plant the trees in rows about two feet apart as shown in the
diagram. If it is desired to plant the seeds themselves, you might reserve one
corner of the plot for that purpose. The seeds may be planted much closer
together because it is advisable to transplant them in rows as soon as there
are enough.

COLLECTING ROCKS AND MINERALS

That magpie instinct that urges most people to collect things and to
board them for their own is manifested by those who collect book match
covers, stamps, bottle caps, autographs and hundreds of other items. These
objects are the product of someone's labor and are treasured on a wholly
artificial base — scarcity and demand. Their permanency is measured in
weeks or a few hundred years at the most.

There are things worth collecting, however, that will repay the pos-
sessor a great deal more than the mere satisfaction of ownership, objects as
durable as the earth itself that man has never seen before your own eyes
discovered them. They become yours by right of intelligent search and dis-
covery, not because you had more money than the other fellow or were a

14 Nature in Recreation

better bargainer. Such objects often unfold a wonderful story that con-
stantly grows more fascinating as you learn to understand its language, a
story of raging torrents, ocean depths, volcanoes.

Collecting rocks, minerals and those flowers of the mineral world —
crystals, is a fascinating hobby. The art of collecting and cataloguing can
be just as important or just as casual as you want to make it. One can
collect "pretty stones" or spend years in building up a collection of quartzes.
Also one can exchange with collectors in other countries or confine oneself
to acquiring a complete display of the minerals in one's own locality.

How to Start a Collection

There are a number of ways to become acquainted with the mineral
world. Read books on the subjects. F. B. Lomis's Field Book of Common
Rocks and Minerals is a good one to begin with. Join a mineralogical club
if there is one in your neighborhood. Ask the science teacher about
minerals. Study the exhibits in the museums. Send for the beginner's
sample kits and see if you can recognize any of the stones. Join an organiza-
tion like the Rocks and Minerals Association.

Equipment

V

The field equipment is very simple and can be improvised for almost
nothing. Or it can be bought from a scientific supply house for less than
two dollars. You will need:

i. A hammer, geologists or a cross pein with about a twelve ounce head.
. 2. A cold chisel.

3. A streak plate or piece of unglazed porcelain.

4. A pocket knife.

5. Some small bags or wrapping paper.

6. Some cotton batting or rags.

7. A notebook.

With this equipment, serviceable clothes and a pair of old gloves, you
are ready to go prospecting.

Nature in Camping 15

Prospecting

If there is snow on the ground you will not find many specimens unless
there happens to be a windswept out-cropping of rock to study. The best
time of the year for prospecting is early in the spring, before the vegetation
covers the ground and right after the spring thaws have loosened up the
ground and created landslides exposing new mineral locations.

Quarries, mine dumps, road cuts, subway dumps or any place where
newly exposed rocks are to be found are good places for the amateur
prospector. Rocks and minerals and particularly crystals deteriorate, just
as anything else does upon long exposure to the rain and weather; so
your best samples will be found in newly exposed surfaces. At some places
along our coast the sea washes up many stones of gem-like quality. If you
are in the country you can try prospecting the streams, as do professional
prospectors. Examine the stagnant backwaters of the stream for likely
looking minerals. If you look closely, you will find minute samples of
most of the minerals existing in that part of the country. If the samples
are large the source is not far away, but if they are small they have probably
been washed from much further upstream. Work upstream examining the
pools. Your samples should get larger and larger and finally disappear. The
source of that mineral is somewhere between your present position and the
last pool where you found samples, so look around — perhaps the "mother
lode" is up a side stream or up on the hill on either side of the main stream
where fragments have been washed down by winter storms.

Collecting

After you have found a promising looking spot, use your hammer and
chisel to break out the best sample you can get. Be very careful not to
destroy your specimen by careless blows of the hammer. If there are crystals
try prying rather than chopping so as not to dislodge the crystals from their
matrix. Give the sample a number immediately and enter into your note-
book what you think it is and where you found it. If there are any more
materials, collect a few more samples for your exchange supply. Put the
specimens in individual wrappers and if they have delicate crystals on the
surface wrap them in cotton batting or old rags so that they will not be
spoiled on the trip home.

Preparing a Specimen

In the evening and on inclement days you can open up the bags that
you filled on your field trips and prepare the specimens for cataloguing and
mounting.

1 6 Nature in Recreation

Carefully chop or break away the surplus stone around the "important"
part of your specimen, then clean it with soap and water and a brush, unless
it is too fragile for brushing. Procure a mineral table and with your un-
glazed porcelain — streak plate — and by its other characteristics try to iden-
tify the stone. If you are not sure what it is, ask your teacher or the local
museum, sometimes the local scout troop can be a big help in identifying
stones and telling you of good prospecting ground. After you have iden-
tified the specimen give it a number, enter the number in your notebook
with all the information you have about the specimen; where you found it,
what it is, its chemical composition, what the matrix is, etc. Something
like this:

108 Smoky Quartz xls and Biatite on Feldspar

Perfect quartz xls biatite broken

Found Sunday April 24, 1938 on a ridge one

quarter mile south of the largest old

Kensico Dam quarries.

Mounting

After you have cleaned and identified the specimen, the next problem is
how to store it. Of course you can wrap it up, put it in a box and hide it
away in a closet. It would be a shame to do that though after all the work
you have done to get it so we had better try to figure some way to make an
attractive display out of all the specimens and leave room for additions as
our collection grows. A visit to the museum will give you several ideas on
mounting minerals, and you will be able to work out something that suits
your own needs as regards space and the opinions of the rest of the family.
You can make or buy a chest of shallow drawers and put compartments in
them for each specimen, then put a little cotton batting in each compart-
ment to keep the specimens from being spoiled if the drawer is ever slammed
shut. If you can find a book shelf with glass doors, you can make a deluxe
mineral cabinet. Put smaller shelves in it built up like stairs and then mount
your specimens on pedestals, shallow trays, in small vials or numbers of

Nature in Camping 17

other ways. The bases and pedestals can be made of blocks of wood painted,
or if you need a lot the same size, cast of plaster. The trays can be made of
paper, tin, sheets of glass or jar caps. Make neat uniform small labels to go
with each specimen.

Do not crowd the specimens too closely together; spread them so that they
can be seen from several sides and arrange them so that there is a pleasing
contrast in color or shape between one specimen and the next. Later on
when your collection has grown enough you will want to arrange them
according to one of the systems used by advanced collectors.

COLLECTING HINTS

It is against the law in many states to pick flowers or ferns. Nearly every
city and state park has the same conservation laws, otherwise there would
be nothing beautiful left for others to see and enjoy. Do not pick a flower
unless there are many more left like it, and never pull it up by the roots. If
you have the collecting urge, why not make a collection of leaves, grasses,
weeds, etc.? It is important to know them too. Ferns may be collected if
you are careful to pick one from a clump and not too near the root. A bucket
is a good thing to take along if you are not going too far on your trip,
because you can put some moss and damp earth in the bottom, and keep your
specimens fresh until you get home.

A Collecting Press

It is important to have nature specimens fresh when they are put away
to press — also they must dry quickly. A simple press may be made by
knocking off two sides of an orange crate and smoothing down the edges.
If you are going to collect small specimens take the two ends instead. Make
a filler for the inside out of layers of large pieces of blotting paper if you
can afford it, and if not use newspaper, which will readily absorb the

i8

Nature in Recreation

moisture. Buy a luggage strap at the ten cent store to hold it together. The
buckle will make it convenient for opening and closing. It would be better
to have two straps, one going around each way, if you can get them.

Mounting

To mount pressed leaves or other plants, mix glue with one part vinegar
and smear rather thickly over a piece of glass. Lay the dried specimen on
the glass and press it down gently until the back of it is covered with glue.
Now transfer it to your notebook, cover it with a piece of paper and again
press it gently with the hand so the whole surface is glued onto the page of
the notebook. This method eliminates using a paste brush which breaks
the specimen when it is brittle.

Collecting Bags

V1CT01U&K

CENTURY

A bag that can be worn on the belt or carried on a strap that goes around
one's shoulder will save many nature specimens found on hikes and bring
them home safely for mounting. The five bags pictured above are ones
copied from old fashion magazines and are labeled according to the cen-
tury in which they were worn. Bags should be made large enough to hold
a number of specimens yet not large enough to become clumsy while
wearing them on a hike. Leather of course makes the most attractive bags
and are not very expensive when made from scraps. They may also be made
from inner tubes, burlap, canvas or any other material that is durable.

Insect Killing Jar

Instead of using cyanide as a killing fluid in a jar it is better to use
carbon tetrachloride as it is non-poisonous, non-inflammable, and kills the
insects rapidly.

Nature in Camping

Construction — Into a jar that has a tight fitting lid pour enough plaster
of paris to form a pad on the bottom about % of an inch thick. The plaster
of paris is porous and will absorb the killing fluid. Another method is to
place some cotton in the bottom of the jar and cover the top with a piece
of blotting paper as shown in the diagram. Hold blotter in place with pieces
of gummed tape.

"Carbona," a cleaning fluid, is easy to obtain and may be used instead
of carbon tetrachloride.

Collecting for Winter

Why not look forward to your winter activities by collecting natural
materials that can be dried or preserved for later use, ones that might be
utilized for crafts, bird feeding stations, Christmas tree ornaments, winter
gardens or numerous other things ? The suggestions given below are offered
just to stimulate thought of a dozen other items to gather.

Pine Cones

Pine Cones of all sizes and shapes are used in various ways. The little
ones if combined with pipe cleaners make animals for your table decora-
tions or place cards. (Diagram A)

Large Pine Cones make excellent bird feeding stations by turning them
upside down and pouring in melted suet in which seeds and grain have

2O Nature in Recreation

been stirred. When it hardens, hang the cones on trees and shrubs in your
yard. (Diagram B)

If you paint the pine cones in colors, or gild them with gold or silver,
they make beautiful Christmas tree ornaments. They may also be woven
into wreathes or a bunch tied together with a red ribbon becomes a decora-
tion for your door. (Diagram C)

Shells

Shells come in so many sizes and shapes that there are a dozen ways to
use them. The large ones make very good dishes for winter gardens or bulbs
as shown in Diagram A. Small ones make attractive Christmas tree orna-
ments if painted or gilded in colors. Pierce them with a small hand drill
and string them together with silver or gold cord. (Diagram B) The
Handicraft teacher would appreciate a dozen shells for paint dishes if they
were about three inches long and shallow. (Diagram C). The larger ones
may be used for individual bake dishes, and are especially appropriate for
the serving of sea food. (Diagram D)

Dried Seed Pods

Dried Seed Pods can be used in various ways. Such plants as the poppy,
milkweed, honey locust furnish large pods that may be painted in colors
and strung in a large cluster such as the ones you see in the florist or
Mexican shops. They are hung on porches, kitchen or breakfast room to
add color.

NATURE HIKES

Nature hikes may be varied in so many ways that they are used very
often for studying nature. Nature "walks" would probably be a better term

Nature in Camping 21

to use, as the word "hike" implies tramping along a trail with no time for
observation. On the other hand "a walk" usually leads only to places near
home while the nature student wants to venture afar for his specimens.

There are several points to consider when planning a hike. One is that
it should have a purpose or a theme and should be planned ahead of time.
Another important factor is the time of day during which it is to take place.
Many hikes are planned in camp for early in the morning before breakfast,
the theory being that the birds sing better and the flowers look fresher at
that time of day. The fact is that the birds sing equally well during the other
parts of the day, especially in the late afternoon and evening; so the only
point in taking a bird walk in the morning is for an adventure or because
there are fewer people around to disturb the birds. Children- are at their
low ebb in the morning and should take very little exercise before eating.

Many nature counselors take their children on nature hikes just before
lunch when it is the hottest part of the camping day. This should make any
child dread going to the nature class. It would be much better to select a
cool spot near a stream where they can explore a small area. Morning is
also a good time to work in the museum on nature notebooks. After sup-
per is an excellent time for a nature walk or a row around the lake to
collect nature specimens. It will keep some children from being homesick
and tide them over until camp fire time.

Hiding with a Theme

Children love to plan a hike around one theme and the field of nature
offers endless possibilities. If a group goes out to study one subject such as
"trees with compound leaves" or "similar plants" it narrows down the nature
field so that the leader can keep the children's interest in one channel, thus
keeping the hike under control.

The following are several hikes "with a theme" that have been used suc-
cessfully in some of the summer camps, and are given as suggestions only.
They should enable the nature counselors to work out some theme of their
own:

FAIRY STORIES

Nearly every fairy story having a nature theme as its setting is placed in
the forest, along a stream, or along a trail. Many details were left out of
the stories as handed down from generation to generation; so the only way
even to guess what they were is to go back to nature and study her ways.
Picture maps may be used along with the study. Several suggestions are
given on following pages :

22

Nature in Recreation

Little Red Riding Hood

We have been told that Little Red Riding Hood was gathering flowers on
her way to her grandmother's, but no one has ever mentioned the names
of the flowers she gathered. The only way we can even guess, is to know
something about the territory in which she lived. If the path were entirely
in the woods she would have found only flowers that grow in the shade.
On the other hand, her father was a wood chopper and she might have
passed through a clearing which would offer daisies or other meadow
flowers. If she crossed a stream, she would have found still a different kind
of flower. Discuss this with the children and suggest they go on a "Little
Red Riding Hood Hike" to see if they can find the flowers that she might
have gathered. Point out the fact that they will find -only certain flowers
growing in the woods, in the meadows, etc., and choose a path that will
lead through the three types of territories. Since Little Red Riding Hood was
wearing a hood, it might be suggested that her adventure took place while
the weather was cool. This would then be a good theme for a hike in the
spring or fall. A Little Red Riding Hood Hike may also take place indoors
on rainy days. Place pictures of flowers around the room and have a sign
"Red Riding Hood's Home" at one end and "Grandmother's Home" at the
other. Designate a stream and a meadow somewhere and place pictures of
flowers that one could find growing there. The children might wear red
hoods made from crepe paper.

Sleeping Beauty

According to the story as we have it today, Sleeping Beauty was asleep
in a castle for a hundred years and the plants grew up around the walls
so that no man could enter. No one has ever told us the names of the plants

Nature in Camping 23

that grew around the wall. We can only guess that they might have been
poisonous, covered with thorns, ones that sting such as nettles or thistles.

There might also have been vines that intermingled so tightly one could
not pass. Select a circular trail to represent the wall around Sleeping
Beauty's Castle and study all the plants that are poisonous; vines, etc., that
might have protected the castle.

Pied Piper of Hamlin

The Pied Piper of Hamlin played such beautiful music on his pipe that
everyone would follow him wherever he went to hear him play. This
theme might be used for a hike. The leader would be the first Pied Piper at
the beginning of the hike and everyone would follow, of course. The music
part would only be pretending. During this time everyone would look
around for something new in nature and when the Pied Piper stopped it
would be decided who had made the most original discovery or observa-
tion. That person would then become the Pied Piper and lead the group.
This is repeated until the hike is completed.

The Three Bears

The Three Bears has several possible themes for a nature hike. For
instance the hikers might start out to find what nature did for the bears
and Goldenlocks. They could find edible plants for their porridge, clay
for their bowls, wood for furniture, feathers for pillows, etc.

Hansel and Gretel

Hansel and Gretel — If Hansel and Gretel had been a Boy Scout and a
Girl Scout they would have known what plants are good to eat in the
woods and would not have had to eat from the Gingerbread House. This
story is a good theme for the study of edible plants that can be found in your

Nature in Recreation

woods along the streams. It would be fun to have the group rewrite the
story so that it ends differently and dramatize it for the rest of the camp.
They could bring in all the edible plants, tell what part they ate and how
they prepared them, thus outwitting the old witch!

Other Hi\e Suggestions

JACK-KNIFE HIKE

Cut jack-knives from two colors of paper and fasten one of each color
to plants or trees on which a jack-knife might be used for some purpose
along a trail. It might be a tree that would make good timber for fires
because the wood is soft, or if the wood is hard it would be used for coals.
Edible plants might also be prepared for cooking with a jack-knife. There
are dozens of ways of using one when you stop to think about it.

Divide the children into two groups and explain that they may remove
a jack-knife if they can explain in what way one might be used on that
particular plant. Check at the end of the hike and see which group has the
most knives and which has given the best answers.

FAIRY RING

This theme is suggested for a luncheon hike. There is a species of mush-
room that has its spawn growing out in all directions so that the mushrooms

Nature in Camping 25

grow up into rings. Tell the children about it and read about it in your
nature books. After they have discussed it among themselves and are really
interested, suggest they go out some morning and try to find one fairy ring.

Prepare a check list ahead of time of things in nature that might pertain
to fairies and see which group can see the most along the trail. The follow-
ing is a suggested list: Frog, Spider Web, Mushroom, Moss, Fairy Cup,
Butterfly, Blue Bird, Rabbit.

At one spot along the trail arrange a dial something like the one shown
in Diagram A and have the children follow directions. If it is not yet lunch
time they might play some familiar games to which a fairy theme has
been applied.

Of course you will not find a Fairy Ring unless you are fortunate enough
to have one growing in your woods and that is where the lunch becomes
a part of the hike. Pack the food in large paper bags and when everything
is in the bag twist them in the center, spread the tops open and round the
edges down to make them look like mushrooms. (Diagram B) Take them
to the spot in the woods where you plan to have your lunch and place them
around in a circle to resemble a Fairy Ring. They look more realistic if the
lower part can be surrounded with grass. Explain to the children that you
could not find a Fairy Ring and you didn't want them to be "too dis-
appointed" so you were giving them an imitation instead. One Camp used
this idea for a Sunday Evening supper and had a fairy play for the evening's
entertainment while they were still in the woods.

THEMES FOR ADVENTURES AFIELD

Young people often dodge "nature hikes" — probably because the term
sounds so dull. Why not quicken their curiosity by such enticing themes as
these? Add to the novelty by bringing into play senses not often enough
used, as:

a. Feeling. How many — separate, distinct, describable — can you discover?

b. Colors. How many colors?

26 Nature in Recreation

c. Odors. Best tested in midsummer when pungent little annuals are
abundant. Test crushed leaves, broken twigs, insects, mushrooms, leaf mold,
everything with an odor, good or bad.

d. Sounds and sound making devices: a more subtle project for older
or more experienced girls. Everything from a cricket or frog to raindrops
or wind.

e. Tastes — in moderation and with due regard to any poisonous species
in your locality.

1. Pitfalls for the Unwary — as spider webs and doodlebug traps.

2. Accidents or Untimely Ends. Even a rock split by a tree root, a tree cut
down by man or blown over by the wind, a stream dammed by a landslide,
a leaf partly eaten by an insect, a fern or flowers stepped on by a careless
foot.

3. Discards or Remnants. Cast off skins of insects and snakes, a fallen
leaf, a lost feather.

4. Locomotors. Wings, legs, fins, scales of snakes.

5. Transportation. What is carried by whom?

6. Movements, other than locomotors and transportation — such as
mechanical movements in plants and muscular movements in animals.
What's moving?

7. Planters of Seeds. Birds, mammals, insects.

8. Traces, or "sign" or traces.

9. Menus, table manners and table scraps.

10. Patterns or designs, as feathers radiate or dot or triangle or wave.

11. Signs of the Times. What do you see that is evidence that this is this
season and no other?

12. Homes, home-making and home-makers. Spiders, birds, moles,
gophers, mice, and so on.

13. S^ins, or outer surfaces — from rock surfaces to bark of trees; feathers,
fur, scales, leaf surfaces.

14. Curiosities — Such as a plant that has pushed up through a dead leaf
and carried the leaf up with it.

15. Oddities — untypical growth, such as a four-leaved clover or oxalis or
a two-tailed lizard.

1 6. Miniatures or Inchers — tiny lovely things less than an inch tall, or
queer and interesting little things like the fairy golf -club fruiting bodies on
moss or the wee umbrellas on liverworts or seeds with a parachute.

17. Remnants of Yester-year. Old birds' nests, dead leaves, ghosts of
flowers, fallen seeds.

Nature in Camping 27

1 8. Squatters. Who sits on what? Lichens on tree trunks and rocks;
barnacles on wharf-piling or crab shells, etc.

PHOTOGRAPHING FLOWERS

Taking successful flower pictures is one of the problems of nature pho-
tography which, while not difficult, requires a little understanding of the
materials of photography and their capabilities. However, the beautiful re-
sults possible with flower subjects warrant the slight effort and trouble
required in this direction.

Camera

Let us start first with the camera. Due to the smallness of the flower it is
usually necessary to approach quite close to a flower to get an image large
enough to make a good picture. The average camera does not allow for
approaching closer than five or six feet, which is all right for large shrubs
and similar subjects but would not do for individual, smaller flowers.
For such cameras closer pictures require the use of a supplementary lens
known as a portrait attachment. These can be purchased very cheaply and
permit an approach to within about 2% feet of the subject. Or with a little
experimentation ordinary spectacle lenses can be successfully used. To try
them out remove the back of the camera and place a piece of ordinary
ground glass where the film goes with the ground side facing the lens, and
observe the image. This image will appear upside down, which is quite
natural, so don't let it disturb you. Then just mark your distance on the bed
of the camera.

Tripod Improvised of Twigs

There are expensive cameras, of course, which are excellent for photog-
raphy of this nature but which may be prohibitive in price. These have long
bellows extensions and allow of approaching to within several inches of the

28 Nature in Recreation

subject; and having a ground glass as part of the equipment permit studying
the image before snapping it.

Tripod

Another important piece of equipment is a tripod or stand of some sort
upon which the camera is set when preparing and snapping the picture. A
cheap telescoping metal one may be purchased or a free one improvised
from three straight branches arranged in much the same way a. wigwam
or camp fire is set up.

Film

One of the most important factors for obtaining good pictures of flowers
is the proper registration of the colors in the flowers. You may have ex-
claimed more than once over photographs which seemed to make light colors
dark and dark colors light and had them in a wrong relationship. Where
color is as important as it is in flowers, steps must be taken to correct this.

Film is sensitive to color in varying degrees. As a rule it is very sensitive
to blue, which will photograph white or almost white and is not very
sensitive to the other end of the spectrum which will photograph much
darker than it appears. Yellow, orange and red for instance will photograph
a very dark gray or almost black. Green also photographs a very dark
shade. This is particularly true in the older types of films and to a lesser
degree in the "chrome" types. The newer films, known as panchromatic,
correct these color differences to the highest degree. These are known on the
market as S. S. pan, panatomic, finopan and other names. They are always
wrapped in green paper. The S. S. pan is also a high speed film for bad light
conditions. As a further correction for color various "filters" are used. These
filters hold back sensitive colors and allow other colors, similar to that of
the filter itself, to pass through easily. The most useful color filter is a
medium shade of yellow. One may be improvised of cellophane or a pair
of yellow sun-glasses, although filters sell quite cheaply. Remember that
using a filter usually requires twice the exposure, an increase which may be
overcome by using it with the S. S. pan film.

Background

Finally a good piece of equipment to have is a neutral colored cloth to
serve as a background. An old window shade will do. This will eliminate
any complex and annoying background present in the picture and will help
the subject considerably.

Nature in Camping 29

Focus

Now we are all set. The first step will be to select the flower we wish to
photograph. Push out of the way all grass and flowers which might interfere
with the picture. With too many other flowers and plants we will lose the
important one in their midst. If the background is complex, set up your own
backdrop of cloth or windowshade. If there is a breeze and the flower sways
too violently place some obstruction between the wind and flower. Place
the camera on its support in such a position that the sun lights the flower
favorably. If the sun is too far to one side and part of the flower is too dark,
put a piece of white material in such a position that it reflects the sunlight
back on the shadow side.

If the camera is the focusing type with a ground glass, simply locate the
image on the glass and focus. If the camera is a simple affair place the por-
trait attachment over the lens and measure the distance to the flower —
getting as close as possible. Slip the yellow filter over the lens or the portrait
attachment, and make your exposure. Exposure time is variable, dependent
on the light conditions, but if the afternoon is clear and sunny your exposure
with verichrome film may be about 1/25 of a second at F8 or possibly Fn.
If the camera is a simple Kodak set the lens opening to its largest size.
If the camera has no lens adjustment, it is advisable to use the S. S. pan film
and give the usual snap.

General Camera Hints

If your camera has been on the shelf all winter you had better open it up
and take out all the dust with a soft brush. Brush the lens too, or use a soft
cloth and wipe it gently.

Examine it for pinholes by closing the shutter, placing your eye at the
back of the camera, and holding it up to a bright light. The bellows is
subject to this defect. Cover the pinholes with an adhesive tape of some sort.

Do not tempt the devil by loading your film in the bright sun. It may
blacken the end of your film. A shady spot or interior is safest for this pur-
pose, and do not unroll too much of the protective paper covering.

Do not bind yourself to having the sun over the left shoulder when snap-
ping a picture. Very beautiful results are possible with the sun in other posi-
tions— on the side or even directly in front if the sun itself is blocked by a
cloud or a tree. When facing the sun always shade the lens with your hand
or a sunshade.

When snapping the shutter do it gently with an even and gradual pres-
sure. Stop breathing for a second if you're holding the camera in your
hand; and brace it against your chest.

30 Nature in Recreation

Remember to adjust your distance scale, if you have one, or your picture
will be out of focus and blurred.

And finally read a little bit about the elements of photography. Find out
what it really is, why you get a picture, and how it is done. It will improve
your pictures and increase your enjoyment considerably.

Pinhole Camera

V,,

Fold a piece of cardboard into a tube, open at both ends 2 W x 3i4" and
about 4" long.

Make two cardboard covers, each 2" long and just large enough to slide
over the ends of the tube.

In one of these cut a hole about i" in diameter and paste over this, on the
inside, a piece of tin foil with a pinhole in it made with a #10 sewing
needle.

Paint the inside black with poster color. Put a piece of scotch tape over
the pin-hole for a shutter. Draw lines for the corners of the post to the
middle of the back.

To Use — In the darkroom put a piece of cut film in the back cover. Slide
the tube on top of it and over that the front end. Set camera up, sight along
the lines for your object. Raise the scotch tape for the exposure and press
back to end it. On a sunny day you'll need about 15 seconds. Remove film
in dark room and develop.

SECTION II — NATURE IN HANDCRAFT

NATURE MOTIFS APPLIED TO DESIGN

IN CREATING ANY SORT of design, naturalistic motif or otherwise, it might be
well to observe first of all just how nature herself solves the problem of
arrangement within a defined area. Observe for instance how nature adapts
living forms to meet existing problems — how in a densely wooded area
there is an attempt by each individual plant to procure the share of sunlight
necessary for its existence. Observe how a small brook follows the natural
contour of the earth — water is held within a limited area by definite bound-
aries. It is possible to select any given area and see how nature fills it; or
it is possible to rearrange the component parts according to the demands
made by the problem at hand, for, in its final analysis, design is merely the
filling in, building up, or arranging the component parts of a given area in
a manner that is as pleasing as possible. The actual division of spaces de-
pends altogether upon the student. He may follow whatever artistic tradi-
tion he chooses, or he may create an entirely new design without regard to
any particular precedent.

Professor Arthur W. Dow, in his very admirable textbook, "Composition,"
designates the basic elements of design as LINE, MASS, and COLOR. It
might be well to keep these elements in mind in applying Nature Motifs to
design. LINE refers to boundaries of shapes and the inter-relations of lines
and spaces. MASS refers to the combination of light and dark spaces, and
COLOR refers to the quality of light.

Rhythm

Rhythmic Line

Rhythm, or a feeling of flowing motion, is one of the basic principles and
is frequently found in nature. Rhythm is felt in two ways: through a moving
line, diagonal, spiral, or curved, or through repetition. We are often ex-
hilarated by the rhythmic line of a tree or branch, just as by a crescendo in
music. This same rhythmic motion is felt in the steady beat of the waves

33

34

Nature in Recreation

on the shore, or by the repeating beat in music. So in design we may pro-
duce rhythm by using a moving line or repeating one or more motifs in a
beat-like manner.

Equal Balance (weights)

Unequal Balance (weights)

Bisymmetric Balance (design)

Asymmetric Balance (design)

Natural forms usually show perfect BALANCE. Balance may be either
equal Bisymmetric or unequal Asymmetric. A perfect balance is essential to
stability in nature as it is to composition in Design. Balance in design is best
illustrated by comparison with weight. In design the weight is the mass ot
dark and light.

Now in applying a natural form to design, we must begin to use our
imagination, for with all the laws of design in the world, we are lost with-
out that extra touch of originality or imagination. Good design is never
merely an exact copy of nature. There is the process of selection, simplifica-
tion and imagination added. We would then in planning the design, using
a natural form, first select the form itself, and two important factors are
involved in this choice.

The first consideration is one of suitability. If we are planning to use this
design motif as an application to some constructed object (and we will
presume this to be so), we should be sure that the design subject is suitable
for that object or in good taste. We may even go further and tie the design
motif directly to the use of the object. For instance, a collection case for
flower specimens might be decorated with a flower motif and a bird manual
with a bird design.

Secondly, we should choose some form with which we are familiar. Our
design will be of far better quality if we can actually observe the form to be
used than if we have to use a picture. Throughout the entire history of
design and ornament we find that artists were strongly influenced by the
familiar naturalistic forms surrounding them. These designs were their most
successful ones. Egyptian or Assyrian ornament at once suggests the papyrus,
the lotus and the palm. Greek artists and decorators relied strongly on the
acanthus, the vine, the olive, the ivy; Gothic art made use of the oak, the
maple and other leafage; Persian art is replete with the familiar garden

Nature in Handcraft

35

flowers, the pink, the iris, the hyacinth, the rose and the marigold; Japanese
art uses the peach and the cherry blossom, the chrysanthemum and the
bamboo motif. These plant forms are familiar to these respective countries
and civilizations just as roses, lilacs or apple trees are familiar to us.

r

o-'

Rhythmic Line in Natural Forms

Rhythmic Line in Design Motifs

Rhythm Through Repetition in Nature

VWV1

Rhythm Through Repetition in Design

Emphasizing Through Exaggeration and Refinement

Exaggeration and repetition of the jagged edge of a leaf and simplifica-
tion of the leaf shaped to a triangle: As soon as we have chosen carefully
the form to be used as the basic of our design we should choose the par-
ticular point about that form which makes it different from any other. In a

Nature in Recreation

flower it might be an odd petal formation, in a bird a different wing mark-
ing. And here we add another design principle which is EMPHASIS. We
might define this term simply as exaggeration for effect. We would exag-
gerate and refine this interesting part of the form to make it the most im-
portant part of the design and perhaps repeat that point within the design.
Now we are actually beginning to design, for we are adding something of
our own imagination.

One flower suggests a variety of motifs
based on different geometric shapes.

Then we would begin to analyze a bit more and figure how much of the
detail of the actual form we could eliminate in order to emphasize still
further and to improve the design through simplification. Just as a poet
tells the story of action in the least number of words for a telling effect,
so a designer should depict form in the least number of lines and masses
for striking design. In good design we find a tendency to veer away from
naturalistic representation and to refine form often to symbols or geo-
metric translations of form. This use of squares, circles, triangles and
oblongs as a means of simplification is an excellent way of building up
design with children as it is simple and affords variety. To illustrate: a leaf
form might take an oblong form or an oval form; a flower petal a circular

Nature in Handcraft 37

form or a triangular form. In fact one flower used as inspiration might be
developed into hundreds of different design motifs through this method of
emphasizing an outstanding point and using geometric forms for variety.

A design must fit the area into which it is to be placed.

It is a generally accepted principle in decoration that an ornament should
harmonize with the form and structure of the object which it adorns, should
be in complete subordination to it, should never stifle or conceal it. In other
words, Structural Design, or the form of the object, comes before Applied
Design, or the ornamentation of an object. There are generally rather
obvious spots for applied design; as, a box top and sides; the cover of a
book, or the handle of a spoon. We would apply the design to the portion
of the object where it would best enrich the object. Again, simplicity is the
keynote of good design. An unadorned object is better than an over-rated
one. As soon as we limit ourselves to a definite area we should realize that
the size and shape of this area is an essential part of our design. The same
motif may be worked into any number of forms but the design must not
appear forced into the area.

Since we are planning a design that is to be applied to some concrete
object, we must consider another problem which might be called Limita-
tions of Material. There are for instance certain things we can or cannot
do with a chip carving knife, and limitations in the use of wood as a craft
medium. There is therefore a definite technique in chip carving that should
be considered in making the design. The triangular cuts characteristic of
this craft would be shown as part of the design.

The same rule applies to textile printing. In printing with linoleum we

38 Nature in Recreation

come across the problem of cutting or gouging away parts of the linoleum.
Any detail must be made in the cut away part. Therefore the design for the
linoleum print would show only white line detail and strong masses of dark.
A line drawing would be entirely unsatisfactory. In designing for Leather-
craft, however, a line drawing is essential, as this technique involves low
relief with a finely tooled edge line.

A linoleum block design must A leathercraft design should be

show strong contrast in dark in line, with a suggestion of

and light; with more dark area strippling for the depressed
than light. areas if desired.

With these points in mind and a little practice, it should not be difficult
to develop any number of interesting design motifs from natural forms—
A simple outline of the preceding points may be of help.

Steps in Planning Design :

I. Decide upon the object to receive the Applied Design.

II. Choose a suitable subject for the design.

IIL Study the subject and make several sketches, considering: —

A. Rhythm through line and repetition.

B. Balance.

C. Emphasis through exaggeration and simplification.
IV. Refine the design for application through: —

A. Consideration of the size and shape of the area to be decorated.

B. The tools to be used in applying the design.

C. The material of the object to be decorated.

NATURE NOTEBOOKS

Every nature student should have a good notebook in which to make
permanent notes on observations, mount clippings and photographs, record
nature poems, etc. If the book is made attractive and convenient, it urges
its owner constantly for new materials to be mounted on its pages.

Nature in Handcraft

39

Three-ply wood of any kind probably makes the best covers since it will
not warp. And it is easy to cut through one ply for the construction and
decorating purposes. Bass wood may also be used if it is to be decorated with
a chip carved design or carved with a chisel.

Small Notebook

Since this book is to be small enough to fit into a pocket, 3" x 4" is a
convenient size. The cover should be made of wood or a material that will
not bend, such as cardboard or cork, in order to make it firm enough to
carry loose leaves.

An attractive cover may also be made by staining it with a walnut or
mahogany stain and applique a design cut from scrap leather. Since leather
comes in all colors it is possible to cut out a flower, leaf, fruit, or other
nature motifs.

Construction

On the left side of the top cover draw a line a little over J4" wide from
the edge and cut along with a knife. If the cover is made of three-ply
wood, chip of! one ply along the narrow strip to make a depression for the
back of the cover. If bass wood is used, cut away about 1/16 of an inch.
Take the back cover, draw a line down the right hand side of it and again
cut away the narrow strip. You will then be ready to fasten the cover to-
gether.

Cut a piece of leather the length of the book and twice the width of
one of the narrow strips you have chipped ofT, plus about J4 of an inch to
allow for the leaves. Nail it on to the two covers with small tacks or up-
holstery nails.

Since the book is to be carried in the field for observation notes, the filler
can be made of loose leaves that may be filed away or destroyed after the
information has been recorded in the permanent notebook. The pages are
held in place by tying a leather thong or a piece of tape around the back
and inserting the pages under it. Each page should be labeled — one for
birds, one for trees, flowers, etc., as shown in diagram B.

4o

POETRY

CUPPINGS

1MDEX TOR.
HKTURE BOOK

Nature in Recreation

Large Noteboo^

This book can be made in various sizes, but 9'
perhaps the most convenient, as typewriting paper can be
used as a filler to brighten up the book and make an inter-
esting index. The paper should be sorted into light and
dark shades with the light pieces placed in the front of the
book for writing purposes and the dark in the back for
mounting the clippings and photographs, specimens, etc.

Construction: The book pictured above is made of three
ply wood on 54" bass wood. The piece of wood that forms
the back of the cover is made of a solid piece while the
top cover has a strip about 2l/2" wide cut off of the left
hand side to be used for binding the book together. The
large piece is then attached by nailing two small pieces of
leather at the top and bottom to act as hinges. Four holes
are bored in the small piece of the top cover, and four
more in the back cover on the right hand side. Be sure to
space them exactly the same as on the top; so that the book
can be laced together with a piece of leather. (Diagram A)
Cut the leather a little wider than the holes so it fits tightly
and will not have to be laced as shown in the picture.
The book may be decorated in various ways. One sugges-
tion is to give it three or four coats of shellac and rub it
down each time with steel wool. Cut-out letters of leather or cork may be
glued on with rubber cement, or a nature design may be cut from scraps
of leather and fastened on in the same way. When the book is completed,
rub it thoroughly with wax to eliminate the gloss.

Index: The diagram above at left is a suggested index for the large nature
notebook. If you are using colored construction paper as a filler, use the
darkest colors for the title pages and cut a l/2" strip from the right hand
side of the paper to form the index. Cut the pages so that the indentation
is i" shorter on each one so they will form an index when they are fitted
together.

Nature in Handcraft
PLASTER CASTS FROM MUD PIES

41

Preparing plaster casts of leaves and fruits long has been a favorite
out-of-doors craft. Here is a way to make them with mud pies instead of
plasteline. Mix some fine earth with water until it forms a thick paste and
knead it with your hands until it is the consistency of plasteline. Form
it into a cake one inch thick and the size of the desired plaque. Let it stand
about ten minutes until the top dries somewhat and then press whatever
object you want to cast into the top — just hard enough to make an imprint.
(Diagram A) If leaves are used be sure the vein side is next to the mud
cake. Seed pods or buds of trees make especially attractive plaques.

Next cut a strip of cardboard about three inches wide and long enough
to go around the cake of mud, and tie a string around it. (Diagram B)
You are now ready to mix the Plaster of Paris. Pour the powdered plaster
into an old container and add enough water to make it the consistency of
heavy cream being careful to stir it continuously. Pour it into the mold and
allow it to stand until thoroughly hardened. Take off cardboard and break
off the mud cake and polish the surface with an old brush. The small par-
ticles of mud that adhere to the plaque are rubbed into the plaster giving
it the effect of old ivory.

MODELING YOUR PET

There are several ways of modeling pets or animals. Such a project is an
excellent way to make a study of animals. When a child begins to make a

42 Nature in Recreation

model of an animal, there is always a question about where the ears should
fit on the head, how long the tail should be in proportion to the rest of the
body, where the eyes should go, etc. An entire group might enjoy making a
model of its pet and having a "Pet Show" afterwards. Award a blue ribbon
to the winner just to add to the spirit of the occasion.

Clay would be the ideal medium for the model as some children might
like to have it fired and glazed if they have a particularly good model.
Plasteline may also be used if you are making temporary models. Just mud
also serves the purpose, especially if you can find earth that has the quality
of clay.

A PINHOLE TELESCOPE

To make a pinhole telescope get a pasteboard tube about i1/*" in diam-
eter and 5 or 6 inches long. A paper tube for mailing papers is just the
thing and can be bought at any stationery store. Cut a disk or circular piece
of cardboard just large enough to fit the tube, and push a pin point or
needle through the center to make a small, clean hole. Next, glue this card-
board disk in the tube }A" from one end.

This disk must be glued in the tube so that no light can leak around the
edge.

Though it does not magnify the image of the object that is seen through
it, it aids the naked eye because it blocks out everything surrounding it.

BAROMETER

Perhaps you have seen in stores barometers which resemble a plaque or
a picture, but on which is a piece of blotting paper or a piece of cloth. In
dry weather the blotter will be blue. When the air becomes moist, it will be

Nature in Handcraft

43

lavender and thus forecast a change. When it is red rain or storm is indi-
cated.

To prepare: Dip white blotting paper, which has been cut into small
pieces, in the following solution:

4 oz. water

i oz. chloride of cobalt

l/2 oz. common salt

75 grains calcium chloride

J4 oz. gum arabic

Be sure to tell your chemist not to make it chemically pure, otherwise he
will make an extra charge. The above formula should make about 50
barometers.

As soon as the pieces of blotting paper are thoroughly dry, set the
imaginations of your children to work. Cut out objects from colored paper,
being sure to include something cut from the blotting paper in your design.
Paste them on to a piece of wood or cardboard for a background and
attach a string or ring to the back so they can be hung on the wall.

CARDBOARD PRINTING FRAME

The following is an inexpensive printing frame that can be constructed
from materials found at camp. It is used for making Van Dyke, ozalid, or
blue prints.

Direction for Making: Cut four pieces of cardboard to the size frame
desired — one with a 5" x 7" opening is a good size. Also cut two pieces of
%" cloth tape four inches in length which will be used later for hinges and
two other pieces 8" in length to be used as ties. Take two pieces of card-
board and cut out center leaving an inch and a half margin all around to be

44

Nature in Recreation

used as the top of the frame. The two remaining pieces of cardboard will
form the bottom of the frame. Cover one of these with library paste or glue.
At one end place the ends of the short pieces of tape so that about il/2"
remain in the paste and in the middle of the opposite end place end of one
of the long pieces of tape which will be used for one of the ties. (Diagram

A) Cover whole with other piece of cardboard and place under weight
until it dries.

Now take the two top pieces from which the center has been cut and
cover one piece with paste. Place the bottom piece which is already pasted
together with the short pieces of tape close to one end of the top so that
the free ends of the two small pieces of tape can be pressed into the paste to
form the hinges. Be sure to leave enough tape on the other end for a tie.
Cut a piece of cellophane about 2" larger than the opening and place it in
the paste over the opening being careful there are no wrinkles. (Diagram

B) Now put on the other piece of cardboard and place a weight on top.
The cellophane will look more like glass if water is applied carefully with

a wet rag and allowed to dry after the frame is finished. It shrinks in dry-
ing thus eliminating the creases.
The frame is much more attractive if it is painted when completed.

NATURE PRINTS

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*s

Nature prints make attractive nature books, especially since they can be
done in bright colors. Children who have to visit the city parks or restricted
camp areas for their specimen depend almost entirely on them for their
natural collections. They are inexpensive, and can be made into colorful
notebooks by a large group.

The prints will be more attractive if care is taken with their composition,
or they may become even more creative in design if cut-outs or silhouettes
are used. For instance it is easy to make a print of a flower in its natural
setting by cutting objects that surround it from paper and placing them on

Nature in Handcraft 45

the printing frame before the exposure is made. A water lily is much more
realistic if it is placed at the top of the print and zigzag line cut from paper
placed just under to represent water, a silhouette of a fish or frog might be
added underneath. (Diagram A) Tissue paper, when printed, gives the
effect of shadows and is good for portraying dwarfs or fairies who live in a
fantastic world. Cut-outs of bugs or beetles add a realistic setting and may
become saucy by wearing a high hat and carrying a cane!

A single flower or leaf may be used to make twenty or more prints thus
serving the whole group. For this reason they become an object lesson in
flower conservation which our cities and states are trying so hard to teach
to the children. It is a decided advantage to have a completed record made
of nature specimens as soon as they are gathered, otherwise the children
lose them or they wither before the next day. The crayon prints described
on another page are probably the best for leaves as they show even the
smallest veins. Prints of flowers, grasses or moss are most successfully made
from the blue print or Van Dyke paper.

Instructions for the Use of Van Dy\e Paper

Materials Needed: printing frames; two vessels of water; Van Dyke
paper.

1. Proper exposure can be obtained only by making tests and observing
carefully the length of time consumed in each operation until a rich brown,
almost black, color is produced after the washing and drying process. This
is due to the fact that the strength of the sunlight and weather conditions
will cause to vary the length of exposure required.

2. After proper exposure is made, do not allow the prints to remain in sun-
light or any other bright light until after they are developed. If possible
to avoid this, do not handle the undeveloped print with wet hands. The
prints should be washed thoroughly in a bath of plain water which should
be kept in motion during the washing process. Do not allow the prints to lie
and soak in undisturbed water.

3. The next step is a bath in a fixing solution in which is used Van Dyke
Salts or hypo-sulphite of soda which can be obtained from any camera or
photo supply house or at most drug stores. This should be made in a pro-
portion of approximately one ounce to a gallon of water or a handful in
about two gallons of water, and should be allowed to dissolve before using.
The prints should be left in the bath for about two minutes, or long enough
to cause it to assume a reddish brown color.

46

Nature in Recreation

4. It should then be washed thoroughly again in a bath of plain water,
preferably running water, until it is safe to assume that none of the fixing
solution remains on the paper.

5. Dry thoroughly in strong light.

If you follow the foregoing instructions carefully, you should obtain satis-
factory prints. Be sure to cut paper in a dark room and place in an en-
velope. Be sure to place side to be exposed down so it has less chance of
being exposed to the light. Place nature specimen on glass or top of frame.
Pull out a piece of Van Dyke paper, being sure the face is down and place
it in the frame with side to be exposed next to the glass.

Blue Prints

Blue prints of leaves, grasses and flowers have long been a favorite craft
for use in camps and play grounds. This is because they are inexpensive,
attractive in a notebook, and the paper may be bought in practically any
city. It is also possible to teach blue printing to a fairly large group of
children at one time providing there are several printing frames available
and the water in the containers can be changed frequently. If silhouettes are
to be used, they should be drawn and cut out ahead of time, also small
squares of paper should be cut for placing in the lower left hand corner of
the print to be used for labels when they are mounted. (See Diagram)

Blue print paper may be obtained at any draftsmen's supply shop or large
stationery store. It usually comes in a roll 36" wide and must be cut in a
dark room, or at night, into the desired size pieces. It is much better to have
the store cut them and pay a little extra for their trouble. Blue print paper
cut 5" x 7" is usually the best size, as it will fit into most notebooks and
will cover the common leaves and fl >wers. It is best to place the face side of
the paper all the same way and mai : "top" and "bottom" on the outside of
the package. Keep the bottom side up, so you can pull the sheets out one at
a time with the face side down and put it in the frame immediately and it
is not exposed to the light any more than is necessary.

How to print: Place the leaf, flower or whatever nature specimen is to be
printed on the glass part of the frame. Also any paper cut-outs that are to

Nature in Handcraft 47

be in the picture. Now take a piece of blue print paper from the package,
making sure you take it out with the face side down, and place it in the
frame with the blue side next to the glass. Tie the frame together and turn
it over and expose it to the sun. Leave it exposed until the paper turns deep
blue — 30 or 60 seconds is about right on a bright summer day. Remove the
paper and wash it thoroughly in cold water. Place it in rinse water, or
running water if you have it. After the print is washed thoroughly, place it
between newspapers to dry.

Variations: i. The prints may be colored with crayons or water colors,
using the fresh flower or leaf as a guide. Leaf prints are much more valuable
in a collection if the veins can be drawn in with crayons or ink.

2. Small stars glued on the glass in the form of constellations make
attractive star charts for nature notebooks. They can be cut out of paper
with a conductor's paper punch.

3. Blue prints of flowers, grass or ferns make attractive greeting cards
or place cards for camp. They also may be cut in small squares and used for
decorating stationery or book marks.

4. Lay a piece of screen on the plant and the paper on top and expose
it to the light. This will give the print a checkered background.

5. Place photographic negatives in the frame and expose to the light.
The print will come out blue and white instead of black and white.

6. Large prints may be used for screens or panels and for decorating
cabins and troop houses.

Invitations and Greeting Cards

Very attractive invitations and greeting cards can be made from blue-
print paper for flower shows, nature plays, campfire programs, etc. Use
miniature leaves, flowers or ferns for the designs and place small figures cut
as silhouettes around them, remembering to keep the theme in accordance
with the occasion. If you want writing or printing to be included in the
design, either write the words on the top of the glass in the printing frame

Nature in Recreation

with black asphaltum paint, or cut a piece of black paper and cover the area
while printing. After the print is exposed, the paper is removed and the
result will be a white area on which can be written with ink or crayons. The
invitations will be more 'durable if they are mounted on construction paper.

Spatter Prints

lip

1

»

HM

j

Spatter prints are made by pinning a leaf or a plant to whatever is to
be used for a background and spattering the surface around it with ink or
enamel. Dye is used for muslin or other cloth materials.

Method

Several methods may be used for spattering the background. The one
most commonly used is the one where a stiff brush is dipped in paint and
rubbed over a piece of screen that is held a few inches above the plant, thus
spattering it as the brush is rubbed back and forth across it. A much
quicker method, however, is to spatter the background by means of a Flit
gun (spray gun) that may be purchased at any ten cent store.

Pin the leaves or flowers securely to the background that is to be spat-
tered and spray with the Flit gun, being careful to keep the spray uniform.
Enamel is the most economical medium to use for spraying on paper or
cardboard. If it is too thick to use in the Flit gun, thin it with turpentine.
A good grade of enamel can be used with one-third turpentine.

Suggestions: i. If a large group is making prints, an easy way to get
varied effects is to buy a package of construction paper in assorted colors
and spray them all with white enamel. It is more economical to have the leaf
itself in different colors than to buy different colors of enamels or ink to
spray the background.

2. Effective screens may be made by covering the frame with wrapping
paper, then pinning leaves, flowers, and even cut-outs of butterflies or ani-
mals on the background in a design. Spatter the background with a color
to harmonize with the rest of the room.

3. Woodsy costumes may be made by pinning leaves on bright cambric
muslin and spraying with solution of dark brown sunset dye. Other colors

Nature in Handcraft 49

may be used if you prefer. The dark background tones down the color and
gives a definite pattern. Patterns cut from paper may be used instead of
plants.

4. Outdoor tables for picnics can be decorated by covering them with'
either wrapping paper or white paper and pinning ferns, leaves, and
flowers so they form a design and spattering a background with color. A
large design in the middle of the table may be used for a center piece and
a small fern in front of each plate makes a good place card.

5. The leaf or flower on a spatter print can be colored with crayon or
water colors, using the living specimen as a guide to the colors.

Crayon Leaf Prints

Nearly everyone, one time or another, has played with money made by
placing a penny or a nickel under a piece of paper and rubbing a lead pencil
back and forth over it. A picture of the coin appears on the paper; It is then
cut out to eliminate the marks that have gone past the coin and pasted on a
piece of cardboard, or another piece of paper. This same principle is used
in the making of crayon prints of leaves.

Place the leaf you wish to print on a table with vein side up, and cover
it with a piece of typewriting paper. Rub over the surface with a green
crayon and an exact picture of the leaf will appear on the paper, showing
even the smallest veins. Cut the leaf out carefully with scissors and mount
on a sheet of paper or a leaf in your notebook.

Crayon prints are probably the most satisfactory ones for keeping a
record of leaves as they show all their veins and indentations. It is possible
to gather leaves from twenty-five different trees or shrubs while on a hike
and make the crayon prints all in one day. They may be cut and mounted
at some future time. Especially beautiful ones can be made in the fall by
using different colors of crayons and copying the autumn colors. Such
prints, when cut out, make effective decorations for cabins, museums, or
school rooms when used as a frieze around the room, or mounted on
windows.

50 Nature in Recreation

Shadow Prints

Shadow prints are made by holding a leaf or a flower between a lighted
candle and a piece of paper. If held in the right position, the light will cast
a shadow of the plant on the- paper which can easily be traced around with
a pencil. You now have a pattern of the plant. Cut around the outline and
mount on paper of another color. If you are making a print of a flower,
you may use two colors of paper, one for the flower, and green for the leaves.
If you do this, make your first sketch on plain paper, then use it as a
pattern.

SECTION III — NATURE IN GAMES

NATURE JACKSTRAWS

JACKSTRAWS ORIGINATED IN the southern part of France among the charcoal-
makers of the forests. Chips of wood or strips of charcoal were used in
playing the game. The combination of the steady hand, keen eye, etc., caused
it to receive popular approval, which it still has, and elaborate variations of
the game have been invented. In one variation the French people gave the
different pieces names; i.e., King, Queen, Knight. The king being twenty
points, the Queen fifteen, the Knight ten, and so on.

In England the game is called Spillikins, and even today it is again
popular universally under new names. 4-5-6- is a new name for this old game,
but it's still jackstraws.

. Nature Jackstraws is played by any number of players and as a solitaire.
The jackstraws are of various kinds of wood with differently shaped ends
held in a sheaf. Then the hand holding the sheaf is rested on the table
and the grip on the sheaf quickly released. The object of the game is to
procure from the pile a stick of wood without moving or touching any of the
other sticks. The player must also give the name of the kind of wood in his
stick. He continues to play until he touches or moves another stick.

PIERROT TOP

A six-sided top can be made of a piece of wood or branch of tree about
two inches by two inches by two inches and one half long. Use a plane or

53

54 Nature in Recreation

knife to cut out a piece of wood to this size. Make it a six-sided figure. It
can be a bit larger or smaller as one chooses. At about two-thirds of the
way from the top of the long side, draw a line on all six sides. Cut away
the wood on the bottom third so as to form a point towards the very bot-
tom center. This would give you a spinner or top without a handle. Glue one
eight inch dowel one and one-half inches long into a hole bored in the
top center for this purpose. Place the name or picture of a subject on each
side of the top. Your top is ready to play with.

One player spins the top. If it stops at trees, that player will have to answer
three questions with reference to trees. The leader will ask the questions
taken from a pre-arranged list. Missing any of the three would require a
forfeit of some sort. There are various methods of regaining forfeits. Use any
of them.

The top may have pictures of bird, fish, leaf, stone, flower, fruit, vegetable,
tree, or any other subject pertaining to nature.

BIRD FLIGHT

This game is designed primarily for the study of the color and size of
nature birds. Choose the bird you prefer to make and draw an outline as
though you were looking at it from above with its wings stretched wide.
Now fold the paper so the fold is on the side of the body of the bird and
cut it out so that each wing of the bird is exactly the same size when it is
unfolded. Use this for your pattern and trace around it on cardboard and
cut out. Brace it underneath with a few sticks of light wood by gluing the
braces to the cardboard. There should be braces across the wings and from
bill to tail. Leave a small notch in the brace running from bill to tail about
half way down the stick.

Choose any twig that will bend a little without breaking and use about
two feet of it as a propeller. This is done by tying a string eight inches
long to the twig and leave a loop one inch long at the loose end.

Nature in Games 55

You are now ready to put your bird in flight. The bird will look like a
monoplane colored as near the color of the bird as possible. Hook the notch
in the bird brace to the loop in string. Pull the bird with the right hand far
back and hold the twig firmly in the left. The twig will bend and upon
releasing the bird with the right hand will take flight in the direction it is
pointed.

Many rules may be used for this game. One might consist in a group of
contestants racing a number of birds across a field as fast as possible with a
minimum number of starts and stops. Another variation might be to iden-
tify the plant on which the bird lights. The game should be limited to the
birds that are native to that part of the country.

BALL AND REED GAME

Find a stick about 12" long and i" in diameter filled with a soft pitch so
that it can be easily removed. An Elder stem or a piece of bamboo would be
good. After it is hollowed out take two small rubber balls slightly larger
than the two ends and tie a piece of string to one ball. Now thread the
string through the hollow stick and tie it to the other ball. The game is now
constructed. To play throw it on the ground and if it is thrown a certain
way it will bounce back to the player. It can also be thrown so it will
bounce in the opposite direction. Practice throwing and make up your own
game. Placing a number of nature objects on the floor and trying to hit them
and then naming them is one suggestion.

CORNCOB DART GAME

Dart games are always fun but must be played under careful supervision,
so that no one is injured from the dart. An excellent dart may be made
by cutting a corncob in two and using one piece for the body of the dart.
Take three feathers about as long as the cob and stick them in the top
at equal distances apart as shown in the diagram. Arrange them so the
curved part of the feathers are on the inside. This will make the dart whirl
as it goes through the air. Stick a large needle in the other end of the cob

56 Nature in Recreation

by covering the eye with glue and forcing it in one-third the length of the
needle.

Make the dart board of soft wood, or cover it with several layers of card-
board so the dart will stick after it is thrown. Vary the object of the game
as often as possible. The one pictured in the diagram suggests a corn field
with all the plants that grow around it. The players try to hit the squares
and name the plants if possible.

NATURE ARCHES

Construct the game by cutting five twigs % inch in diameter and fifteen
inches long. Make a series of semi-circles by sticking both ends of the twigs
in the ground so as to make an 8" radius and leave not more than two
inches between each semi-circle. The object of the game is to throw or roll
pine cones, apples or rocks through the holes from a distance of ten feet
or more.

On the top of the holes place labels representing the different nature fields
you are studying and then make up your own rules. You may charge for-
feits by asking questions if they miss the holes, or place objects back of the
holes and give points if they hit one and can name it.

This game may also be used indoors by adapting it to a board game.
Cut five semi-circles with an eight inch radius out of a board twelve inches
high and cut it so there is a one inch space between each hole. There should
be about one and a half inch line along the top of the board on which to
pin labels. Prop the board up at one end of the room and apply the same
rules.

NATURE SKIDDLES

The game of skiddles dates back to Scotland — and many games have
been adapted from it, such as nine pins and bowling. It was a game in

Nature in Games 57

which a strong arm and accurate eye was necessary. If you want to use the
same idea for a nature game, cut five sticks about two inches in diameter
and five inches high. Take four of the sticks and stand them on end so as
to form a fifteen inch square and place the fifth piece in the center. From a
distance of fifteen feet, throw a fifteen inch length of the same type of wood
so as to knock down as many of the five short pieces as possible. Three throws
are permitted.

If the player succeeds in throwing down five pieces in one throw, no
questions need be answered as a forfeit. If it takes two throws to knock
down five pieces two questions must be answered. If three throws, three
questions must be answered. If any pieces remain standing after three tries,
five questions would have to be answered. The leader could have a prepared
list of questions which could be asked in turn. The questions would all
refer to some nature study. Answering incorrectly would penalize the
player one point for each mistake. The player is eliminated when ten points
are scored against him.

HANDKERCHIEF SLING

This game is especially appropriate for playing on a hike as each hiker
usually has a bandanna as part of his equipment and rocks can always be
found long the trail.

Place a rock two inches in diameter on one corner of the bandanna, then
fold the edges over and tie a knot so the rock will be held in place. To play
hold the bandanna by the corner opposite from which the stone is tied and
swing it around above your head and throw it. The rules of the game may
be varied. You can throw at a definite object and tell something about it if

58 Nature in Recreation

you hit it, or you may throw it by chance and name the plant on which it
lights.

TREE GRAPH

This game is educational as well as recreational. Cut twelve or fourteen
straight sticks about one inch in diameter and six feet long. Lash the sticks
together as shown in the diagram so that they form equal squares as in a
net. When it is completed suspend it from a tree by tying it to a lower
limb, or tie it between two trees. It should be hung three or four feet above
the ground.

The second part of the construction is the tying together of two balls
small enough to go through the openings between the twigs with a string
approximately four inches long between them. Two green apples will serve
equally well, or two pieces of wood whittled into the shape of a ball.

From a designated distance throw the balls attached to the string in the
direction of the netted square. The balls will go through two holes and the
string between them will keep them dangling on the opposite side so it can
be determined which holes the balls passed through.

The object of the game may be varied from day to day. One suggestion is
to print the names of the four seasons along one side and the words — tree,
flower, bird, animal and star across the top. One ball would represent the
season and the other a tree, flower, or bird that is found during that season
of the year. Instead of four seasons on the side, change it sometimes to
woods, water, and meadow and tell what nature objects can be found in
each place.

STRING GAME

This game consists of as many strings as there are players. Each string
should be four or five yards long, with an acorn or a bead tied on to one
end and a note or a silhouette of some nature object on the other. On this is

Nature in Games

59

written a question for the players to study. The leader gives the ends of the
string to which the questions are tied to each of the players who stand in a
semi-circle, threads them through a large ring and holds the other ends in
one hand. If they are held tightly it is impossible to identify the ends with
with the players. The object of the game is to pull the strings by chance
and have the players answer the questions.

SECTION IV — NATURE IN DRAMATICS

THERE is NO BETTER way to introduce nature to others and to make them
interested than to dramatize it in some way. The campfire is a good place
to tell about adventures you have had on a nature hike, either by means of
shadow puppets, pantomime or short plays written by the children them-
selves. Nature themes have long been the favorite ones for Scouts' Own
or Sunday programs. It is important that all your nature programs are not
serious ones, otherwise the audience will get the impression that there is no
fun in nature. Make them adventurous, humorous and at the same time
educational.

LANTERN SLIDES

Take a paste board cooky box and remove the top. Some boxes have the
four sides turned in toward the center about a half inch, if so, remove two
of the folds on opposite ends. The two remaining folds will hold the lantern
slide in place. (See Diagram) If the edges are not folded, cut the corners
down a half inch from the top and bend the two side ones in toward the
center removing the other two strips. Cut around three sides of the bottom
to form a door at the back. The box is set on its side while in use with the
top toward the audience and the back toward the manipulator. Place the
box up high if the audience is large.

Cut pieces of cardboard the same size as the opening of the box for the
making of the lantern slides. Draw an outline of the leaf, bird or flower that
you wish to show on the slide and cut around it with a sharp knife after the
inside is removed. Use it as a pattern for cutting out the crepe paper to
cover the hole in the slide, only remember to cut the paper an inch larger
for pasting purposes. Copy the colors of whatever plant or bird you are
using on the slide by cutting out different colors of crepe and pasting them
in the proper place. Colored transparent paper may also be used and cello-
phane if it is put on in two layers. Star constellations are effective if stars
are cut out and yellow paper is pasted on the back.

63

64 Nature in Recreation

The lantern slides are used by placing a flashlight in the box and slipping
one of the lantern slides down over the top. Of course' they must be used
after dark. Have someone read a poem about each slide as it is shown, tell
a story, or perhaps you may know an appropriate song.

A NATURE THEATER

The building of a natural theater out-of-doors would be an excellent
project for a nature group and any camp or play ground would welcome
such a contribution. If possible, select a level piece of ground for the stage
that has a slight slope at one side for the seating of the audience. The dia-
gram above suggests a possible arrangement of the trees and shrubs, but the
person in charge of dramatics should be consulted for further suggestions.
Consult your tree books and decide which trees and shrubs would serve best
for the different purposes. If you can find a spot with large trees for the
background it would be possible to transplant the other, thus completing the
stage in one season. Small spruce trees or any kind of pine make good
wings and they should be planted about six feet apart to allow for their
growth. Very low shrubs should be planted at the front of the stage to show
the audience just where the stage begins so they can seat themselves accord-
ingly. The small shrubs would also cover any footlights that are needed
in the production.

A dressing room might also be constructed back of the stage by planting
pine trees very close together in the shape of a room, leaving a small open-
ing for a door. It can also be made by building a trellis and covering it with
vines.

You might extend the project by building seats for the audience. Several
small sticks lashed together make good individual seats, or a series of logs
laid in rows can be used. Simpler seats, however, can be made by sawing
cross sections of a log about 18 inches in diameter into pieces about one inch
thick and placed around for individual seats.

Nature in Dramatics 65

The center of the stage should be covered with grass in which there are
no stones or sticks so that the players can perform in their bare feet. If the
plot is not already covered with grass it can be sodded by getting the grass
elsewhere. Consult a landscape gardener and find out how to do it.

PUPPET SHOWS

Insect Puppets

No puppet show is more appropriate for the out-of-doors than one that
has insects for its characters, especially if a hornet or a mosquito can be in-
cluded! The show, of course, is intended to be educational as well as enter-
taining and the stage should be placed in a central place where groups like
to congregate.

The puppets themselves are small and are best used by children to tell
their friends new facts they have discovered about insects. Think how ex-
citing it would be for a group to observe an ant hill or overturn a rock
where the insects have hidden, then write the story and present it to its
friends! Themes such as "How the Katy-Dids Sing," or "Ants and Their
Cows" are excellent for plays and the children like to write them them-
selves. Decoration of the stage and the making of the scenery also becomes
a part of their education as the insects should be shown in their natural
setting and feed oh the plants on which they are found.

The puppets described are made of plastic wood and are intended for
permanent use where a group is interested in completing a whole family of
insects. Temporary ones can be made from mud or paper mash, if they
are to be used on only one or two occasions. Effective ones can also be done
by using dried fruits such as prunes and apricots, making the legs and
antennae of pipe cleaners.

DIRECTIONS FOR MAKING THE PUPPETS

Material: i. Wire; 2. Pipe cleaners; 3. Plastic
wood; 4. Possibly oiled silk.

Construction: A. First draw the pattern of the in-
sect you wish to model. Note that most insects are
divided into three sections:

i. Head which contains eyes, mouth and an-
tennae.

2. Thorax, the part containing the legs (always 3 pairs) and the wings.

3. The abdomen — (no appendages).

66 Nature in Recreation

VMR.E TO

HOUE m

B. Take a piece of wire and make a
small loop on one end.

C. Take some plastic wood and
model the different parts of the insects.
Insert the wire through them (as in
Figure 3).

When the plastic wood is a little
hard but not dry, take a pipe cleaner
and burn off the fussy part of it so that
it leaves a twisted wire. Insert the wires
in the thorax, making sure that you
have three pairs. Prepare and attach the
antennae in the same way. When the
insect is dry, take some oil silk or oiled
paper (provided the insect has wings),
cut it in the shape of the wings and
glue them on the thorax. The insect is
ready for painting.

The Marionette Insects

A. Construction: Draw diagram of
insect to be made.

B. Take plastic wood, model the
head, thorax and abdomen. When
nearly dry, push a wire through each,
from head to tail. Then push another
wire through the under part of each
section and up through the back.
(B/b) Make a small loop in each wire
as shown in B/c. Bore two holes in the

(^} head as shown B/e. Through this will
pass twisted wire obtained by burning
the fuzzy part of a pipe cleaner, and

(e) making the antennae. Through the
under part of the thorax make three
holes with a wire and then pass the
twisted wire through. This will be for
the legs. Then let the plastic wood
dry.

Nature in Dramatics

C. Make the wings by shaping
them in wire. There will be four
wings: two front, and two back.
Take some oil silk and wire, wrap-
ping is under the wire and gluing it
there. When this dries, cut it around
with a scissors, leaving about J4"
edge around the wire. Then baste it
with a needle and thread. When
you have completed both sets attach
them with a piece of wire as shown
at C/c through the hole in the top
part of the thorax. CB/d

Remove the wire that goes
through the head, thorax, and abdo-
men and replace it by a heavy cord,
putting a knot between each part.

D. Control SticJ^: Take a piece
of wood about 8" in length and l/B"
thick. Make holes for head, thorax,
abdomen and wings — pass string
through holes and attach to loops.
Each wing has a string which is to
pass through the wing hole; so that
there will be four strings in all. All
four are tied into a single knot.
When the knot is moved up and
down the wings will flap.

The Stage

A. Take an oblong carton about
20" x 12", cut off No. 4. Be sure to
leave a border on the top of the box
at least 3" wide.

B. Open up the folds of the box,
using No. i for the top and No. 2
for the bottom. Nos. 5 and 6 are the
inside flaps, and are to be used for
scenery. Cut your design (as seen
in figure B) on the dotted line.

68

Nature in Recreation

C. The stage is now ready to be painted. Through No. 4 the puppets are
inserted. The puppets are operated through No. 4. Nos. i and 2 are to be used
as curtains which are "drawn" by closing the box as it was in figure A.

D. D shows the stage open ready for the play. It may have a quilt or
other drapes hung above it to keep the manipulators from view.

Suggestions for Insect Plays

It should not be difficult to write an insect play as there is not only an
opportunity for the study of insect life, but all kinds of dramatic situations
can be introduced. The insect world has its sweethearts, heroes and villains
very much as humans do, and the characters can arouse as much sympathy
if the play is well written and presented in an interesting way. It is impor-
tant to keep the characters as authentic as possible and the action basically
factual as well as dramatic.

Study the habits of insects and fit your characters into their natural set-
tings. For instance, the Butterfly with her wings of many colors could be a
fickle heroine who lives in the sunshine, dashing from one flower to an-
other. The Luna Moth, one of the most beautiful of all the insects, repre-
sents tragedy — she unfolds her wings for the first time in the darkest part
of the woods, flies at night and lives only a few days. When it comes to
heroes, why not choose the Bumble Bee with his pompous air, or picture the
Cricket singing beneath the window of his lady. The Hornet and Preying
Mantis are unmistakably villains and the Wasp, with his black shiny coat,
could be the blackest villain of all.

Nature in Dramatics

Recreational activities can also be considered among the insects. Imagine
the Katydids as community singers, the Fleas as dancers, and try to think
of others that imitate or change colors to pretend they are the actors. Surely
the Grasshoppers play games as they hop about and the Butterflies are play-
ing "hide and seek" as they hide behind the leaves and flowers from their
brothers and sisters. Study the edges of streams and see which insects can
swim.

A study of Housing could also be carried on in your study of insects.
Follow the bed of a stream to see if you can find a Cadis Fly and observe it
build a house of stone. It is easy enough to find a hornet's nest and make a
study of a house built of paper. The Wasp lives in a house made of mud.
The Bees build theirs of wax; in fact, the insects use almost as many mediums
as man. Make a study of them and see which you would prefer to have as a
landlord.

There is also a chance for the study of communal life if you want to take
the time to work out a long term project. Make a study of the life of the
ants with their division of labor, their slaves, warriors, etc. Life as it is lived
in a bee hive would be fascinating to anyone that has never read about it
before.

There are endless themes for insect plays and exciting ones too!

A Shadow Puppet Show

If you are going to give an evening program, a shadow puppet show is
easy to construct, and if well lighted can be presented to an audience of sev-
eral hundred people. If the audience is large, just remember to set the stage
several feet above their heads to enable everyone to see more easily. You
might call the show "Nature Graphs" because any phase of nature can be
shown on the screen by means of small figures cut from cardboard. Pretend
the screen is one side of an aquarium, add sea weed as scenery, and write a
story about what you think the turtles and fish are doing. The above illustra-

7°

Nature in Recreation

tion shows a screen made of blue cellophane on which gold stars are pasted.
The trees and figures made of cardboard. In this play the child asks the stars
questions about themselves, and they come down out of the sky to answer
her.

CONSTRUCTION

Frame: It is easy to improvise a frame for shadow puppets by fastening
two blocks of wood three inches wide and six inches long to an old picture
frame as shown in the illustration. Almost any attic can produce an old
frame and the owner usually is glad to find a good use for it. If you cannot
find one, construct a frame from i" x 2" pine and nail the two blocks of
wood on to the bottom so it will stand alone.

Screen: Muslin stretched taut and tacked around the edges of the back of
the frame makes an excellent screen. Part of a white window blind also
may be used to make the screen a little more transparent. If you want
scenery in colors, cut it from crepe paper and sew or paste it onto the back
of the screen. Use black paper on cardboard if you want the figures to be
opaque.

Puppets: First select your characters and draw an outline of your smallest
puppet on a piece of paper. Then draw the others in proportion. Cut
around the edge of your drawing and use it as a pattern. Decide what parts
are to move, then cut those parts from the main puppet and cut another pat-
tern making it half an inch longer so it can be attached again by means of a
brass headed paper clip with the two prongs spread apart in the back. If
you want your puppets to be black, make them of heavy cardboard or
black construction paper. Colored ones can be done in two ways. If the
characters are cut out of thin white paper, colored with crayons and then
coated with clear varnish, they will be stiff enough to stand and keep their
shape. The other way is to cut the inside out of the cardboard characters
leaving only the outline, and cover with colored cellophane after pasting
it around the edges.

To Manipulate: Cut sticks about one-fourth inch in diameter and twelve

Nature in Dramatics

inches long, then drill a small hole at one end. Attach it
to the center of the puppet by sewing it on with a needle
and thread, bringing the needle up through the puppet,
then through the small hole at the end of the stick. Cut
ordinary string a length of about fifteen inches and tie
one to the center of every part that moves. To manipu-
late, hold the stick in one hand and the strings in the
other. The puppets should always be held tight against
the screen and care should be taken that the hands are
not seen by the audience.

To illuminate the stage, use an electric bulb or several
flashlights. You will have to experiment before the show to see just where
to place them. You can do some interesting experiments in lighting by
using colored crepe paper or cellophane over the lights. The lights should
be placed between your hands and the screen.

NATURE CONSERVATION

The dramatic groups are perhaps the outstanding offenders of nature
conservation, both in camp and in the city. In their enthusiasm for getting
the right kind of shrubbery and flowers with the correct coloring for their
stage they often pick the rarest specimens. Why not work with the nature
group and ask them to select greens that grow in abundance, or have them
collect the ones you need.

There are a number of ways of preserving plants after they are picked
which will enable you to bring them into the city, use them for a play, and
then transplant them to a spot where they can grow. The above illustra-
tions will give you several suggestions. Flowers and small plants will take
root in water and then may be transplanted to flower pots as cuttings.
Small trees should be dug up with plenty of dirt left around the roots and
transferred to large buckets. They will stay green during the play and then
can be planted in someone's yard. Small shrubs make attractive screens for
footlights if placed in long narrow boxes and placed along the front of the
stage.

72 Nature in Recreation

In other words, keep the spirit of "The Living Christmas Tree" incorpo-
rated in selecting your stage properties!

ANIMAL TRACK CAMPFIRE

Divide everyone into groups of four or five and give them scissors and
paper. Ask them to cut out animal tracks which they are later to place
around in the center of the campfire circle in a way that will tell a story.
Of course when one group places its tracks the other groups must try to
interpret them. The two illustrations above might be interpreted as follows:

Diagram A

Mr. Rabbit was strolling leisurely through the woods one day when all at
once Mr. Weasel, his most dangerous enemy, darted out from behind a tree
and sprang at him. Just then a hunter came along and, seeing the skirmish,
fired at them. He must have killed Mr. Weasel because there are no more
tracks, and Mr. Rabbit ran away as hard as he could. (Note how far apart
his tracks are.)

Diagram B

Two people must have been on a nature walk. Note how often they
stopped along the trail to observe. All at once they came upon Mrs. Skunk
and her two babies. See how quickly they moved to get away. Mrs. Skunk
and her babies went equally fast in the other direction.

SIMPLE MASKS

Simple masks cut into the shapes of leaves or flowers may be used effec-
tively to dramatize nature. Out of stiff cardboard cut the masks in the
desired shape and paint it in the color of the nature object it represents.

Nature in Dramatics

73

One can paint the whole mask in color and add features with black paint,
or simply paint only the outside and leave a white part in the center on
which to paint a face. Fasten a stick 8" long to the lower left hand corner
of the mask so that it can be held in front of the face with the right hand.
Cut small holes in the center of the mask so that a person can see through it.
The person who is holding the mask should be dressed in green or brown
to represent the stem of a flower or the trunk of a tree.

SECTION V — NATURE IN Music

THERE ARE MANY WAYS in which nature and music go hand in hand in song,
rhythm, instrument making and singing games. When the primitive man
made his musical instruments he must first have been a student of nature,
otherwise he would not have known which plants had hollow stems for the
making of reed instruments, which woods were hard to give a clearer tone,
etc. During the evolution of musical instruments making, nature has played
an important role in the use of shells, horns, barks, bones and many other
materials too numerous to mention.

Bird notes and songs have formed the basic part of some of our sweetest
music. There are many phonograph records available of bird songs which
might be included in your repertoire of camp music. It will be found that
the song of the Katydid or the Cricket makes an interesting study in
rhythms. ,

Singing Games can be included in any nature program and are especially
useful for rainy days. If you do not know one with a nature theme, ask the
children to adapt one to a familiar tune and put in their own actions. The
movements of animals, bird songs and names of flowers will give them
enough source material.

Songs on the following subjects can be found at the end of the chapter
with their publishers. Any of them can be turned into a singing game.
Songs about: The Four Seasons; Water; Trees, Flowers, Plants; Birds and
Insects; Animals and Fish; Moon, Stars, Sun, Clouds; The Weather and
Hiking.

Body Rhythms—Have groups apply the fundamental rhythmic patterns
of walking, running, skipping, swaying, etc., by creating the movements of
animals, flowers or birds. Refer to Walter and Jenks — songs and games for
Little Ones.

Music Craft — An activity through music, nature and craft can be corre-
lated by stimulating the making of simple musical instruments. — Salis N.
Coleman, Music Investigator — The Lincoln School of Teachers College,
New York City, has made a comprehensive study of the making of musical
instruments from natural materials and the following directions are taken
from her book, "Creative Music in the Home." There are many more sug-
gestions in the book which should be helpful to a group interested in mak-
ing its own instruments by adapting the elements of nature to its own
use.

77

Nature in Recreation
CORNSTALK FIFE

Take a piece of cornstalk about ten inches long and one half inch in
diameter. Run a hot wire through it to burn out the pith, and close one end
with paraffin. Burn a hole near the closed end for blowing, and two others
near the other end and this will give you a fife that will play three notes.

PANPIPES

The best material for constructing a set of panpipes is bamboo or hollow
reeds cut into different lengths and laced together according to progressive
lengths, with the shortest one at one end for the high note and the longest
on at the other for the low note. The pitch changes chiefly according to the
depth of the hollow space inside the pipe, which is varied by pushing down
the pitch in a reed or altering the length of a bamboo.

Start with a piece four or five inches long. Test it for tone and cut the
next one longer or shorter. By testing and changing, whole tone steps can
be effected for an octave scale.

Most reeds are cut best with a saw unless one is adept with a knife, and
should be smoothed with sandpaper. If the tone is too low for its place
on the scale, it can be raised by filing down the length of the pipe. Sand-
paper will shorten it very gradually. High notes cannot be lowered. If a
mistake is made, such ones will have to be discarded or shortened down
for a succeeding note.

A leather thong or strong cord will serve for lashing the pipes together.

Nature in Music
GOURD INSTRUMENTS

79

Indian Rattle

An Indian Rattle can be made from a dried gourd. Open one end and
insert some pebbles or grains of corn to make it rattle, then seal it with
plastic wood. Decorate with Indian designs.

A Banjo

The Kentucky mountain children play on banjos made of dried gourds.
If you want to make one, choose a gourd that is fairly large and has the
general shape of a banjo. Cut one side off the bulging ends, empty out the
seeds and cover it with oiled wrapping paper. Stretch it over the top as
tight as possible and paste the edges with some good glue. String it up like
any other banjo.

MARIMBA

Materials:

Flat strips of any well-seasoned wood, the finer the grain and the harder
the wood the better, i.e., maple; 3 or 4 feet of soft rope; a few l/2 inch brads.

Tools: Saw, plane, vise and hammer.

Take a flat strip of wood about 9 inches long and hold it lightly between
the thumb and finger about % of its length from one end. Tap it lightly
with another stick. Identify its pitch. If it is too low, saw a little off of one

8o Nature in Recreation

end, if it is too high, put it in the vise and plane off some of its thickness.
Do the same with another piece of your wood that is about l/2 inch shorter
or longer. This should give you another tone. By experimenting a little you
can soon get several tones right along the scale and tune them to definite
pitches.

To make a hammer, cut a small block of your wood and whittle it round,
or else just round off the corners and insert the end of a limber stick. A knot
might be used for the block. Wrap a piece of felt around the block if you
wish to soften the tones.

Lay the rope on a table in a U shape. Place your tuned pieces of wood
across it. Find the nodal points by sprinkling sand or sawdust on your
sticks and lightly tapping them in the center. The sand will finally collect
in two little piles where the wood trembles the least. Mark the center of
these — they are the nodal points. Place your rope so it goes just under these
points on each stick. By laying the shortest stick next to the loop in the
rope and the others about J/2 inch apart, from each other across it you will
have a loop to hold your marimba. The sticks will be graduated down it.
Make the tune as many sticks as you wish in your instrument. Mark their
nodal points, then nail the rope to these points with small brads on the back
of your sticks. Now you can hang up your instrument to play it or lay it on
a table. You'll find it more resonant to lay or hang against a large wooden
surface — as on a table. Place a board on your lap and let it lay across, if
you choose.

Petunia-Blossom Oboe

Remove the pistil from the flower, put two pinholes in the side of the
tube, and by blowing through it a "three-note" melody can be played.

THE SHEPHERD'S PIPE

r
i

The shepherd's pipe is another reed instrument in which, by the use of
holes, several tones can be made on one reed. The tone is generated by

Nature in Music 81

blowing directly into a whistle mouthpiece at one end of the reed. Take a
reed about 12 inches long and an inch or more in diameter and cut the top
in the shape of a mouth piece as shown in Diagram A, and fit a cork that
has been cut flat on one end into the top. Cut a rectangular window % inch
in diameter about one inch below the top, also shown in the diagram. After
the mouth piece is fit in bore two small holes opposite to each other about
three inches below the window. Adjust the mouthpiece until you can get a
tone. If the pitch is too low make the pipe shorter. Bore five other holes
below the first one on top about % inch apart and tune them as you go.
The pipe is tuned by making the holes larger.

SHELL TRUMPET

A trumpet can be made from a large sea shell, but the tones are so loud
they are practical only for use in camp or out in the country. Bore a hole in
the side of the shell or cut off the apex to blow in. They make a good gong
for camp, or to signal with when on a hike.

A WISHBONE HARP

Stretch a narrow rubber band several times across a wishbone then pull
it into tune and you can play a simple melody on your tiny harp. To make a
harp on a larger scale than the wishbone one, cut a forked branch from a
tree, put an equal number of notches in the sides of each prong and stretch
several narrow rubber bands over them.

SQUASH-LEAF OBOE

To make this instrument cut the leaf with its stem from the plant, leaving
the hollow stem intact. Then at the leaf end a slit about an inch long is

82

Nature in Recreation

made in the stem. By inserting this entirely into the mouth and blowing
through it, the two slit surfaces are made to vilirate together, creating a
reedy sound. A hole about one-eighth the length of the stem from the big
end will produce a tone above the fundamental. Another hole at. nearly the
same distance, and a third hole at about half that distance from the second,
should complete the first four tones of the diatonic major scale. Several
squash-leaf stems can be cut until they will produce lik tones, and they can
then be used to make an interesting squash-leaf ensemble. If kept in water
when not in use, these instruments will last for several days.

SONGS WITH NATURE THEMES

Plants

Roll de Cotton Down
Peanut Picken Song
Oats, Peas, Beans & Barley
A Song of Bread
The Farmer
The Grass

Universal Folk Songster

Concord #7

Animals & Fish
My Pony
The Pony Ride
On a Frosty Morning
The Snail
Eight White Sheep
Little Prairie Flower
Old MacDonald Had a Farm
Down on Smiley 's Farm
The Monkey and the Zebra
The Barnyard Song
The Tree in the Wood
The Animal Fair

Concord #7

Songs & Games for Little Ones

Twice 55 Games with Music

« (( «

Seasons {$* Weather
Winter
The Shower
The Wind
Tirra-lirra-lirra
The First Snow Drop

Concord #7

« :<

Universal Folk Songster

Nature in Music

Frost

Moon Song

The Stars

Man in the Moon

A Song of Seasons

The Climate

Who Has Seen the Wind

To Three Forever

Moonlight

Water

The Banks of the Dee
Happy River
Singing River
Journey of the Leaves
Evening on the River
A Sailing Song

Flowers & Trees
Come Buy My Flowers
Spring Calls
Out of the Meadow
Balzamina

The Apple Tree House
Planting a Garden
My Garden of Flowers
The Daisy
The Violet
Little White Lily
The Birch Tree
Cheery Blooms

Birds & Insects
Pigeons & Fairies
The Song of the Rooster
Flying Cranes
The Cuckoo
Fireflies

The Sparrow's Nest
The Nightingale

Universal Folk Songster
Concord #7

#14

Twice 55 (Brown Book)
Play Songs by Laidlaw Bros.
Universal Folk Songster

Universal Folk Songster
Concord #15

" #15

#7

#7

" #7

Universal Folk Songster

Concord #7

" #7
Song & Games for Little Ones

« « II « ((

« «( « « it

Botsf ord Collection

Universal Folk Songster

Concord #14
" #7
" #7

84 Nature in Recreation

The Cuckoo Concord # 7

The Chickadee " # 7

The Sea Gull " # 7

The Caterpillar " #7

The Butterfly " #14

Grasshopper Green Songs & Games for Little Ones

The Song of the Bee " " " " " . "

De Ballet of De Boll Weevil Botsford Collection

Jaybird

The Peacock

Hiding

The Foot Traveler Girl Scout Song Book

Out on the Meadow Botsford Collection

Tiritomba Concord #14

Weggis Song Botsford Collection

SECTION VI — NATURE IN DANCING

THERE ARE MANY variations of the dance program that groups interested
in nature and dancing can work out together. Dancing always has been
closely allied with nature in the working out of rhythms according to the
movements of animals, the depiction of the different seasons, the imitating
of flowers and so on.

By observation out-of-doors it is easy to interpret the actions of birds, the
swaying of branches, quickness of thunder, coolness of rain and many other
fantasies of nature.

Costumes and color schemes for productions can well be copied from
nature — colors of the rainbow make a good color chart and the woods and
field offers flowers of every hue. Beautiful color combinations can be de-
signed from such insects as the butterfly or the beetle. Even the snake be-
comes fascinating when presented in rhythm and costume.

DANCES FOR SEASONS

Spring:

Dance of Spring

Faun Dance

Greek Dance of Spring

Pipes of Pan

Spring Dance

Wood Nymphs

Butterfly

May Pole

Mary Wood Hinman's Folk Dance Book # i

#2

#3

Nature in Recreation

Today is ist of May
Fairies Revel
Around the Tree
Spring

Winter
Christmas
A Winter Day
Christmas Frolic
The Sleigh Ride
The Snow Man

Christmas Tree Song

Winter is Here
Sleigh Bell Dance

Santa Claus's Shop

Skating

The Snow Man

Winter

Mary Wood Hinman's Folk Dance Book #3

« (( (C « « « j I

Folk Dances for Young People . Van Cleve

Mary Wood Hinman's Folk Dance Book #4
Folk Dances for Young People . . Van Cleve

Come & Caper Virginia Bennett Whitlock

Pub. by G. Schirmer, Inc., NYC

Folk Games of Denmark & Sweden
by Dagny Pederson & Neva L. Boyd
Pub. by Saul Bros., 626 Federal St., Chicago,
111.

Good Times for All Times
Nina B. Lamkin — Samuel French

Good Times for All Times
Nina B. Lamkin — Samuel French

Come & Caper .... Virginia Bennett Whitlock

Summer
A Summer Day
Lost in the Woods
From Grain to Bread
'Mong Meadows Green
Mother's Flax

Folk Dances for Young People . . Van Cleve

Fall

Finnish Harvest Mary Wood Hinman's Folk Dance Book #4

Corn Grinding Song of
Zuni Rhythm of the Red Man ... Julia Butree

ShokoOtiikwe " " " "

Harvest Dance of Zuni " " " "

Bow & Arrow of Wood-
craft " " " " " " "

Blue Corn Dance
Harvest Dance
Plowman's Waltz
Potato Peelings
Harvest Festival
(Jewish)

Garland

Indian Corn Dance

Nature in Dancing

Rhythm of the Red Man ... Julia Butree
Dances of Finland Eliz. Burchenal

Children's Succoth Celebration

Pub. by National Council of Jewish Women
« « « « «( « «

Come & Caper Virginia Bennett Whitlock

Dances can be created by watching the flowers, birds and animals. Watch-
ing the peacock with his haughty air will inspire beautiful dancing move-
ments. The study of the opening and closing of the petals of flowers will
help to create not only charming dances but incite ideas for costumes to be
worn for such dances. Of course imagination is a very necessary factor in
visualizing the motive for such creations. What is more appropriate for a
dainty "Polka" than the plucking of one petal at a time from the hardy
daisy, pantomiming the old adage, "he loves me, he loves me not," at the
same time fitting in steps to suit the music?

Dance of the Seasons

Rose Dance

Spring Flower Dance

Daffodills
The Farmer
Garland

OTHER NATURE DANCES

Jewish Festival Book .... Bureau of Jewish Educa-
tion, 114 5th Ave., NYC

Guild of Play Book of Festival & Dance
by G. T. Kimmons

Guild of Play Book of Festival & Dance
by G. T. Kimmons

Mary Wood Hinman's Folk Dance #3

9o

Nature in Recreation

Green Grass (Swedish) Mary Wood Hinman's Folk Dance #3
Sweet Daisy (English) " " " " " "

Our Garden Lily

The Rainbow Fairies
The Flower Children
Joy of Spring
Pipes of Pan
A Flower Dance
Dance of Poppies
Indian Corn Dance

Blossoming Flowers:

Folk Dances for Young People, Van Cleve
Character Dancing for School Programs

by Hilda C. Kozman
Good Times for All Times, N. B. Lamkin

Rhythmic Action Plays & Dances
by Irene Phillips Moses

Autumn Wind
Snow Cloud
March Wind
Sun

Cloud of Gentle Spring
Rain

Butterflies (E. H. Grieg) Come & Caper

Forest & Storm (Pastoral"
Symphony. L. B. Bee-
thoven)

The Sea (Scotch Poem —
E. MacDowell) " " "

Spring Comes (To
Spring) (E. H. Grieg) " " "

Warm Wind Waltz

(F. Schubert) " " "

Rain Drops (Little Prel-
ude—J. S. Bach) " " "

Bear (Bird Music from
'Siegfried"-Wagner)
Camel
Cats
Ducks
Elephant

Virginia Bennett Whitlock

The Bees

The Carrier Pigeon

Rabbits & Dogs

Hawk & Dove

The Crow

Fox & Geese

Four & Twenty Blackbirds

Doves

Small Herrings

Frogs

Kangaroos

Lion

Monkeys

Rabbits

Mules

Seals

Wild Man

Nature in Dancing 91

Folk Dances for Young People .-'... Van Cleve

Mary Wood Hinman's Folk Dance Book #3
Dances of Finland .... Eliz. Burchenal
Come & Caper .... Virginia Bennett Whitlock

SECTION VII — NATURE IN AQUATICS

NATURE AT THE SHORE

Dr. William Beebe, the naturalist, once wrote that the edges of things
often reveal more about what things are made of than the things themselves.
Just as you would examine the edge of a piece of cloth to learn its weave
and what the warp and weft are made of, so Dr. Beebe examines the edges
of nature. And what is a better place to examine nature than at the shore?
The edge of three elements of nature are land, water and air.

The archaeologists dig up the refuse of lost civilizations to study and build
up histories of ancient times. In a like manner we may examine the edge
of the water for refuse telling us a little of what it contains and much about
the flora, fauna and minerals of the land that has been washed down by the
rains.

The third, and often most obviously important, element is the air and
what it contains, sunlight, clouds, wind and rain. The air is the governing
force that subdues or plays with the other elements at the shore. When it
behaves to our liking and all is serene we hardly notice it at all, but when
it ships the water into thundering surf and makes the trees moan, we call
it weather.

Mark Twain once expressed himself to the effect that we all talked about
the weather but nobody ever did anything about it. We still can't do much
about it, but we can do many things with it. Just watching the weather can
become an interesting pastime, and the study of weather is really a most
fascinating subject.

We can study the weather to learn its moods and know whether it is just
playful or getting serious. Whether it is time to head for shore if we are in a
boat, or to stay in camp if we intended to go hiking or had planned a
picnic or outing.

Weather maps are interesting to study and can be had by writing to the
United States Weather Bureau Station nearest you; The maps will tell much
about cyclonic storms and general weather conditions. However, do not
expect them to forecast all the local squalls or thunderstorms.

There are a few instruments that can help us in our study of the weather —
a weathervane, barometer and hygrometer. These can all be homemade,
but unless you are quite expert with tools you had better buy the barometer
—$3.00 up.

95

96 Nature in Recreation

THE BAROMETER

This instrument is of little use and may actually give you wrong informa-
tion unless you consult it regularly and keep a record of its readings.

The barometer contains a small metal box from which the air has been
removed. The sides of the box cave in more or less from the pressure of the
air on the outside of the box. The air pressure constantly varies, and is called
barometric pressure. The side of the box is connected to a needle that moves
back and forth registering the changes in barometric pressure. Each time
you read the barometer you should tap the glass lightly in case the needle
has stuck. Write the reading down and set the extra needle right over the
moving needle. This is so that the next time you read the barometer you
can tell at a glance whether it has moved up or down.

A Rising Barometer

A rapid rise indicates unsettled weather.

A gradual rise means settled weather.

A rise with dry air and cold increasing, in the summer indicates wind
from the northward, and if rain has fallen better weather may be expected.

A rise with moist air and low temperature, indicates wind and rain from
the northward.

A rise with southerly wind, indicates fine weather.

A Steady Barometer

With dry air and normal temperature, indicates continuance of fine
weather.

A Falling Barometer

A rapid fall indicates stormy weather.

A rapid fall with westerly wind, indicates stormy weather from the north-
ward.

A fall with a northerly wind indicates storm; with rain and hail in sum-
mer, and snow in winter.

A fall with increased moisture in the air and heat increasing, indicates
wind and rain from southward.

Nature in Aquatics 97

A fall after very calm and warm weather, indicates rain with squally
weather.

After reading the barometer indications you can see why we need the
other instruments mentioned.

THE WEATHER VANE

The Weather Vane to tell us which way the wind is blowing, and the
hygrometer to tell us the temperature and how much humidity there is in
the air.

The Weather Vane is the easiest of the instruments to make. It can be
just a flag or a piece of cloth hung out in an exposed place where the un-
obstructed winds can blow it. Or, to be more exact, we can make our
weather vane in a number of ways. We can make sailing ships, or canoe
paddles, roosters or windmills. There is no end to the designs for weather
vanes and perhaps you can make up a new one.

In constructing a weather vane of metal or wood, have as much surface
behind the pivot as possible; you cannot have too much. You must, how-
ever, have as much weight in front of the pivot as the vane weighs behind
it. In other words the weather vane must balance on the pivot as far as
weight is concerned and be out of balance in areas. Often the telltale on
sail boats is made like the illustration which explains this question of areas
and weights.

The pivot must be quite free and made of some noncorrosive material
that will not rust fast, brass, bronze, nickel, silver, etc.

You can also make cross arms indicating the cardinal compass points
and attach them just under the weather vane orienting them by a compass
or the north star. They will help you to judge the direction of the wind.

THE HYGROMETER

The hygrometer consists of two thermometers fastened to a board. One,
the dry bulb thermometer, is the ordinary household kind, the other, the wet
bulb thermometer, is exactly the same except that the bulb is covered with

98 Nature in Recreation

a cotton wick extending down into a small bottle of water. The two ther-
mometers are mounted on a board and placed upright in a box that has
had holes drilled in three sides to allow a free circulation of air and yet not
allow too much wind to strike the wet bulb. This would cool the wet bulb
too much and give an incorrect reading. The two thermometers will have
to be bought, the rest of the instrument can easily be made with a hammer,
saw, and brace and bit. In buying thermometers go to some store that has
several on display, look them all over to find what the average reading is
and purchase two whose readings are as near the average as possible.

PRY WET \f___£

BUIB 50L6

The wet bulb thermometer gives you the temperature at 100% humidity
and the dry bulb the temperature at the humidity of the air. By subtracting
the wet bulb reading from that of the dry bulb and consulting the following
table you can find out what the humidity is.

Room

Difference between Wet

and Dry Bulbs

Barometer

30.0

temp. 4

5

6 7

8 9

IO II

12 13

14 15

16 17

18

'9

20 21

68

F. 80

76

71 67

62 58

54 50

46 42

38 34

31 27

23

20

16 13

69

81

76

72 67

63 59

55 51

47 43

39 35

32 28

24

21

18 14

70

81

77

72 68

64 59

55 51

48 44

40 36

33 29

25

22

19 15

71

81

77

72 68

64 60

56 52

48 45

4i 37

33 30

27

23

20 17

72

82

77

73 69

65 61

57 53

49 54

42 38

34 31

28

24

21 l8

73

82

78

73 69

65 61

57 53

50 46

42 39

35 32

29

25

22 19

74

82

78

74 69

65 61

58 54

5° 47

43 39

36 33

29

26

23 2O

75

82

78

74 7°

66 62

58 54

5i 47

44 4°

37 34

30

27

24 21

76

82

78

74 7°

66 62

59 55

51 48

44 41

38 34

31

28

25 22

77

83

79

74 71

67 63

59 56

52 48

45 42

39 35

32

29

26 23

78

83

79

75 71

67 63

60 56

53 49

46 43

39 36

33

3°

27 24

79

83

79

75 71

68 64

60 57

53 5»

46 43

4° 37

34

31

28 25

80

83

79

75 T^

68 64

61 57

54 50

47 44

41 38

35

32

29 26

82

84

80

76 72

69 65

61 58

55 51

48 45

42 39

36

33

30 28

84

84

80

76 73

69 66

62 59

56 52

49 46

43 4°

37

35

32 29

86

84

81

77 73

70 66

63 60

57 53

5° 47

44 42

39

36

33 31

88

^85

81

77 74

70 67

64 61

57 54

51 48

46 43

4°

37

35 32

Nature in Aquatics 99

Study the weather habits in your locality, there are many indications that
will allow you to forecast weather a few hours in advance, without consult-
ing instruments of any kind. A sudden change of wind, a rapid change in
temperature, thunder-heads on the horizon, are all indications of weather
changes. These should be known and recognized because often you might
be on a hike or boat and not have the instruments we have mentioned.

There are no fixed rules for this kind of weather prediction. Each locality
has its own peculiarity. For instance; on Long Island Sound, squalls often
come up against a prevailing wind while, inland, the storms usually come
with the wind. The writer has seen five squalls in one afternoon, rain on
one side of the river and not on the other. In this locality the storms came
down a tributary of a large river and turned down the main stream without
crossing it.

There is a great deal of weather lore available in rime and prose peculiar
to different localities. Much of it is inaccurate and based on superstition;
however, sometimes there is a grain of truth to be found in them. Seamen
used some of the following in the days of the windjammers:

Red sky in the morning
Sailors take warning.

Red sky at night,
Sailor's delight.

NATURE CRITERIA

The following criteria is suggested for the Director, or Nature Counselor,
who set the standards of a nature program for any recreational agency. It
should be used as a basis for discussion in a training course rather than a
series of rules to be followed without serious thought. It may also be valuable
for use in a survey if you wish to evaluate a nature program.

NATURE FACILITIES

Nature Facilities might be: Outdoor museum, trail, nature house, garden
area, windows, nature nook.

1. They should be kept attractive and clean.

2. When living things are kep't in them, they should have the proper care.

3. All displays and specimens should be labeled in an interesting and
thought-provoking manner as possible.

4. All displays should be of local material — (not tropical plants, ones
that grow in the far north or ones might be found in darkest Africa, for
instance) .

5. There should be water available for plant specimens and provide water
for living animals.

LEADER

1. A leader should have good health which stimulates energy and enthu-
siasm.

2. A leader should have common sense and sound judgment, especially
if the program is to be conducted in the field.

3. The leader should be attractive in appearance and wear suitable cloth-
ing, such as comfortable shoes and sport clothes on a hike.

4. A leader should be dependable. If a group is out on a hike, the leader
is responsible for getting them home at a given time.

5. A leader must have the training requisite for carrying out the program.

6. A leader should be sincerely interested in children.

7. A leader should know something about the interests of different age
groups, and how to adapt the program to these interests.

8. A leader should have a spirit of adventure and be alive to the interest-
ing things in the world of nature around him.

9. A nature leader should be versatile and join in other camp activities.

103

104 Nature in Recreation

PROGRAM

1. The leader should be able to offer the group a definite program with
enough flexibility to meet emergencies.

2. The basis of a nature program should be to give a knowledge and
enjoyment of living things and the way they live.

3. A nature program should stimulate children to inquire and become
aware of things growing around them, rather than to know the names of
every single object. An appreciation comes through acquaintanceship with
some things and an awareness of all things.

4. Children should be guided toward an understanding of a living thing
and appreciate its beauty without desire for possession. In other words, do
away with collections and keep a record with drawings or photographs.
Always encourage conservation of plants and animals which is necessary
both in the city and in the country.

5. A nature program should be planned as' a group activity and yet for
the individual student.

6. There is no hard and fast grouping of nature students according to age.
A six year old may study with an adult if neither has been introduced to
nature, except perhaps on long hikes.

7. A nature program should be based on every seasonal change.

8. There should be a diversity of activities introducing the different fields
of nature.

9. A nature program should bring out the major principles such as con-
servation, life histories, interdependence, adaptations and use by man.

10. The program should be motivated by the use of nature displays,
visual aids, nature crafts, source material.

11. Awards and tests may have a place in the nature program, but must
be used with discretion lest acquiring or passing of them become the goal
and not a means to the goal of nature appreciation.

12. The program should be one of active participation rather than a
lecture period and should lead the individuals to discover for themselves
whenever possible.

NATURE ACTIVITIES

1. Hikes.

2. Special Field Trips: zoo, museum, push carts, fish markets, botanical
gardens, neighborhood observations, stores, trees, gardens, open lots.

3. Crafts: splatter prints, blue prints, Van Dyke prints, plaster casts,

Nature Criteria 105

photography, winter gardens, bird houses, animal cages, notebooks, textile
with nature motifs, sketching, painting, basketing, carving, sculpture.

4. Games: Games with equipment (indoor and outdoor), games without
equipment (outdoor).

5. Special Events: flower shows, pet shows, exhibits, museum days, hobby
days, conservation week, Arbor Day, Kindness to Animals Week, Bird
Week, all other special days such as ground hog, May Day, first day of
Spring, Summer, Fall and Winter.

6. Source of Help: library, teachers, nature hobbyist, pet shop owners,
national nature organizations, market and store owners, films and slides,
museums, botanical gardens, free literature, supply houses, State and Federal
nature publications.

BIBLIOGRAPHY

The following list of books are selected as suitable for use in a camp library
or nature room and should not be considered a complete bibliography. The
list is limited in number to make it more usable for the lay person who is
receiving his first introduction to nature, or for a person who is not a
naturalist, yet selects books for libraries.

NATURE MAGAZINES

American Forests, Washington, D.'C.

Bird Lore, National Association of Audubon Societies, New York.

Conservation, American Forestry Association, Washington, D. C.

Frontiers, Philadelphia Academy Natural Sciences.

Monthly Evening Sty Map, Leon Barritt, 244 Adams St., Brooklyn, N. Y.

National Geographic Magazine, Washington, D. C.

Natural History, bi-monthly, American Museum of Natural History, New
York.

Nature Magazine, Washington, D. C.

Recreation (National Recreation Association, New York City). Contains
occasional articles on nature recreation and a monthly page of Nature-
Grams by Dr. William Gould Vinal.

Roc^s O3 Minerals, Peekskill, N. Y.

Zoological Society Bulletin, bi-monthly, Zoological Society, New York.

Publications of State Museums and of other sources, such as the Museum of
Natural History, Field Museums, etc. Superintendent of Documents,
Washington, D. C., has lists from which to select materials.

BOOKS OF GENERAL INTEREST

PRICE, BETTY, Adventuring in Nature. Suggestions for collections, play-
ground nature museums, nature trails, nature clubs, games and handcraft,
and other interesting activities for children.

Boy Scouts of America. Write for a list of their publications, 2 Park Ave.,
New York City.

The Outdoor Boo\, Campfire Girls, 197 Greene St., New York City. A sec-
tion on nature games and natural foods.

109

no Nature in Recreation

COMSTOCK, ANNA, Handboo^ of Nature Study, Ithaca, N. Y. Slingerland-
Comstock Co. A standard handbook for nature leaders.

GAUDETTE, MARIE. Leader's Nature Guide, Girl Scouts, Inc., 155 East 44th
St., New York City. An attractively illustrated booklet containing many
fascinating suggestions for nature activities that will interest young peo-
pie.

HOWES, P. G., Backyard Exploration, New York: Doubleday, Doran Co.
Particularly interesting and valuable because it so vividly expresses the
results and pleasure to be obtained from careful study of a limited area.
Well illustrated.

MANN, PAUL, AND HASTINGS, GEO. T., Out of Doors, A Guide to Nature,
New York: Henry Holt Publishing Co. A book that interprets living
things in the out of doors environment, animals and plant life, earth and
sky with chapters on trails, museums, photography, stories, games, camp
programs, etc.

MARSHAK, III. 100,000 Whys. Philadelphia: J. B. Lippincott & Co. Explain in
a simple way the "Why" of things seen in a trip around a room, such as
the water faucet, the stove, the contents of the cupboard, etc.

National Recreation Association, 315 Fourth Ave., New York City. Victory
Gardens — Harvesting and Drying, by Marguerite Ickis. Suggestions for
drying vegetables, fruits, and herbs with the use of simple equipment, and
for making gift packages and containers for herbs.

NEEDHAM, JAMES G., Natural History of the Farm, Ithaca, N. Y.: Slinger-
land-Comstock Co. Contains excellent material on familiar animal and
plant life.

REED, W. M., And That's Why, New York: Harcourt, Brace & Co. Answers
questions as to the "Why" of clouds, frost, fire, atoms, water, rocks, thun-
der and the waves in the air.

STEVENS, BERTHA, Child and Universe, New York: John Day & Co. A
stimulating, splendidly illustrated book for the teacher or leader and the
child who loves books. See the chapters: "Why Study the Universe?" and
"The Earth in Space."

VINAL, WILLIAM GOULD, Nature Guiding, Ithaca, N. Y.: Slingerland-
Comstock Co. A book filled with excellent suggestions on method and
personal experiences; not well organized.

VINAL, WILLIAM GOULD, Nature Recreation, McGraw-Hill Book Co., New
York City. A readable and practical guide for group leaders working
with children out of doors.

Bibliography in

AMPHIBIA

WRIGHT, ANNA ALLEN AND ALBERT HAZEN, Handboo^ of Frogs and Toads,
Ithaca, N. Y.: Slingerland-Comstock Co. The frogs and toads of the.
United States and Canada. Well illustrated with photographs accompany-
ing each description. Each species discussed under common name, scien-
tific name, range and habitat.

ANIMALS

SHAW, MARGARET AND FISHER, JAMES. Animals as Friends and How to Keep
Them. E. P. Dutton and Company, Inc., New York City, 1940.

ASTRONOMY

OLCOTT, W. T., Field Boo^ of the S\y, New York: Frederick A. Stokes Co.
One of the best sky books. Many diagrams and photographs. The informa-
tion is arranged for naked eye, field glass and small telescope observation.

WILLIAMSON, JULIA, The Stars Through Magic Casements, New York:
Appleton-Century Co. Star stories from the Greeks and native races to-
gether with modern poems. Excellent for the camp and council library.

BIRDS

ASHBROOK, FRANK, Birds of America, Racine, Wis.: Whitman Publishing
Co. Illustrated in color. I, The Green Book — Tanagers, Warblers,
Thrushes, etc. II, The Red Book — Diving, Swimming, Marsh, Shore, etc.
Ill, The Blue Book — Swifts, Flycatchers, Finches, etc. Excellent guides
for beginners.

The Audubon Guide, Attracting Birds, Edited by John H. Baker, Execu-
tive Director of the Audubon Society 1941 (Doubleday Doran and Com-
pany, Inc., Garden City, N. Y.).

BROOKS, ALLAN (Illustrator), Audubon Bird Cards, New York: National
Assoc., of Audubon Soc. Three sets of cards in color with text by Alden H.
Hadley.

CHAPMAN, FRANK M., Handboo\ of Birds of Eastern North America,
New York: D. Appleton-Century Co. One of the most helpful books
written on birds.

ii2 Nature in Recreation

FERNS AND THEIR ALLIES

WILEY, FARIDA, Ferns, New York: American Museum of Natural History.
A pocket guide for New England and Middle Atlantic States.

FISHES

MELLEN, IDA M., 1001 Questions Answered About Your Aquarium, New
York: Dodd, Mead Co. Information about goldfish and toy tropicals,
with details of care and treatment of ailments.

The Boo^ of Fishes, Washington, D. C.: National Geographic Society. Life
stories of the most important American game and food fishes.

FLOWERING PLANTS

GEORGIA, ADA E., Manual of Weeds, New York: Macmillan Co. Standard
manual for northeastern United States.

GRAY, ASA, Manual of Botany, New York: American Book Co. Standard
manual for central and northeastern United States.

HARVEY, JANE, Wild Flowers of America, Racine, Wis.: Whitman Pub. Co.
Good pocket guide, colored pictures, distributed by Woolworth Ten Cent
Stores.

The Boo^ of Wild Flowers, Washington, D. C.: National Geographic So-
ciety. Includes color plates and brief descriptions of 25 familiar wild
flowers and grasses. Chapter on state flowers.

FLOWERS

FISCHER, HELEN FIELD AND HARSHBARGER, GRETCHEN, The Flower Family
Album (University of Minnesota Press, Minneapolis, 1941).

FUNGI

MARSHALL, NINA L., The Mushroom Eoo\, Garden City, N. Y.: Doubleday,
Doran & Co.

GEOLOGY

LOOMIS, G. P., Field Boo% of Common Roc\s 0s Minerals,- New York:
G. P. Putnam's Sons. An excellent book for the beginner and advanced
collector.

Bibliography 113

WODISKA, J., A Boof^ of Precious Stones, New York: G. P. Putnam's Sons.
SWENGEL, H. & L.j The Romance of Your Eirthstone, Ithaca, N. Y.: Slinger-
land-Comstock Co.

INSECTS

BEARD, DANIEL CARTER, American Boys' Boo\ of Bugs, Butterflies, and
Beetles, Philadelphia: J. B. Lippincott & Co. This is a good book; a useful,
entertaining, well illustrated volume that belongs in the library of every
boy and girl.

LUTZ, FRANK EUGENE, Field Boo\ of Insects, New York : G. P. Putnam's Sons.
Especially suited to the study of insects in the northeastern United States.

Our Insect Friends and Foes, Washington, D. C.: National Geographic
Society. Stories about the lives of bees, ants, beetles, bugs, butterflies, etc.

MAMMALS

BEARD, DANIEL CARTER, American Boys' Boo^ of Wild Animals, Philadel-
phia: J. B. Lippincott & Co. The writer has long been a favorite for
young people.

BLAIR, WILLIAM REID, In the Zoo, New York: Scribner & Sons. Written
with the understanding of a man who has taken pride in the develop-
ment of his "animal children" for more than twenty-seven years.

MOSSES

MARSHALL, N. L., Mosses and Lichens, Garden City, N. Y.: Doubleday,
Doran & Co. One of the few books describing the common lichens.

REPTILES

DITMARS, RAYMOND L., The Boo^ of Living Reptiles, Philadelphia: J. B.
Lippincott & Co. Written for young people.

TREES

HARLOW, WILLIAM M., Pn.D., Trees of the Eastern United States and
Canada (Whittlesey House, McGraw-Hill Book Co., Inc., New York
City).

KAUFFMAN, ERLE, Kingdom of the Trees (Reilly and Lee, Chicago, 1940).

ii4 Nature in Recreation

MARX, DAVID S., Let's Loo{ at the Plant World (The Botanic Publishing

Co., Cincinnati, Ohio).
Learn the Trees from Leaf Prints, 1941.
The American Boo^ of the Woods, 1941.

TREES AND SHRUBS

BLAKESLEE, A. F. AND JARVIS, C. D., Trees in Winter — Their Study, Planting,
Care and Identification, New York: Macmillan Co. Excellent illustrations
with buds, bark and general account of trees in northeastern United States.

HOTTES, ALFRED C., The Boo{ of Shrubs, De La Mare & Co. Excellent
account of the shrubs in cultivation, with information of their planting
and care.

HOUGH, ROMNEY B., Handboo\ of Trees of the Northern States and Canada,
Lowville, N. Y.: R. B. Hough. Excellent photographs of flowers, fruits,
trees.

WATER LIFE

BUTLER, EVA L., Along the Shore, New York : John Day & Co. Brief accounts
of the animal and plant life commonly found along the shore. Each
description accompanied by drawings of a species. Good for very young.

FULLER, RAYMOND T., Among the Broods, New York: John Day & Co. A
very simple guide to fifty "Brook Denizens anyone is likely to meet with
by any stepping stone brook." Good for beginners.

ROGERS, JULIA ELLAN, The Shell Eoo\, Garden City, N. Y.: Doubleday,
Doran Co. This popular guide to the living mollusks serves in the iden-
tification of shells both native and foreign.

WEATHER

BROOKS, CHARLES FRANKLIN, Why the Weather? New York: Harcourt,
Brace Co. Presents in readable way the factors that make weather and
seasons. Tells why weather observations are made.

PICKWELL, GAYLE, Pn.D. Weather. New York: Whittlesey House, McGraw-
Hill Book Co., 1938.

U. S. WEATHER BUREAU, Cloud Forms, Washington, D. C.: Superintendent
of Documents. Excellent chart of various cloud forms.

WILLIAMS, Lou, The Weather Handboo\, New York: Girl Scout, Inc.
Written for the layman. A small book well illustrated.