Wednesday, July 4, 2018

The Transforming Wand

       The play of young fancy meets us in the very domain of the senses: it is active, often bewilderingly active, when the small person seems busily engaged in looking at things and moving among them.
       We see this fanciful "reading" of things when a child calls the star an "eye," I suppose because of its brightness and its twinkling movement, or says that a dripping plant is "crying ".
        This transforming touch of the magic wand of young fancy has something of crude nature-poetry in it, This is abundantly illustrated in what may be called childish metaphors, by which they try to describe what is new and strange. For example, a little boy of nineteen months looking at his mother's spectacles said: "Little windows". Another boy two years and five months, on looking at the hammers of a piano which his mother was playing, called out: "There is owlegie" (diminutive of owl). His eye had instantly caught the similarity between the round felt disc of the hammer divided by a piece of wood, and the owl's face divided by its beak. In like manner another little boy called a small oscillating compass-needle a "bird" probably on the ground of its fluttering movement. Pretty conceits are often resorted to in this effort to get at home with strange objects, as when stars were described by one child as "cinders from God's stove," and butterflies as " pansies flying".
       This play of imagination upon the world of sense has a strong vitalizing or personifying element. A child is apt to attribute life and sensation to what we serious people regard as lifeless. Thus he gives not only a body but a soul to the wind when it whistles or howls at night The most unpromising things come in for this warning, life-giving touch of a child's fancy. Thus one little fellow, aged one year eight months, conceived a special fondness for the letter W, addressing it thus: "Dear old boy W ". Miss Ingelow tells us that when a child she used to feel sorry for the pebbles in the causeway for having to lie always in one place, and would carry them to another place for a change.
       It is hard for us elders to get back to this childish way of looking at things. One may however hazard the guess that there is in it a measure of dreamy illusion. This means that only a part of what is present is seen, the part which makes the new object like the old and familiar one. And so it gets transformed into a semblance of the old one; just as a rock gets transformed for our older eyes into the semblance of a human face.
       There is another way in which children's fancy may transmute the objects of sense. Mr. Ruskin tells us that when young he got to connect or "associate" the name "crocodile " so closely with the creature that when he saw it printed it would take on something of the look of the beast's lanky body.
       How far, one wonders, does this process of transformation of external objects go in the case of imaginative children? It is not improbable that before the qualities of things and their connections one with another are sufficiently known for them to be interesting in themselves they often acquire interest through the interpretative touch of childish fancy.
       There is one new field of investigation which is illustrating in a curious way the wizard influence wielded by childish imagination over the things of sense. It is well known that a certain number of people habitually "color" the sounds they hear, imagining, for example, the sound of a particular vowel or musical tone to have its characteristic tint, which they are able to describe accurately. This "colored hearing," as it is called, is always traced back to the dimly recalled age of childhood. Children are now beginning to be tested as to their possession of this trick of fancy. It was found in the case of a number of school-children that nearly 40 percent, described the tones of certain instruments as colored. There was, however, no agreement among these children as to the particular tint belonging to a given sound: thus whereas one child mentally "saw" the tone of a fife as pale or bright, another saw it as dark.
       I have confined myself here to what I have called the play of imagination, the magical transmuting of things through the sheer liveliness of childish fancy. The degree of transmutation will of course vary with the intensity of the imagination. Sometimes when a child dwells on the fancy it may grow into a momentary illusion. A little girl of four, sitting by the side of her mother in the garden, picked up a small pink worm and said: "Ah I you do look nice; how a thrush would like you!" and thereupon, realizing the part of the fortunate thrush, proceeded, to her mother's horror, to eat up the worm quite composedly. The momentary illusion of something nice to eat, here produced by a lively realization of a part, may arise in other cases from strong feeling, more especially fear, which, as we shall see, has so large a dominion over the young mind.
       This witchcraft of the young fancy in veiling and transforming the actual surroundings is a good deal restrained by the practical needs of everyday life and by discussion with older and graver folk. There are, however, regions of child-life where it knows no check. One of these is child's play, to be spoken of presently: another is the filling up of the blank spaces in the visible world with the products of fancy. We will call these regions on which the young wing of fancy is wont to alight and rest, fancy's resting places.

Building  fancy's resting place by the kids next door.

Sunday, July 1, 2018

Puppets and Marionettes

       Ancient Greece, Rome and Egypt knew the puppet-play with small images or puppets representing the dramatis personoe. Herodotus mentions them and later writers frequently speak of them, but according to Richard Pischel, it is to India, that old wonderland from which we have received so many blessings, that we must go to find the home of the puppet-play and perhaps the origin of the first doll.
       In an admirable address delivered by him on assuming the office of rector of the Konigliche Vereinigte Friedrichs University, Halle Wittenberg said: "The birthplace of fairy tales has long been recognized to be India. They wandered from India to Persia, and thence the Arabs brought them to Europe. But the origin of puppet-plays still remains quite obscure. The problem is also more difficult to solve because the sources flow but feebly. The art of the puppet-player has always been more or less of a mystery, receiving no substantial encouragement from the cultured class.
       "Xenophon in his 'Symposion' makes the puppet-player from Syracuse assert that he esteems fools above other men, they being the spectators of his puppet plays and consequently the means of his livelihood.
       "This is hardly borne out by facts; the puppet-player, Prothernos, was so much sought after in Athens that the Archons gave up to him the very stage on which the dramas of Euripides had excited the enthusiasm of the populace. France in the time of Moliere and Beaumarchais, England under Shakespeare and Sheridan, Germany in the days of Goethe and Schiller had numerously attended marionette shows, which at times proved formidable rivals to theatrical companies.
       "For the most part the puppet-play has been the favorite child of the mass of the people and only the step-child of the cultured classes because it appeals most strongly to the people to whom it owes its origin.
       "The words for puppet in Sanskrit are putrika, duhitrka, puttati, pullaliha, all of which mean little daughter. In ancient India puppets were made out of wool, wood, buffalo horn, and ivory, and these playthings were quite as popular long ago with the girls of that country as they are with our girls of the present day.
       "A broken doll was then the cause of as many tears as would be shed nowadays; indeed, it was proverbially said of any one who had caused his own misfortune and then lamented over it that he was 'crying after breaking his own doll.'
       "In India even grown-up people enjoyed playing with puppets. Vatsya-yana, in his 'Treatise on Love' advises not only boys but also young men to join the girls and young women in their games with puppets as means of gaining their affections.
       "In the Mahabharata, Princess Uttara and her friends entreat Arjuna to bring back with him from his campaign fine, gaily colored, delicate and soft garments for their dolls.
       "A legend runs that Parrati, wife of Siva, made herself such a beautiful doll that she thought it necessary to conceal it from the eyes of her husband. She carried it far away to the Malaya mountain, but visited it every day that she might adorn it.
       "Siva, rendered suspicious by her long absence, stole after her, saw the doll, fell in love with it and gave it life.
       There is also an early mention made of puppets worked by machinery. We read that Somaprabha, the daughter of a celebrated mechanician, brought as a present to her friend, Princess Kalingasena, a basket of mechanical wooden puppets, constructed by her father.
       "There was a wooden peg in each of the puppets  and when this was touched one of them flew through the air, fetched a wreath, and returned when ordered; another when desired, brought water in the same way; a third danced and a fourth carried on conversation.
       "Somadera was not born until the eleventh century of our era, but his work is an adaptation of the oldest collection of fairy tales, the Brhatkatha of Gunadhya.
       "Talking dolls must not, however, be considered a mere invention of story-tellers. Among the social amusements mentioned in the 'Treatise on Love,' there is mention made of a game called the mimicry of puppets. Mithila, the capital of Videka in eastern India, is mentioned as the place where this amusement is most in vogue. Talking puppets worked by internal mechanism, manipulated by a puppet-player, were introduced on the stage. Talking starlings were often introduced into the mouths of the puppets.
       "Present day puppets are moved by means of a thread, as were those of ancient times. "The teaching of parrots and starlings to speak belonged to the sixty-four arts necessary to the education of a girl in India. Some starlings imitated the human voice so perfectly that puppets were frequently mistaken for living beings."
       From India the puppet-play with all its glitter and mystery traveled to the Island of Java, became extraordinarily popular and continues its hold upon the people as their most fascinating amusement to the present day.
       The players are operated like the ordinary puppets of our Punch and Judy shows, and usually out of doors. The showman stands behind a fence with the audience in front. The sexes are separated, the men being comfortably in the front rows, while the women are relegated to the rear seats or to standing room only if there is not seating accommodations for all.
       The Javanese marionettes are quite different from any others, being flat, cut out of wood and leather, and elaborately painted and gilded to represent costly costumes. They are always extremely grotesque, with huge noses or humped backs, and their arms are moved by means of long, slender sticks suitably attached for the purpose.
       The marionette showman in Java carries his odd-looking dolls around with him in his chest, and being always accompanied by two or three musicians for an orchestra, he is able at any time to set up his little theater at a moment's notice.
       Unlike a Punch and Judy show, the play is not comic but highly serious. The performance, indeed, is invariably a religious drama and the actors of wood and leather represent divinities.
       There are fine collections of Javanese marionettes in several of our museums. They are constructed of wood and leather and they were used to represent the characters of an Oriental Passion play. They are for the most part hideous in shape and gaudily painted.
       M. Olliver Beauregard says that there are two chief theatrical dolls in Java, a Toping mute mask, and Wayang spectacle in shadow. In the latter a sort of bard rhapsodist operates the dolls and tells them their roles of love and war to a musical accompaniment.
       The dolls represent historical and mythological personages, and this is the best means of teaching history and enforcing its morals early. The spectators are often so interested that they watch them play all night. These Javan marionettes are of three kinds. Number one, very ancient gods and heroes. Number two, celebrants of special festivals. Number three, common dramatic figures. This is the most important of the native amusements, coming at the time of the New Year's Feast.
       "Sometimes the Javanese puppets are humpbacked," says another authority, "sometimes great of paunch; their skinny arms are as long as their entire bodies and at all times they bear little resemblance to a human figure.
       "These bizarre characteristics are really of advantage, for the forms are all conventional, and the respective characters are readily recognized by the spectators. Two feet is the usual stature of these manikins. They are made of thick buffalo hide, richly gilded and ornamented with Oriental profusion of color."
Cedar bark dolls from Vancouver Island. Ingenious devices that call for
imagination--which a child always has.
       In the eighteenth century we read that "Horton's show presented 5,000 of these puppets at work at various trades in the streets of London. At country fairs in Europe puppets were used to explain historic incidents to the people; these were all moved by clock work."
       Gypsies in all lands have always had a fondness for the puppet-play which was easily carried about and could be shown anywhere without accessories. The Persian gypsies undoubtedly carried the puppets to Turkey where the shadow-play is to-day extremely popular.
       The name Marionette is a modern one. It was said to have been given to these puppets by a man named Marion who divorced them from the Church plays and used them for small comedy plays, exhibiting them in Paris.
       Paris has always been fond of these puppets and there are to-day several theaters where only manikin plays are produced.
       The dolls have heads of papier mache, bodies of wood, and legs loaded with lead so that they stand upright without assistance; they are usually about three feet high and their jointed members are worked with strings.
       French marionettes are most artistically made, so as to resemble human beings as closely as possible, and those representing women are frequently attired in very fashionable and expensive costumes. It is the same with the Italian marionettes, which are famous for their dancing, imitating as they do the most elaborate and difficult movements of the ballet.
       Figures of wood and ivory dressed in fine stuffs were used to ornament the funeral of Hiphestion of Babylon, and they were also used at the time of Phillip of Macedonia.
       Punch and Judy shows in China have a legendary origin. According to N. B. Dennys in "The Folk Lore of China," we find that they are said to date back to nearly 300 b. c, when a general named Mao-tun was besieging the city of Pingin Shensi. The general had a jealous wife who kept the green-eyed monster with her all the time.
       Cham-ping, the defender of the beleaguered city, knew the weakness of his enemy's wife and through it worked her ruin and at the same time brought into existence the first Punch and Judy show.
       To arouse her jealousy, he invented a puppet, in the shape of a wooden woman, which was made by strings and springs to dance on the battlements of the beleaguered town. As he thought she would, the lady became alarmed at the idea of so fascinating a creature falling into her husband's hands and becoming an addition to his seraglio, and she managed to have the siege raised.
       In memory of this, similar, but smaller puppets were constructed whose antics have, for more than two thousand years, amused the Chinese people.
       The principal puppet used to be known as Kwoh, the bald, in memory, as it is averred, of a man of that name who, having lost his hair in sickness, began to jump and dance on his recovery.
       Ombres Chinoises, as the French call them, are shadows of pictures projected upon white sheets or gauze screens painted as transparencies by means of dolls. The cardboard flat figures are held behind the screen, illuminated from behind. The performer supports each figure by a long wire held in one hand, while wires from all the movable parts terminate in rings in which are inserted the fingers of the other hand.
       In the Chinese department at the Museum of Natural History in New York, there is a fine collection of these shadow pictures. They are covered with donkey skin and in some cases decorated with feathers. They are semi-transparent and mounted on painted rods and represent- fish, flesh and fowl.
       The men are arrayed in elaborate costumes correct in every detail as to character. All the birds, beasts and fish are wonderfully cut out, each one being mounted on the back of a man. They are marvelously clever and ingenious.
       Street scenes, occupations, decapitations and all other modes of punishment and death that are in vogue in the Dragon Empire are set forth by these tiny creatures, seven or eight inches high. The figures are fine specimens of art in themselves without regard to their use. When properly worked the shadows move with great precision, while the operator retails the story or explains the panorama of daily life that his figures portray.
       In the collection of Chinese marionettes at the same Museum there are two or three heads of European dolls that look funny enough rising up out of the wealth of Chinese garments.
       The bodies of the dolls in this collection are made of bamboo, are upright, eight or ten inches long, with a head attached and two shorter pieces for the arms, by means of which they are worked. Many of the heads are masks, grotesque and weird in the extreme; others have heads of papier Toache like dolls.
Russian ancient court costumes. These dolls came into the author's
possession by way of the wife of a Russian Diplomat at Rome. The
costumes would have become obsolete, had it not been for the
present Czarina, who insists on their use for special occasions.
       Each one is dressed in costume according to the character it represents. They are used in presenting pantomime plays taken from books or old manuscripts. The characters are moved about while some one reads the lines belonging to them.
       Francis J. Ziegler in Harper's Magazine writes of Italian puppets or Fantoccini as follows: "The Fantoccini have capered on the miniature stage for centuries without losing one iota of popularity. They amused the fashionable under the reigns of the Csesars, and they still draw appreciative spectators in all Italian cities, these little figures of wood and cloth, with their painted faces set in everlasting smiles, their wide-staring eyes and wabbling anatomies.
       "The Italians take them seriously enough. To them the Fantoccini are real personages, whose jerky motions are not ridiculous, but quite in keeping with the grave and grandiose roles which are found in the puppet repertoire. . . .
       "The wires which move the puppets are plainly in evidence, and each Fantoccini, when in motion, appears to be suffering from a severe attack of St. Vitus' Dance; but these peculiarities are naught to the spectators who bring to the puppet drama an appreciation often lacking at more pretentious performances."
       "In Germany puppet shows have existed since the twelfth century. Originally religious in character, they afterward became fantastic productions, in which mechanical appliances caused grewsome transformations.
       "In a puppet show representing 'The Prodigal Son,' for example, racks would be rent to disclose corpses hanging on the gallows; bread would turn to a skull in the prodigal's hands; water would be transformed to blood and similar horrors would be frequent throughout the drama.
       "During the seventeenth century German theatrical performers came under the ban of the Church, which denounced them as vagabonds and lawbreakers; as a consequence marionettes usurped their place on the histrionic boards and enjoyed great popularity in both high and low circles.
       "Puncinella came to London in 1666, when an Italian puppet player set up his booth at Charing Cross, and paid a small rental to the overseers of St. Martin's parish. His name was at once Englished into Punchinello which became completely Anglicized as Punch.
       "Robert Powel appeared as a puppet manager in 1703, exhibiting his show not only in London, but in Bath and Oxford as well. In these plays Punch acted the buffoon amid a strange gathering of characters, which included King Solomon, Doctor Faustus, the Duke of Lorraine, St. George and other personages from profane and religious history.
       "It was Punch who seated himself unceremoniously in the Queen of Sheba's lap, and Punch again who danced in the Ark and hailed Noah with 'a hazy weather, Mr. Noah,' when the patriarch was intent on navigating the flood."
       Puppets have never won much recognition in this country. Punch and Judy occasionally excites the merriment of the younger folk at a church fair or similar entertainment, and twenty years ago a troupe of realistic marionettes, as large as children acted in pantomime on the regular boards. But we are too busy a people to squander time on the puppet show and too practical a people to see anything heroic in the Fantoccini.
       One puppet play in India was called "The Man With Two Wives." Both figures were women; the husband apparently being cognizant of the fact that discretion is the better part of valor, wisely remained away and let the two carry out the play or fight by themselves.
       After the Scottish Lords and other leaders of the Stuart uprising of 1745 were executed on Tower Hill, the beheading of puppets made one of the exhibitions at May Fair and was a feature of the gathering for many years after.
       "Readers of Cervantes' immortal work will remember the zest with which the puppet show is described, and the reality with which Don Quixote invests the performance, and students of early English dramatic literature will be equally familiar with the amusing close of Ben Jonson's play, Bartholomew Fair, which takes place at the performance of a drama on the adventures of Hero and Leander, acted by puppets in one of the booths."

Some Historic Dolls

       Old dolls are among the things that are taking on new values in this day and generation. Battered and bruised almost beyond recognition, various dolls that were once fondled affectionately, loved beyond their deserts, have been brought from that limbo to which are relegated forgotten and disused things and restored to as much of their pristine beauty as possible.
       They are respected and revered for their great age like women who have reached that period of life when they prefer to add a few years to their age rather than to subtract them as they did when younger.
       That queens were not above playing with dolls, even when they were quite grown, we have abundant evidence.
       "Mary Stuart brought with her to Scotland from Paris lovely French dolls, which she set apart for
ornament rather than use, but her chief delight was in the dolls she and her Marys had made and dressed." The beautiful queen was devoted to her family of dolls, not only during her childhood in France, but later, when she went, a young and lovely widow, to Scotland. She is reported to have spent much time with her dolls, perhaps to distract her mind from the machinations of her nobles who
wished to rule Scotland in her stead. When she had leisure she would gather her Marys together and set them to work with her making rag dolls, and little beds and bedding fashioned like her own. Queen Mary took upon herself the making of the small sheets and bolster covers for the beds, and while they sewed they would discourse lovingly of France and the pleasant life they had left behind them.
       Queen Elizabeth had a great passion for dolls in her youth, and among the collection she left was a very curious specimen of the doll-maker's art, composed entirely of the bark of trees, so artistically pieced together that only a close inspection revealed the fact that the whole was not carved out of one solid piece of mahogany. This doll, which was reputed to have been in existence more than two centuries previous to coming into the young princess' nursery, was clothed in such a variety of beautiful garments that her juvenile highness always had the assistance of a maid to dress and undress her favorite plaything.
Hindu dolls. The weaving of these costumes is extremely
beautiful, and reminds one of some antique tapestry.
       Another strange doll with which the Queen's childhood was associated was one from Spain. It was almost life-size, and dressed in clothes said to have been made by the highest ladies of the land, although, as the author of " Things Quaint and Curious" remarks, "the stitching of the various garments was not above reproach, a blemish, however, which was fully recompensed by the magnificence of the cloth used."
       A wonderland doll was possessed by the Duchess of Kinloch, who lived prior to the Reformation. It was made of the wood of the fir tree, and so ingeniously constructed that by the mere pressing of either of its eyes it would open its mouth, yawn, laugh, and make an expression as if in pain. Not only would it do all this, but it could be made to move its legs, as if walking at a rapid rate. The hair used was human, and once adorned the head of a wealthy and titled lady, who lost her life for the sake of her religion.
       French as well as English queens were fond of dolls, even after they had grown up. In the year 1493, Anna of Brittany sent to Queen Isabella of Castile, who was forty-three years old, a large poupee, probably for the purpose of showing her the fine fashions that were in vogue at the Court of France.
       The record of some extremely costly dolls that were manufactured in the seventeenth century has come down to us intact. Louis d'Epernon, who gave up a bishopric in order to become a soldier, spent several hundred dollars on a doll for little Mile, de Bourbon, who later acquired distinction as the Duchesse de Longueville. We have a full description of this costly doll, and it is gratifying to learn that the kindhearted giver obtained for his money, in addition to the doll, a complete sleeping apartment for the little lady, in which were a bed, furniture, several handsome gowns and all necessary underwear. One wonders whether the Duchess of Orleans fared as well as this when in 1722, she gave several thousand dollars for a superb doll, which she presented to the little Queen.
       In the art of manufacturing and dressing dolls, the French excelled at that time, and more than one chronicler assures us that they were accustomed to send several of their handsomest and best dressed dolls to foreign countries in order that the people there might clearly see the superiority of French fashions.
       According to the newspapers, the oldest doll in America lives in Montgomery County, Maryland. She was brought to this country by William Penn, in 1699. His daughter, Letitia, selected the doll as a gift for a little Miss Rankin of Philadelphia. The children of the Quakers of those days took good care of their playthings, and although the doll was the cherished companion of several generations of little Quakeresses, she is still in good condition, wearing the grand court dress in which she came to this country.
       Polly Sumner is another doll to be admired and respected for her great age; she was born in England and came to this country in 1773, and has nearly a century and a quarter to her credit. She was placed for sale in a Boston shop and was bought by pretty Polly Sumner who was then a bride. She was splendidly arrayed in an English court dress of the period, and wore a gown of rich brocade over a large hoop, had pearl beads around her neck and on her head was set a jaunty cap with curling ostrich feathers. She is made of good English oak, is still sound in every joint and likely
to last for a long time.
       After having been lost to sight for a generation or two, she was brought out and dressed in Quaker garb, and later found a place in the old Church Museum. She is now owned by Mrs. Mary Langley, who prizes her very highly.
       Another old doll is the property of Mrs. Otis H. Brown of 86 Oak Street, South Weymouth, Mass. She bears the name of Mehitable Hodges, and is known to be 184 years old. She was brought from France to Salem in 1724, by Captain Gamaliel Hodges, for his little daughter. Mrs. Brown is a descendant of Captain Hodges and inherited the doll.
       The doll is arrayed in her original costume of pink silk, fashioned after the style of Louis XIV., and is perfect in every detail, the silk even retaining its color after a lapse of nearly two centuries.
       Mehitable Hodges has traveled a good deal and has been on exhibition and taken first prize at doll shows, besides many church fairs and charity exhibits in New England. This doll was exhibited to the public for the last time at a recent doll show in South Weymouth, and is now safely cased and blanketed and shown only to visitors at the home of Mr. and Mrs. Brown.
       During the war between the North and South, in the United States, many a precious article was conveyed through the lines inside a doll's body. Not even the soldier on guard had the heart to deprive a child of its most valued and apparently harmless toy, by confiscating a doll, but presently the trick was discovered and no more dolls were allowed to pass through the lines. Quinine, morphine and other drugs as well as war dispatches were conveyed in this manner and the families to whom these dolls were sent treasured them beyond belief. A Mississippi family has a small colony of dolls which brought cotton seed from Mexico at that time, and the whole Natchez district is still growing cotton from that seed.
       Another doll not so old but one that has historic interest, is owned by Mrs. William Wallace of Morristown, N. J. It was once the property of Hannah Marcelles, to whom General Lafayette gave it in exchange for a kiss. It is a flat-faced little baby with abnormally red cheeks and a sharp nose. It wears a silk gown and a Napoleon hat; across its breast are the figures 1797.
       A doll that has a very short, though interesting history, is one owned by the young daughter of Frederick Eles of Lansdale, Pa. Its curly locks once grew on the head of the child's own father. The hair was made into a beautiful wig which can be put on and off, and is the envy of the girls in the vicinity of her home.
       A colored doll (African American), one with an interesting history, is owned by the Lincoln family of Massachusetts. Her name is Georgia and she has more than a hundred years to her credit. She is beaten and battered almost beyond recognition, but after all has stood the stress of generations remarkably well.
       She had been packed away as a valuable heirloom for forty years, when about three years ago she was once more brought to the front and established as one of the large family of dolls belonging to the present generation. She takes the place of honor as her right and is really respected and revered by the twentieth century little ones who call her dear great grandmamma.
       Mrs. Carlyle's doll with its pathetic ending is historic surely. She tells us that when she was a young girl, she had a beautiful doll and was very fond of it and played with it until the governess came and made her study Latin. Then she began to think she was too much of a young lady to play with dolls, and so she decided she would have her doll die as Dido did on a funeral pyre. She set the little four-post bedstead in the garden and with lead pencils, sticks of cinnamon and a nutmeg built the pyre. After having put the doll on the bed she emptied a whole bottle of perfume over her and set fire to her. When she saw the poor dolly burning she was sorry and screamed and tried to save her, but she was too late, her dolly burned and she never had any other doll.
       Of course the collections of Queens Victoria and Wilhelmina are historic, but as they are described in another chapter, they need only be referred to here.
       In the Journal of Jean Hersard, mention is made of several beautiful dolls in a coach offered by Sully to Louis XIII. when he was a child. Louis XIV. played with dolls as well as soldiers.
       Cardinal Richelieu gave to Madame d'Enghein a miniature room with six doll people in it. Miles, de Ramnonillel and de Banlenlle played with them, dressing and undressing them, feeding and physicking them to their heart's content. The room was a Louis XIII. interior; the costumes, head-dresses, nurse's uniform, osier cradle, were identical to the period.
       The three dolls sent by Felix Faure to the three little grand duchesses of Russia not long ago, will in time become objects of great historic interest. One has a phonograph inside her so arranged as to say: "Good morning, dear mamma, did you sleep well?" This must have been of wonderful interest even to a mite of a grand duchess.
       Another had four costumes representing Normandy, Arlesienne, Bearnaise and Breton peasants.
       The third was that of a debutante dressed for her first soiree; a second costume reproduced the exact dress worn by a young lady at the Trianon Fete last year; the third was a most fetching costume for a yachtswoman. All were as dainty and expensive as real lace and jewels could make them. The cost of fashioning and dressing one of these little ladies was between six and seven hundred dollars, each head-dress alone costing fifty dollars.
       These fortunate dolls took with them twenty trunks filled with Paris clothes. So important was the gift, a titled secretary of embassy was delegated to travel with the dolls and look after their belongings.
       History tells us that when Maximilian made his entry into Augsberg in the year 1504, the little four-year-old daughter of the Syndic Peutinger addressed the Emperor in Latin verse. Maximilian was so surprised and pleased with the infant prodigy that he told her he would give her whatever she would like most to have. The Emperor undoubtedly imagined she would ask for a new book or a jewel, perhaps. His surprise must have been great when the child blushed and said she would like to have a doll. It is needless to say that she was the recipient of the finest and most costly one that Maximilian could buy.
      In "Child Life in Colonial Days," Alice Morse Earle writes of various sorts of dolls that gladdened the hearts of Colonial children. She says: "The best dolls in England were originally sold at Bartholomew Fair and were known as 'Bartholomew Babies.'"
       In "Poor Robin's Almanack," 1695, is a reference to a Bartholomew baby tricked up with ribbons and knots; and they were known at the time of the landing of the Pilgrims. Therefore it is not impossible that some Winthrop or Winslow maid, some little miss of Bradford or Brewster birth, brought across seas a Bartholomew baby and was comforted by it.
Dolls in Deerfield Memorial Hall. The child has
gone, but her doll's "remnants" remain.
       In the collection at Deerfield Memorial Hall is a doll so beaten and battered that it has little resemblance to either ancient or modern dolls. It is named Bangwell Putt and for nearly a century was the beloved companion of a blind girl, Clarissa Field, who lived in Northfield, Mass. At her death, some curious, crude attempts at versification were found pinned to the doll's clothing, which lent an unusual interest to the shapeless little creature. From the legend attached to the doll, it seems to have been as cherished a companion of the blind woman in her old age as in her youth.
       The descendants of John Quincy Adams treasure a shapely rag doll who spent the days of her youth with the children of the President in the White House at Washington.
       A lady in New York owns a doll of great historic interest; a small, wooden- jointed doll that was bought by one of her ancestors from Hepzibah Pincheon when she opened her penny-shop in the House of Seven Gables in Salem. "Wooden Milkmaids," Hawthorne called these dolls.
       A doll owned and loved by that beautiful daughter of the Confederacy, Winnie Davis, has a place of honor in the Confederate Museum, Richmond, Va.
       A few years ago there was still in the Falconiere Palace in Rome some dolls that had once belonged to Elisa Bonaparte. Letitia Bonaparte, mother of the great Napoleon, lived in this palace for
many years. After her death, there was found an old wardrobe where she had kept the toys that had amused her children in Corsica. Among them were several dolls that had cheered the heart of Elisa, and Joseph, too, for it is somewhere recorded that Joseph used to take Madame Mere's old silk dresses to make beds for his sister's dolls.
       A celebrated historic doll is one representing the Duke de Berry, who was assassinated by Laurel. The wig is made from the Duke's own hair; the legend attached to it declares that the doll was once the cherished possession of the Comte de Chambord.

Saturday, June 30, 2018

Sister Nell Goes to a Party Paper Doll

The Fashion-Doll Cut-Outs 
By Nandor Honti 
Above is a fashionable paper doll from 1925, two party dresses and a robin's egg blue cape.
       Cut out each piece, carefully following the outlines. Fold on dotted lines. Paste the matching numbers together beginning by pasting 1 to 1 and son on till all the numbers are used. Hold the pasted places together until the paste hardens enough to hold, so they will not slip apart.

Raggedy Ann And The Painter

Raggedy Ann And The Painter

       When housecleaning time came around, Mistress' mamma decided that she would have the nursery repainted and new paper put upon the walls. That was why all the dolls happened to be laid helter-skelter upon one of the high shelves.
       Mistress had been in to look at them and wished to put them to bed, but as the painters were coming again in the early morning, Mamma thought it best that their beds be piled in the closet.
       So the dolls' beds were piled into the closet, one on top of another and the dolls were placed upon the high shelf.
       When all was quiet that night, Raggedy Ann who was on the bottom of the pile of dolls spoke softly and asked the others if they would mind moving along the shelf.
       "The cotton in my body is getting mashed as flat as a pancake!" said Raggedy Ann. And although the tin soldier was piled so that his foot was pressed into Raggedy's face, she still wore her customary smile.
       So the dolls began moving off to one side until Raggedy Ann was free to sit up.
       "Ah, that's a great deal better!" she said, stretching her arms and legs to get the kinks out of them, and patting her dress into shape.
       "Well, I'll be glad when morning comes!" she said finally, "for I know Mistress will take us out in the yard and play with us under the trees."
Tossed in the air
       So the dolls sat and talked until daylight, when the painters came to work.
       One of the painters, a young fellow, seeing the dolls, reached up and took Raggedy Ann down from the shelf.
       "Look at this rag doll, Jim," he said to one of the other painters, "She's a daisy," and he took Raggedy Ann by the hands and danced with her while he whistled a lively tune. Raggedy Ann's heels hit the floor thumpity-thump and she enjoyed it immensely.
       The other dolls sat upon the shelf and looked straight before them, for it would never do to let grown-up men know that dolls were really alive.
Color dear old Raggedy covered in paint.
       "Better put her back upon the shelf," said one of the other men. "You'll have the little girl after you! The chances are that she likes that old rag doll better than any of the others!"
       But the young painter twisted Raggedy Ann into funny attitudes and laughed and laughed as she looped about. Finally he got to tossing her up in the air and catching her. This was great fun for Raggedy and as she sailed up by the shelf the dolls all smiled at her, for it pleased them whenever Raggedy Ann was happy.
       But the young fellow threw Raggedy Ann up into the air once too often and when she came down he failed to catch her and she came down splash, head first into a bucket of oily paint.
       "I told you!" said the older painter, "and now you are in for it!"
       "My goodness! I didn't mean to do it!" said the young fellow, "What had I better do with her?"
       "Better put her back on the shelf!" replied the other.
       So Raggedy was placed back upon the shelf and the paint ran from her head and trickled down upon her dress.
       After breakfast, Mistress came into the nursery and saw Raggedy all covered with paint and she began crying.
       The young painter felt sorry and told her how it had happened.
       "If you will let me," he said, "I will take her home with me and will clean her up tonight and will bring her back day after tomorrow."
       So Raggedy was wrapped in a newspaper that evening and carried away.
       All the dolls felt sad that night without Raggedy Ann near them.
       "Poor Raggedy! I could have cried when I saw her all covered with paint!" said the French doll.
       "She didn't look like our dear old Raggedy Ann at all!" said the tin soldier, who wiped the tears from his eyes so that they would not run down on his arms and rust them.
       "The paint covered her lovely smile and nose and you could not see the laughter in her shoe-button eyes!" said the Indian doll.
       And so the dolls talked that night and the next. But in the daytime when the painters were there, they kept very quiet.
       The second day Raggedy was brought home and the dolls were all anxious for night to come so that they could see and talk with Raggedy Ann.
       At last the painters left and the house was quiet, for Mistress had been in and placed Raggedy on the shelf with the other dolls.
       "Tell us all about it, Raggedy dear!" the dolls cried.
Color Raggedy as she gets new yarn hair.
       "Oh I am so glad I fell in the paint!" cried Raggedy, after she had hugged all the dolls, "For I have had the happiest time. The painter took me home and told his Mamma how I happened to be covered with paint and she was very sorry. She took a rag and wiped off my shoe-button eyes and then I saw that she was a very pretty, sweet-faced lady and she got some cleaner and wiped off most of the paint on my face.
Telling the story
       "But you know," Raggedy continued, "the paint had soaked through my rag head and had made the cotton inside all sticky and soggy and I could not think clearly. And my yarn hair was all matted with paint.
       "So the kind lady took off my yarn hair and cut the stitches out of my head, and took out all the painty cotton.
       "It was a great relief, although it felt queer at first and my thoughts seemed scattered.
On the line again
       "She left me in her work-basket that night and hung me out upon the clothes-line the next morning when she had washed the last of the paint off.
       "And while I hung out on the clothes-line, what do you think?"
       "We could never guess!" all the dolls cried.
       "Why a dear little Jenny Wren came and picked enough cotton out of me to make a cute little cuddly nest in the grape arbor!"
       "Wasn't that sweet!" cried all the dolls.
       "Yes indeed it was!" replied Raggedy Ann, "It made me very happy. Then when the lady took me in the house again she stuffed me with lovely nice new cotton, all the way from my knees up and sewed me up and put new yarn on my head for hair and - and - and it's a secret!" said Raggedy Ann.
       "Oh tell us the secret!" cried all the dolls, as they pressed closer to Raggedy. "Well, I know you will not tell anyone who would not be glad to know about it, so I will tell you the secret and why I am wearing my smile a trifle broader!" said Raggedy Ann.
       The dolls all said that Raggedy Ann's smile was indeed a quarter of an inch wider on each side.
       "When the dear lady put the new white cotton in my body," said Raggedy Ann "she went to the cupboard and came back with a paper bag. And she took from the bag ten or fifteen little candy hearts with mottos on them and she hunted through the candy hearts until she found a beautiful red one which she sewed up in me with the cotton! So that is the secret, and that is why I am so happy! Feel here," said Raggedy Ann. All the dolls could feel Raggedy Ann's beautiful new candy heart and they were very happy for her.
       After all had hugged each other good night and had cuddled up for the night, the tin soldier asked, "Did you have a chance to see what the motto on your new candy heart was, Raggedy Ann?"
       "Oh yes," replied Raggedy Ann, "I was so happy I forgot to tell you. It had printed upon it in nice blue letters, 'I LOVE YOU.'"
Color Raggedy as she reassures her friends that she is alright.

Raggedy Ann And The Strange Dolls

Raggedy Ann And The Strange Dolls

       Raggedy Ann lay just as Marcella had dropped her - all sprawled out with her rag arms and legs twisted in ungraceful attitudes.
       Her yarn hair was twisted and lay partly over her face, hiding one of her shoe-button eyes.
       Raggedy gave no sign that she had heard, but lay there smiling at the ceiling.
       Perhaps Raggedy Ann knew that what the new dolls said was true.
       But sometimes the truth may hurt and this may have been the reason Raggedy Ann lay there so still.
Color the strangers who, at first, made fun of dear old Raggedy's looks.
       "Did you ever see such an ungainly creature!"
       "I do believe it has shoe buttons for eyes!"
       "And yarn hair!"
       "Mercy, did you ever see such feet!"
       The Dutch doll rolled off the doll sofa and said "Mamma" in his quavery voice, he was so surprised at hearing anyone speak so of beloved Raggedy Ann - dear Raggedy Ann, she of the candy heart, whom all the dolls loved.
       Uncle Clem was also very much surprised and offended. He walked up in front of the two new dolls and looked them sternly in the eyes, but he could think of nothing to say so he pulled at his yarn mustache.
       Marcella had only received the two new dolls that morning. They had come in the morning mail and were presents from an aunt.
       Marcella had named the two new dolls Annabel-Lee and Thomas, after her aunt and uncle.
       Annabel-Lee and Thomas were beautiful dolls and must have cost heaps and heaps of shiny pennies, for both were handsomely dressed and had real hair!
       Annabel's hair was of a lovely shade of auburn and Thomas' was golden yellow.
       Annabel was dressed in soft, lace-covered silk and upon her head she wore a beautiful hat with long silk ribbons tied in a neat bow-knot beneath her dimpled chin.
       Thomas was dressed in an Oliver Twist suit of dark velvet with a lace collar. Both he and Annabel wore lovely black slippers and short stockings.
       They were sitting upon two of the little red doll chairs where Marcella had placed them and where they could see the other dolls.
       When Uncle Clem walked in front of them and pulled his mustache they laughed outright. "Tee-Hee-Hee!" they snickered, "He has holes in his knees!"
       Quite true. Uncle Clem was made of worsted and the moths had eaten his knees and part of his kiltie. He had a kiltie, you see, for Uncle Clem was a Scotch doll.
       Uncle Clem shook, but he felt so hurt he could think of nothing to say.
       He walked over and sat down beside Raggedy Ann and brushed her yarn hair away from her shoe-button eye.
       The tin soldier went over and sat beside them.
       "Don't you mind what they say, Raggedy!" he said, "They do not know you as we do!"
       "We don't care to know her!" said Annabel-Lee as she primped her dress, "She looks like a scarecrow!"
       "And the Soldier must have been made with a can opener!" laughed Thomas.
       "You should be ashamed of yourselves!" said the French dolly, as she stood before Annabel and Thomas, "You will make all of us sorry that you have joined our family if you continue to poke fun at us and look down upon us. We are all happy here together and share in each others' adventures and happiness."
       Now, that night Marcella did not undress the two new dolls, for she had no nighties for them, so she let them sit up in the two little red doll chairs so they would not muss their clothes. "I will make nighties for you tomorrow!" she said as she kissed them good night. Then she went over and gave Raggedy Ann a good night hug. "Take good care of all my children, Raggedy!" she said as she went out.
       Annabel and Thomas whispered together, "Perhaps we have been too hasty in our judgment!" said Annabel-Lee. "This Raggedy Ann seems to be a favorite with the mistress and with all the dolls!"
       "There must be a reason!" replied Thomas, "I am beginning to feel sorry that we spoke of her looks. One really cannot help one's looks after all."
       Now, Annabel-Lee and Thomas were very tired after their long journey and soon they fell asleep and forgot all about the other dolls.
       When they were sound asleep, Raggedy Ann slipped quietly from her bed and awakened the tin soldier and Uncle Clem and the three tiptoed to the two beautiful new dolls.
       They lifted them gently so as not to awaken them and carried them to Raggedy Ann's bed.
       Raggedy Ann tucked them in snugly and lay down upon the hard floor.
       The tin soldier and Uncle Clem both tried to coax Raggedy Ann into accepting their bed (they slept together), but Raggedy Ann would not hear of it.
       "I am stuffed with nice soft cotton and the hard floor does not bother me at all!" said Raggedy.
Uncle Clem offers to share
       At daybreak the next morning Annabel and Thomas awakened to find themselves in Raggedy Ann's bed and as they raised up and looked at each other each knew how ashamed the other felt, for they knew Raggedy Ann had generously given them her bed.
       There Raggedy Ann lay; all sprawled out upon the hard floor, her rag arms and legs twisted in ungraceful attitudes.
       "How good and honest she looks!" said Annabel. "It must be her shoe-button eyes!"
The new dollies share
       "How nicely her yarn hair falls in loops over her face!" exclaimed Thomas, "I did not notice how pleasant her face looked last night!"
       "The others seem to love her ever and ever so much!" mused Annabel. "It must be because she is so kind."
       Both new dolls were silent for a while, thinking deeply.
       "How do you feel?" Thomas finally asked.
       "Very much ashamed of myself!" answered Annabel, "And you, Thomas?"
       "As soon as Raggedy Ann awakens, I shall tell her just how much ashamed I am of myself and if she can, I want her to forgive me!" Thomas said.
       "The more I look at her, the better I like her!" said Annabel.
       "I am going to kiss her!" said Thomas.
       "You'll awaken her if you do!" said Annabel.
       But Thomas climbed out of bed and kissed Raggedy Ann on her painted cheek and smoothed her yarn hair from her rag forehead.
       And Annabel-Lee climbed out of bed, too, and kissed Raggedy Ann.
       Then Thomas and Annabel-Lee gently carried Raggedy Ann and put her in her own bed and tenderly tucked her in, and then took their seats in the two little red chairs.
       After a while Annabel said softly to Thomas, "I feel ever and ever so much better and happier!"
       "So do I!" Thomas replied. "It's like a whole lot of sunshine coming into a dark room, and I shall always try to keep it there!"
       Fido had one fuzzy white ear sticking up over the edge of his basket and he gave his tail a few thumps against his pillow.
       Raggedy Ann lay quietly in bed where Thomas and Annabel had tucked her. And as she smiled at the ceiling, her candy heart (with "I LOVE YOU" written on it) thrilled with contentment, for, as you have probably guessed, Raggedy Ann had not been asleep at all!

Color Uncle Clem, guardian and true friend to Raggedy Ann.

The Child's Way

James Sully, an English psychologist, minister and
professor of philosophy and logic.
       James Sully was an English psychologist. He was born at Bridgwater, Somerset the son of J.W. Sully, a liberal Baptist merchant and ship-owner. He was educated at the Independent College, Taunton, Regent's Park College, University of Göttingen, where he studied under Lotze, and at Humboldt University, Berlin where he studied under DuBois-Reymond and Helmholtz.
       Sully was originally destined for the nonconformist ministry and in 1869 became classical tutor at the Baptist College, Pontypool. In 1871, however, he adopted a literary and philosophic career. Between 1892 and 1903, he was Grote Professor of the Philosophy of Mind and Logic at University College London, where he was succeeded by Carveth Read.
       An adherent of the associationist his school of psychology, his views had great affinity with those of Alexander Bain. He wrote monographs on subjects such as pessimism, and psychology textbooks, some of the first in English, including The Human Mind (1892). His 1881 Illusions was commended by both Freud and Wundt.
       Sully opened an experimental psychology laboratory at University College London in January 1898. In 1901 he was one of the founder members of the British Psychological Society and in fact personally called the meeting at which the Society was formed.
       Sully died in Richmond, Surrey on 1 November 1923.

Articles by Sully: Edited by Grimm:

Raggedy Ann's New Sisters

Raggedy Ann's New Sisters

       Marcella was having a tea party up in the nursery when Daddy called to her, so she left the dollies sitting around the tiny table and ran down stairs carrying Raggedy Ann with her.
       Mama, Daddy and a strange man were talking in the living room and Daddy introduced Marcella to the stranger.
       The stranger was a large man with kindly eyes and a cheery smile, as pleasant as Raggedy Ann's.
The Ocean Fairies and Freddy
       He took Marcella upon his knee and ran his fingers through her curls as he talked to Daddy and Mamma, so, of course, Raggedy Ann liked him from the beginning. "I have two little girls," he told Marcella. "Their names are Virginia and Doris, and one time when we were at the sea-shore they were playing in the sand and they covered up Freddy, Doris' boy-doll in the sand. They were playing that Freddy was in bathing and that he wanted to be covered with the clean white sand, just as the other bathers did. And when they had covered Freddy they took their little pails and shovels and went farther down the beach to play and forgot all about Freddy.
       "Now when it came time for us to go home, Virginia and Doris remembered Freddy and ran down to get him, but the tide had come in and Freddy was 'way out under the water and they could not find him. Virginia and Doris were very sad and they talked of Freddy all the way home."
       "It was too bad they forgot Freddy," said Marcella.
       "Yes, indeed it was!" the new friend replied as he took Raggedy Ann up and made her dance on Marcella's knee. "But it turned out all right after all, for do you know what happened to Freddy?"
       "No, what did happen to him?" Marcella asked.
       "Well, first of all, when Freddy was covered with the sand, he enjoyed it immensely. And he did not mind it so much when the tide came up over him, for he felt Virginia and Doris would return and get him.
       "But presently Freddy felt the sand above him move as if someone was digging him out. Soon his head was uncovered and he could look right up through the pretty green water, and what do you think was happening? The Tide Fairies were uncovering Freddy!
       "When he was completely uncovered, the Tide Fairies swam with Freddy 'way out to the Undertow Fairies. The Undertow Fairies took Freddy and swam with him 'way out to the Roller Fairies. The Roller Fairies carried Freddy up to the surface and tossed him up to the Spray Fairies who carried him to the Wind Fairies."
       "And the Wind Fairies?" Marcella asked breathlessly.
       "The Wind Fairies carried Freddy right to our garden and there Virginia and Doris found him, none the worse for his wonderful adventure!"
       "Freddy must have enjoyed it and your little girls must have been very glad to get Freddy back again!" said Marcella. "Raggedy Ann went up in the air on the tail of a kite one day and fell and was lost, so now I am very careful with her!"
       "Would you let me take Raggedy Ann for a few days?" asked the new friend.
       Marcella was silent. She liked the stranger friend, but she did not wish to lose Raggedy Ann.
       "I will promise to take very good care of her and return her to you in a week. Will you let her go with me, Marcella?"
       Marcella finally agreed and when the stranger friend left, he placed Raggedy Ann in his grip.
       "It is lonely without Raggedy Ann!" said the dollies each night.
       "We miss her happy painted smile and her cheery ways!" they said.
       And so the week dragged by....
       But, my! What a chatter there was in the nursery the first night after Raggedy Ann returned. All the dolls were so anxious to hug Raggedy Ann they could scarcely wait until Marcella had left them alone.
       When they had squeezed Raggedy Ann almost out of shape and she had smoothed out her yarn hair, patted her apron out and felt her shoe-button eyes to see if they were still there, she said, "Well, what have you been doing? Tell me all the news!"
       "Oh we have just had the usual tea parties and games!" said the tin soldier. "Tell us about yourself, Raggedy dear, we have missed you so much!"
       "Yes! Tell us where you have been and what you have done, Raggedy!" all the dolls cried.
       But Raggedy Ann just then noticed that one of the penny dolls had a hand missing.
       "How did this happen?" she asked as she picked up the doll.
       "I fell off the table and lit upon the tin soldier last night when we were playing. But don't mind a little thing like that, Raggedy Ann," replied the penny doll. "Tell us of yourself! Have you had a nice time?"
       "I shall not tell a thing until your hand is mended!" Raggedy Ann said.
So the Indian ran and brought a bottle of glue. "Where's the hand?" Raggedy asked.
       "In my pocket," the penny doll answered.
       When Raggedy Ann had glued the penny doll's hand in place and wrapped a rag around it to hold it until the glue dried, she said, "When I tell you of this wonderful adventure, I know you will all feel very happy. It has made me almost burst my stitches with joy."
       The dolls all sat upon the floor around Raggedy Ann, the tin soldier with his arm over her shoulder.
       "Well, first when I left," said Raggedy Ann, "I was placed in the Stranger Friend's grip. It was rather stuffy in there, but I did not mind it; in fact I believe I must have fallen asleep, for when I awakened I saw the Stranger Friend's hand reaching into the grip. Then he lifted me from the grip and danced me upon his knee. 'What do you think of her?' he asked to three other men sitting nearby.
       "I was so interested in looking out of the window I did not pay any attention to what they said, for we were on a train and the scenery was just flying by! Then I was put back in the grip.
       "When next I was taken from the grip I was in a large, clean, light room and there were many, many girls all dressed in white aprons.
       "The stranger friend showed me to another man and to the girls who took off my clothes, cut my seams and took out my cotton. And what do you think! They found my lovely candy heart had not melted at all as I thought. Then they laid me on a table and marked all around my outside edges with a pencil on clean white cloth, and then the girls re-stuffed me and dressed me.
       "I stayed in the clean big light room for two or three days and nights and watched my Sisters grow from pieces of cloth into rag dolls just like myself!"
       "Your SISTERS!" the dolls all exclaimed in astonishment, "What do you mean, Raggedy?"
       "I mean," said Raggedy Ann, "that the Stranger Friend had borrowed me from Marcella so that he could have patterns made from me. And before I left the big clean white room there where hundreds of rag dolls so like me you would not have been able to tell us apart."
       "We could have told you by your happy smile!" cried the French dolly.
       "But all of my sister dolls have smiles just like mine!" replied Raggedy Ann.
       "And shoe-button eyes?" the dolls all asked.
       "Yes, shoe-button eyes!" Raggedy Ann replied.
       "I would tell you from the others by your dress, Raggedy Ann," said the French doll, "Your dress is fifty years old! I could tell you by that!"
       "But my new sister rag dolls have dresses just like mine, for the Stranger Friend had cloth made especially for them exactly like mine."
       "I know how we could tell you from the other rag dolls, even if you all look exactly alike!" said the Indian doll, who had been thinking for a long time.
       "How?" asked Raggedy Ann with a laugh.
       "By feeling your candy heart! If the doll has a candy heart then it is you, Raggedy Ann!"
       Raggedy Ann laughed, "I am so glad you all love me as you do, but I am sure you would not be able to tell me from my new sisters, except that I am more worn, for each new rag doll has a candy heart, and on it is written, 'I love you' just as is written on my own candy heart."
       "And there are hundreds and hundreds of the new rag dolls?" asked the little penny dolls.
       "Hundreds and hundreds of them, all named Raggedy Ann," replied Raggedy.
       "Then," said the penny dolls, "we are indeed happy and proud for you! For wherever one of the new Raggedy Ann dolls goes there will go with it the love and happiness that you give to others."
Color Raggedy Ann and her sisters.

Raggedy Ann And The Kite

Raggedy Ann And The Kite

       Raggedy Ann watched with interest the preparations.
       A number of sticks were being fastened together with strings and covered with light cloth.
       Raggedy Ann heard some of the boys talk of "The Kite," so Raggedy Ann knew this must be a kite.
       When a tail had been fastened to the kite and a large ball of heavy twine tied to the front, one of the boys held the kite up in the air and another boy walked off, unwinding the ball of twine.
       There was a nice breeze blowing, so the boy with the twine called, "Let 'er go" and started running.
       Marcella held Raggedy up so that she could watch the kite sail through the air.
       How nicely it climbed! But suddenly the kite acted strangely, and as all the children shouted advice to the boy with the ball of twine, the kite began darting this way and that, and finally making four or five loop-the-loops, it crashed to the ground.
       "It needs more tail on it!" one boy shouted.
       Then the children asked each other where they might get more rags to fasten to the tail of the kite.
       "Let's tie Raggedy Ann to the tail!" suggested Marcella. "I know she would enjoy a trip 'way up in the sky!"
Color Raggedy Ann flying with the kite.
       The boys all shouted with delight at this new suggestion. So Raggedy Ann was tied to the tail of the kite.
       This time the kite rose straight in the air and remained steady. The boy with the ball of twine unwound it until the kite and Raggedy Ann were 'way, 'way up and far away. How Raggedy Ann enjoyed being up there! She could see for miles and miles! And how tiny the children looked!
       Suddenly a great puff of wind came and carried Raggedy Ann streaming 'way out behind the kite! She could hear the wind singing on the twine as the strain increased.
       Suddenly Raggedy Ann felt something rip. It was the rag to which she was tied. As each puff of wind caught her the rip widened.
       When Marcella watched Raggedy Ann rise high above the field, she wondered how much Raggedy Ann enjoyed it, and wished that she, too, might have gone along. But after the kite had been up in the air for five or ten minutes, Marcella grew restless. Kites were rather tiresome. There was more fun in tea parties out under the apple tree.
       "Will you please pull down the kite now?" she asked the boy with the twine. "I want Raggedy Ann."
       "Let her ride up there!" the boy replied. "We'll bring her home when we pull down the kite! We're going to get another ball of twine and let her go higher!"
       Marcella did not like to leave Raggedy Ann with the boys, so she sat down upon the ground to wait until they pulled down the kite.
       But while Marcella watched Raggedy Ann, a dot in the sky, she could not see the wind ripping the rag to which Raggedy was tied.
       Suddenly the rag parted and Raggedy Ann went sailing away as the wind caught in her skirts.
       Marcella jumped from the ground, too surprised to say anything. The kite, released from the weight of Raggedy Ann began darting and swooping to the ground.
       Where is Raggedy Ann?
       "We'll get her for you!" some of the boys said when they saw Marcella's troubled face, and they started running in the direction Raggedy Ann had fallen. Marcella and the other girls ran with them. They ran, and they ran, and they ran, and at last they found the kite upon the ground with one of the sticks broken, but they could not find Raggedy Ann anywhere.
Color Raggedy's friends who are afraid of where she has gone!
       "She must have fallen almost in your yard!" a boy said to Marcella, "for the kite was directly over here when the doll fell!"
       Marcella was heartbroken. She went in the house and lay on the bed. Mamma went out with the children and tried to find Raggedy Ann, but Raggedy Ann was nowhere to be seen.
       When Daddy came home in the evening he tried to find Raggedy, but met with no success. Marcella had eaten hardly any dinner, nor could she be comforted by Mamma or Daddy. The other dolls in the nursery lay forgotten and were not put to bed that night, for Marcella lay and sobbed and tossed about her bed.
       Finally she said a little prayer for Raggedy Ann, and went to sleep. And as she slept Marcella dreamed that the fairies came and took Raggedy Ann with them to fairyland for a visit, and then sent Raggedy Ann home to her. She awakened with a cry. Of course Mamma came to her bed right away and said that Daddy would offer a reward in the morning for the return of Raggedy.
       "It was all my fault, Mamma!" Marcella said. "I should not have offered the boys dear old Raggedy Ann to tie on the tail of the kite! But I just know the fairies will send her back."
       Mamma took her in her arms and soothed her with cheering words, although she felt indeed that Raggedy Ann was truly lost and would never be found again.
       Now, where do you suppose Raggedy Ann was all this time?
Color the robins who want Raggedy's yarn hair for their nests.
       When Raggedy Ann dropped from the kite, the wind caught in her skirts and carried her along until she fell in the fork of the large elm tree directly over Marcella's house. When Raggedy Ann fell with a thud, face up in the fork of the tree, two robins who had a nest near by flew chattering away.
Raggedy Ann in the tree
       Presently the robins returned and quarreled at Raggedy Ann for laying so close to their nest, but Raggedy Ann only smiled at them and did not move.
       When the robins quieted down and quit their quarreling, one of them hopped up closer to Raggedy Ann in order to investigate.
       It was Mamma Robin. She called to Daddy Robin and told him to come. "See the nice yarn! We could use it to line the nest with," she said.
       So the robins hopped closer to Raggedy Ann and asked if they might have some of her yarn hair to line their nest. Raggedy Ann smiled at them. So the two robins pulled and tugged at Raggedy Ann's yarn hair until they had enough to line their nest nice and soft.
       Evening came and the robins sang their good night songs, and Raggedy Ann watched the stars come out, twinkle all night and disappear in the morning light. In the morning the robins again pulled yarn from Raggedy Ann's head, and loosened her so she could peep over the side of the limb, and when the sun came up Raggedy Ann saw she was in the trees in her own yard.
       Now before she could eat any breakfast, Marcella started out to find Raggedy Ann. And, it was Marcella herself who found her. And this is how she did it.
       Mamma Robin had seen Marcella with Raggedy Ann out in the yard many times, so she began calling "Cheery! Cheery!" and Daddy Robin started calling "Cheery! Cheery! Cheer up! Cheer up! Cheerily Cheerily! Cheery! Cheery!" And Marcella looking up into the tree above the house to see the robins, discovered Raggedy Ann peeping over the limb at her.
       Oh, how her heart beat with happiness. "Here is Raggedy Ann," she shouted.
       And Mamma and Daddy came out and saw Raggedy smiling at them, and Daddy got the clothes prop and climbed out of the attic window and poked Raggedy Ann out of the tree and she fell right into Marcella's arms where she was hugged in a tight embrace.
       "You'll never go up on a kite again, Raggedy Ann!" said Marcella, "for I felt so lost without you. I will never let you leave me again."
       So Raggedy Ann went into the house and had breakfast with her little mistress and Mamma and Daddy smiled at each other when they peeped through the door into the breakfast room, for Raggedy Ann's smile was wide and very yellow. Marcella, her heart full of happiness, was feeding Raggedy Ann part of her egg.
Color Marcella in love with her doll, Raggedy Ann.