Goldfish for games, crafts and number books...

  

These silly little wiggly goldfish are drawn by me and for classroom projects and personal crafts only. I will be posting a variety of project suggestions here that use them.

Don't forget to drag the png. or jpg into a Word Document and enlarge the image as much as possible before printing it folks. If you have a question about this coloring page, just type into the comment box located directly below this post and I'll try to get back to you as soon as I can.

Santa Claus's Scout

Santa Claus's Scout

by Eunice Ward.

On Christmas Eve, when lights are dim,

But eager eyes with excitement shine,

The Sandman steals from the chimney-place,

And glancing round, makes a backward sign.

He dips his hand in his pouch of sand,

The silver grains flinging far and white;

And listens, then, for the drowsy sighs

That come when eyes under lashes hide.

He softly tiptoes from crib to crib,

And sifts the sand in a tiny heap;

Then up the chimney he gaily calls,

"Come, Santa Claus, they are sound asleep!"

Shape a Draped Ghost for All Hallows Eve!

A draped, pinch-pot ghost.

       This simple clay project is made with four sculpture methods: rolling a slab, pinching a pot, scoring a surface and draping a pot. All four are required methods for primary school sculpture standards. 

       Make sure to leave a large enough opening in the ghost's back for a tiny battery operated light. You would need to make the same project with high-fire clay in order to safely burn a candle in the figure.

 Supply List:

• newspaper
• acrylic white paint
• small soft brush
• shallow dish of water
• air dry clay or paper clay
• acrylic varnish
• tiny lights or battery operated votive candle
• flower cookie cutter
• paper bowl
• plastic fork for scoring
• plastic butter knife for cutting into the clay

Step-by-Step Directions:

1. Shape this Halloween ghost first by rolling a ball between the palms of your hands.
2. Now insert your thumb and position your five other fingers outside the surface of the ball.
3. Pinch and turn the ball clockwise. Soon the clay will open up to shape a small pinch pot. Set aside.
4. Roll out more clay and use a flower shaped cookie cutter to make the base of the ghostly figure. This base should be 1/2 inch thick or more.
5. Score the bottom of the pinch pot and drizzle a little water in these scores to help them attach to the flower base.
6. Now position your pinch pot over the flower shaped base. Pinch and pull the ghost's walls to fit the flower cut base. (see below)
7. Cut a mouth hole and two eye holes into the front of the ghost's head.
8. Cut a large hole into the backside of the ghost's body so that you may insert twinkle lights or a battery operated votive inside the ghostly figure after it dries.
9. Smooth the holes of the face and the rippled walls of the ghost's sheet with a bit of water on your finger tips.
10. Let the ghost dry.
11. Paint the ghost with white paint.
12. Varnish the draped ghost figure with clear acrylic.

Use a large flower shaped cookie cutter to press a base shape for your ghost.

Placing the ghost into a paper bowl allows the student to move the project around without damaging it.

Shape a pinch pot acorn

Finished pinch pot acorn made with paper clay.

       Shape a few small acorns for fall this year. Bring in some real examples for your little students to examine before beginning the craft.

Supply List:

• newspaper
• acrylic or watercolor paints
• small soft brush
• shallow dish of water
• air dry clay or paper clay
• scoring tool - plastic fork
• acrylic varnish
• nail or screw for making marks into the acorn cap

Step-by-Step Directions:

1. Shape the nut part of the acorn first by rolling a ball between the palms of your hands.
2. Now insert your thumb and position your five other fingers outside the surface of the ball.
3. Pinch and turn the ball clockwise. Soon the clay will open up to shape a small pot.
4. Pinch the solid, outside end of the pot into a tiny peak.
5. Next, shape the acorn's cap be the same process. 
6. Use the nail or screw to press a printed surface into the cap.
7. Score the outside edges of both the nut and the cap.
8. Trickle a little water into the score lines.
9. Press the cap and nut scored edges together gently. 
10. Students may wish to dip their fingers into water and smooth the surface of their acorns a bit before finishing.
11. Let the acorn dry completely before applying paint. This will most likely take a day at the very least. 
12. Choose several browns and greens to alternate in thin washes of color over the surface of your pinch pot acorn.
13. Varnish and let dry.

Shape the pinch pot into an acorn by adding a pinched end.

Make sure you shape the cap to a smaller size and add a little stem too.

Print the acorns cap with a nail or screw.

Shape a coiled snake to hold your crayons!

Craft a Coil Snake.

       This simple sculpture would be a good "warm up" project prior to crafting a more complicated lesson like a coil pot. 

       Young children can learn how to roll basic coils with the palms of their hands. Give them a mat, newspaper, or an old piece of cardboard to roll out the clay for this cute little assignment. Let them play with the coils for a while and encourage them to repeat the process over and over before finally finishing the snake pencil holder. They may need to wet their hands while working with the clay to prevent their coil from cracking and drying out.

       Their snake coil should be about 3/4 inch thick at it's widest point. Children may also score the surfaces to add texture or print. Make sure that one of the snake's ends is rounded and fat enough for a head and that the other end tapers off gradually. It doesn't really matter where the head or tail ends up in the end. Each one of these little reptiles is adorable when children are allowed to give them unique knots and twists.

Supply List:

• newspaper
• acrylic or watercolor paints
• red embroidery floss
• white glue
• air dry clay or paper clay
• small paint brush
• acrylic varnish 
• printing or scoring tools like a plastic fork
• shallow dish with water

Step-by-Step Directions:

1. Roll out a very long coil of clay.
2. Lift and form the coil into a tall container.
3. Leave enough space between the simple stacked coil for pencils, crayons, markers etc...
4. Poke a small hole with the tip of a pencil where the mouth of the snake should be.
5. Let the snake dry overnight or longer.
6. Paint the snake with a strip, spots, or any other patterns you like.
7. Glue a long strand of red embroidery floss coming from the snake's mouth, (hole) to mimic it's tongue.
8. Give your snake eyes with the tip of your paint brush too.
9. Seal the snake with a thin coat of clear varnish.

The shape of a coil snake pencil holder.

A friendly snake clutches a child's crayons.

On Easter Morn

On Easter Morn

By Edith M. Thomas

I had not known that I was dead.

Until I heard it softly said

By the quick grass above my head.

And the many-budded thorn.

On Easter morn.

"Yea, thou art dead " (these whispered me),-

"Dead long ago; none seeketh thee ;

Thy sealed eyes shall never see

The Lord of Life put death to scorn

On Easter morn."

I said, "One thing deny me not:

With all your bloom and verdure plot

To make my grave the fairest spot

That by His footsteps shall be worn

On Easter morn."

Then in the dim and sighing hour

Ere over the darkness light hath power,

They wrought together -- blade and flower --

The mold above me to adorn

For Easter morn.

I felt His footsteps pause and stay,

Felt the sweet searching light of day.

"Rise grateful dust!" I heard Him say:

"For thee have I put death to scorn

On Easter morn."

Easter Index/ Previous Page / Next Page

Poem "Awakening" and A Tulip Border Craft

Awakening

by Rose Terry Cook

With the first bright, slant beam,

Out of the chilling stream

Their cups of fragrant light

Golden and milky white

From folded darkness spring.

To hail their King.

Consider these, my soul!

How the blind buds unroll

Touched with one tranquil ray

Of rising day,

Into the full delight

Of lilies white.

Out of thy streaming tears,

Thy chill and darkening fears,

Oh, sleeping soul, awake!

Lo, on thy lonely lake,

Thy sun begins to shine,

Thy Light and Life divine!

Consider these, my heart!

Dreaming and cold thou art:

Swift from thyself up-spring,

Shine for thy King.

Rise in His light.

With garments white,

Forget the night:

The Lord hath arisen. 

 

A Potted Tulip Paper Border.

       Download and print out the pattern below. The dotted lines indicate where the image will be folded to continue the potted tulip silhouette seamlessly after it is unfolded. The number of images "linked" together in one continuous chain is determined by the length of the paper being cut. Use a very thin paper to make your cutting easier. Cut away the areas indicated by the design. (see image above and read text on the pattern below. This paper-cut may be used as a border around an Easter bulletin board in a classroom or as a paper chain for a shelf if you like.

 

Potted Tulip border paper cut.

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How Moravians Observe Easter

How Moravians Observe Easter, 1916

by Charles H. Rominger

       Many unique observances of this season may be found in every quarter of the globe. The forms vary, but one theme inspires them all, -- the Savior returned to earth; Messiah risen from the dead. There is in our home-land a custom that is tried and true. It is the celebration of Easter by the Moravians, in Bethlehem, Pa., a custom that has been introduced in many lands and accepted wherever it has gone, as one of the cherished possessions of this ancient church.

       The Easter in Bethlehem, Pa., begins on Palm Sunday Eve. This service, which is held in the large Moravian Church, consists of readings from the Passion Week Manual, a compilation from the Synoptic Gospels (Matthew, Mark and Luke), interspersed with suitable hymns, a brief address and a prayer. Readings from this manual continue through the whole of Easter Week. As far as possible, the closing scenes of the Savior's earthly ministry are reviewed on the respective days of the week on which they occurred. The simple story of the Passion Week, unembellished and unbroken, is undoubtedly an effective preparation for the celebration of Easter Day. Devout Moravians attend these services in large numbers, while Christians of every name and creed may be found in the crowded church. The children of the Moravian Parochial School attend with their teachers and occupy reserved seats in the front part of the sanctuary. The simplicity of this custom and the ardor of those who read, together with the evident devotion of the auditors, indelibly stamp upon the mind the lessons of the Easter season.

       Palm Sunday is a day of rejoicing among Moravians. It is the day when candidates for confirmation, who have been pursuing a rigid course of study under the direction of the pastors of the Moravian Church, make a public confession of their faith and become members. The stately house of worship of the Bethlehem Moravian congregation is decorated with palms and greens in festive profusion. There is a ring of triumph in music and sermon, and there is always a large class of young people to make a public declaration of faith in the essentials of the Christian religion. Occasionally, too, older persons stand for the first time in the circle of the chosen and respond to the impressive service of confirmation, which makes this a memorable day for them.

       The services of Maundy Thursday are as solemn as the occasion demands. The cumulative force of the "words of Thursday," as they are read during the two afternoon meetings, cannot be realized in any other way than by setting aside the afternoon of the day before Good Friday to gather with hundreds of fellow believers and hearken to these words as they fell from the lips of the Master two thousands years ago. The evening service of communion brings back the vision of the upper room and the exhortation to the disciples. The white-gowned ministers bearing trays of bread and wine, the artistic arrangement of the service and the inspiring accumulation of song lend a significance to this Eucharist that cannot fail to prepare every participant for the events of the dark days that follow.

       On the morning of Good Friday, at 10:30 o'clock, the congregation assembles for a service of reading and song. The dramatic "acts of Friday" are the theme. At 2:30 in the afternoon, the climax of the reading services is held, the closing scenes of the Crucifixion being reviewed. At 3 o'clock, the supposed hour of our Savior's death, the throng of worshipers kneel, while the deep-toned bell in the belfry over the ridge roof of the church tolls a solemn knell. The congregation rises and in reverent silence leaves the sanctuary. The Christ is dead. An evening vesper, which begins at 7 :30 o'clock, is an exercise of song. It is a vigil for the Paschal Lamb, and, following, as it does, upon the solemn sadness of the morning and afternoon watch, makes a profound impression of the greatness of Christ's sacrifice for sin.

       During the afternoon of Saturday, commonly known as Great Sabbath, a love-feast is held. This service, which opens at 3 o'clock, consists of a program of song and prayer. The congregation and choir vie with each other in expressions of praise and adoration to the King who gave them life and brotherly love through death. While this challenge of song is sounding, the dieners of the church -- men and women dark groomed and practiced in the art of serving throngs of people -- distribute buns and coffee. This friendly breaking of bread is accepted as a symbol of unity with each other and the wounded Lord. At 7 :30, the congregation re-assembles for the Easter Eve watch. There is another vigil exercise of song, with a prayer and an interpretative word from the desk. It is a thoughtful preparation for the Resurrection Day.

       Many loyal Moravians do not sleep on Great Sabbath night. They remain in the church to decorate for the celebration of Easter Day. At about 3 o'clock in the morning of the day to which the services of the entire week have been leading, the trombone choir starts out on a tour of Bethlehem and South Bethlehem, playing carols to call the sleeping citizens to awake for the early morning watch in the cemetery under the giant tulip-trees. Here lie buried pioneer missionaries of many lands, ministers of the church, citizens of community days and of modern Bethlehem, -- a group of men and women in whose presence one must bow his head in reverence and thank the good Father for loyal servants in the vineyard of the world. In such a company one may well await the resurrection hour. Thousands of people from near and far come to this sunrise gathering. They crowd into the church nearby the cemetery and hear the announcement by the choir that the Master has arisen from the dead; listen to the impressive words of the first part of the Moravian Easter liturgy; sing a song of rejoicing; and then slowly depart to the great square under the tulip-trees in the center of the old burying-ground, which has been apportioned for this service. Here, assisted by the trombone choir, the singing choir, and the ministers of the congregation, they complete the Easter liturgy in the open air, just as the first gleams of sunrise tint the eastern sky. There is in this gathering a rejoicing as pronounced as was the gloom which settled over the services of Friday and the watchful waiting of the Great Sabbath day.

       The other services of Easter Day are not dissimilar to those of churches of other names, but there is in them an atmosphere of triumph that would be impossible without the days of careful preparation which have passed. On the eighth day after Easter, the remaining acts set down in the Passion Manual are read. Easter is not, therefore, a transient festival in the Moravian Church. Its influence abides. It reechoes in the services many days --nay, months -- after the season has fled. 

 Description of a Moravian Sunrise Easter Service.

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Nature's Easter Music

Nature's Easter Music

by Lucy Larcom

The flowers from the earth have arisen,

They are singing their Easter-song;

Up the valleys and over the hillsides

They come, an unnumbered throng.

Oh, listen ! The wild-flowers are singing

Their beautiful songs without words!

They are pouring the soul of their music

Through the voices of happy birds.

Every flower to a bird has confided

The joy of its blossoming birth --

The wonder of its resurrection

From its grave in the frozen earth.

For you chirp the wren and the sparrow,

Little Eyebright, Anemone pale!

Gay Columbine, orioles are chanting

Their trumpet-note loud on the gale.

The buttercup's thanks for the sunshine

The goldfinch's twitter reveals;

And the violet trills, through the bluebird,

Of the heaven that within her she feels.

The song-sparrow's exquisite warble

Is born in the heart of the rose --

Of the wild-rose, shut in its calyx,

Afraid of belated snows.

And the melody of the wood-thrush

Floats up from the nameless and shy

White blossoms that stay in the cloister

Of pine-forests, dim and high.

The dust of the roadside is vocal;

There is music from every clod;

Bird and breeze are the wild-flowers' angels,

Their messages bearing to God.

"We arise and we praise Him together!"

With a flutter of petal and wings,

The anthem of spirits immortal

Rings back from created things.

And nothing is left wholly speechless;

For the dumbest life that we know

May utter itself through another,

And double its gladness so!

The trees have the winds to sing for them;

The rock and the hill have the streams;

And the mountain and thunderous torrents

That waken old Earth from her dreams.

She awakes to the Easter-music;

Her bosom with praise overflows;

The forest breaks forth into singing,

For the desert has bloomed as the rose.

And whether in trances of silence

We think of our Lord arisen,

Or whether we carol with angels

At the open door of His prison,

He will give us an equal welcome

Whatever the tribute we bring;

For to Him who can read the heart's music

To blossom with love is to sing.

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Song of Easter

Song of Easter

by Celia Thaxter

Sing, children, sing!

And the lily censers swing;

Sing that life and joy are waking and that Death no

more is king.

Sing the happy, happy tumult of the slowly brighten-

ing spring;

Sing, children, sing!

Sing, children, sing!

Winter wild has taken wing.

Fill the air with the sweet tidings till the frosty echoes

ring!

Along the eaves the icicles no longer glittering cling;

And the crocus in the garden lifts its bright face to the

Sun,

And in the meadows softly the brooks begin to run;

And the golden catkins swing

In the warm airs of the spring;

Sing, little children, sing!

Sing, little children, sing!

The lilies white you bring

In the joyous Easter morning for hope are blossoming;

And as the earth her shroud of snow from off her

breast doth fling,

So may we cast our fetters off in God's eternal spring.

So may we find release at last from sorrow and from

pain,

So may we find our childhood's calm, delicious dawn

again.

Sweet are your eyes, O little ones, that look with smil-

ing grace,

Without a shade of doubt or fear into the Future's

face !

Sing, sing in happy chorus, with joyful voices tell

That death is life, and God is good, and all things

shall be well;

That bitter days shall cease

In warmth and light and peace, --

That winter yields to spring, --

Sing, little children, sing!

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Easter Organ Music

Easter Organ Music

by Harvey B. Gaul

       There is one difficulty that Easter brings, and that is the exceeding worry of finding appropriate Easter organ music. Organ music for Christmas is comparatively easy to find --composers have left us a vast heritage relative to the Nativity -- but for the Resurrection there seems to be little available literature.

       The following compendium of Easter organ music is not all-inclusive. Nor is it intended to include every organ piece with the title or suggestion that Christus resurrectus est. It is compiled with the desire -- Baedeker fashion -- to lighten the search and point out the advantageous works. Also to encourage organists in the belief that there are other works more appropriate for Easter than Mendelssohn's Spring Song and Grieg's To Spring, even if Easter is the sapping, budding printemps.
       In preparing this list it was deemed advisable to catalogue the pieces in four sections, starting with preludes. 

      The Prelude to The Resurrection, Bullard, offers a splendid opportunity for opening the service. In the same capacity the Prologue to Christ, the Victor, by Dudley Buck, may be placed. Mozart's Resurrexit, also has excellent preludial effects, and with it may be included Springer's Easter Alleluia. For melody Parkhurst's In the Gloom of Easter Morn is to be recommended.

       In the matter of Interludes or Offertories the following pieces are good: Anthem for the Sunday after Easter, Guilmant; Offertoire pour la fete de paques, Orison; Easter Hymn, Oliver; Air de la Pentecote, from Easter cantata. Bach; Gloria in excelsis, Burger. These works will supply the needs for Interludes; some of them may be used for Preludes. For the purpose of concluding the service Easter Recessional, Flagler; March on Easter Themes, Mark Andrews; Easter March, Merkl, are all strong virile works, with the march rhythm firmly announced. Also in the class of Postludes may be included, Hosannah Chorus Magnus, Dubois; Hosanna, Wachs; Hosanna, Granier; Hosannah, Lemmens. For organ recital pieces -- and Easter Is a very good time for organ recitals on account of the vast congregations to be seated -- the following works will be found suitable; they are not only more ambitious, and of larger caliber, but offer passages for telling solo effects: Easter Morning, Mailing; Old Easter Melody, John West; Easter Morn (a meditation), West; and Resurrection Morn, Johnston; commended not only for melodic work, but for varied and interesting structure and passage opportunity.

       Also for concert work: Alleluia! O Mii et iiliae, Loret; and O filii et iiliae, Lizst, and Paques Henries, Mailly. For display purposes requiring full organ effects these works should be considered: Fantasia on Jesus Christ is Risen To-day, Peter Lutkin; Fantasia on an Easter Plain Song, Wilan; and Fantasia on a Carol, West.

       For the person who was educated in the English School of church music and who firmly believes no better or more fitting works were ever written than the oratorio choruses, the following transcriptions are advisable. They may be used for Preludes, Interludes, Postludes ad libitum, or even da capo: Achieved is the glorious work, Haydn ; the Hallelujah Chorus, Handel; the Hallelujah Chorus from Mount of Olives, Beethoven; Gloria in excelsis, Mozart; and All glory to the Lamb that died, from Last Judgment, Spohr. Really good transcriptions may be found or made, from the following oratorio solos: The trumpet shall sound; I know that my Redeemer liveth, and Thou didst not leave His soul in hell, from Handel's Messiah. The last two have the charm of being unhackneyed and if good solo stops are employed they are most acceptable pieces. 

 Introducing the organ to a new generation.

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Mary's Easter

Mary's Easter

by Marie Mason

 

Easter lilies freshly bloom

O'er the open, conquered tomb;

Cups of incense, pure and fair,

Pour oblations on the air.

Easter-glory sudden flows

Through the portal none may close;

Death and darkness flee away,

Christ the Lord is risen to-day !

Shining forms are sitting by

Where the folded garments lie;

Loving Mary knows no fear

While the waiting angels hear

" They have taken my Lord away,

Know ye where he lies to-day ? "

Sweet they answer to her cry,

As their pinions pass her by.

See the Master stand to greet

Her that weepeth at His feet.

" Mary!" At the tender word

Well she knows her risen Lord!

All her love and passion breaks

In the single word she speaks:--

Hear the sweet "Rabboni!" tell

All her woman-heart so well!

"Quickly go and tell it out

Unto others round about.

Thou hast been forgiven much;

Tell it, Mary unto such.

By thy love within thy heart,

This my word to them impart;

Death shall touch thy soul no more,

Christ thy Lord hath gone before!"

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Medieval Easter Plays

Medieval Easter Plays

By Henry Barrett Hinckley

 

       The modern drama had its origin in the Easter services of the mediaeval church. Readers of the New Testament are well acquainted with the supreme importance which Saint Paul attached to the Resurrection. To him it was the demonstration, not merely of the immortality of the soul, but of the truth of the entire Christian religion. Furthermore, the narrative element in the gospels, is nowhere so conspicuous and so sustained as in the account of events from the entry into Jerusalem. Even the story of the birth of Jesus, is comparatively meager, and appears moreover in but two of the canonical gospels. Nor has it so fully developed the element of contest so necessary to effective drama. In this respect the persecution of Herod and the flight into Egypt is less adequate, than the repeated efforts of the Jews to entrap Jesus, his arrest, his trial or examination first by the Jews and then by Pilate, the effort of Pilate to save him, his crucifixion, death and burial, the setting of a watch, and the victorious resurrection. To these tradition added a descent into hell. Everywhere we find Christ opposed by all the hostile forces of the world.

       At least as early as the fourth century we find, as the most important form of public worship, the mass which is essentially a commemoration of the last acts of Christ. Later it was believed that these events were actually repeated as often as the mass was celebrated. During the ninth century began a process of liturgical elaboration. The desire for more singing was strongly felt. At first there were added melodies without words, simple vowel sounds being uttered. Then texts were written. And the responsive chanting of the two halves of the quire gave the words of scripture. Already there was something in the nature of an oratorio. In a manuscript belonging to the Abbey of Saint Gall, in Switzerland, we find arranged for chanting the dialogue between the three Maries and the angel, at the tomb:

"Whom seek ye at the sepulcher, O worshippers of Christ?"

"Jesus of Nazareth the crucified, O habitants of heaven."

"He is not here, he has arisen, as he predicted.

Go, proclaim that he has risen from the sepulcher."

" I have risen."

       The dialogue was later accompanied by appropriate action. We find in the church something that served for a sepulcher, in which on Good Friday a cross was solemnly buried, and very early on Easter morning one of the priests would privately remove it. Then at the mass, one personating the angel would remove a cloth to show that the sepulcher was empty, and the other priests with spices, personating the Maries, would approach to look in and see. The dialogue and action both grew. The running of John and Peter to the sepulcher was an early addition. And the supper at Emmaus and the conviction of Thomas appear before the drama has yet ceased to be a part of the liturgy.

       Once the parts in the ritual were taken by individuals, rather than chanted by portions of the choir, we find the costuming and acting more and more developed. The angel bears an ear of grain, as a symbol of the resurrection; the Maries wear veils; the angel has wings. Account books survive in England, France and Germany, from which details may be gathered. But as a church service " the office of the sepulcher," as the ceremony was called, always remained imperfectly dramatic. As late as 1593 when Shakespeare's plays were already seen at the Globe Theater, we find a detailed description of " the office of the sepulcher " as performed at the Abbey Church of Durham (where, to be sure, the people were more conservative than in the south of England), which shows that the play is still a ritual, an act of worship. On the continent the "office of the Sepulcher " was performed in certain churches as late as the eighteenth century.

       Meanwhile similar ceremonies had developed in celebration of the birth of Christ. When these had become too large for representation in the church they were acted outside of it, in the churchyard or in the public squares. The representations then ceased to be ritualistic and became frankly spectacular. The whole Biblical history was enacted at public festivities. But even so the plays still remained an important source of religious instruction, and there survive the words of a mediaeval preacher who refers to them for corroboration of his sermon. The resurrection was now but a detail, and its dramatic possibilities were far less worked out than those of various other parts of the Bible story, for the two most striking figures in these miracle plays or mysteries were Noah's Wife, to whom Chaucer refers, and King Herod who is mentioned even by Hamlet.

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Easter Singers in The Vorarlburg

Easter Singer In The Vorarlburg

From Chamber's Book of Days

       About a league from Lake Constance the mountains assume a wild and savage character ; a narrow defile leads to a high hill which must be crossed to reach the valley of Schwartzenberg. I gained the summit of the peak at sunset; the rosy vapor which surrounded it hid the line of the horizon, and gave to the lake the appearance of a sea ; the Rhine flowed through the bottom of the valley and emptied itself into the lake, to recommence its course twelve leagues farther on. On one side were the Swiss mountains; and opposite was Landau, built on an island; on the other side the dark forests of Wurtemberg, and over the side of the hill the chain of the Vorarlburg mountains. The last rays of the setting sun gilded the crests of the glaciers, whilst the valleys were already bathed in the soft moonlight. From this high point the sounds of the bells ringing in the numerous villages scattered over the mountains were distinctly heard, the flocks were being brought home to be housed for the night, and everywhere were sounds of rejoicing.

       "It is the evening of Holy Saturday," said our guide; "the Tyrolese keep the festival with every ceremony." And so it was; civilization has passed that land by and not left a trace of its unbelieving touch; the resurrection of Christ is still for them the tangible proof of revelation, and they honor the season accordingly. Bands of musicians, for which the Tyrolese have always been noted, traverse every valley, singing the beautiful Easter hymns to their guitars; calling out the people to their doors, who join them in the choruses and together rejoice on this glad anniversary. Their wide-brimmed hats are decorated with bouquets of flowers; crowds of children accompany them, and when the darkness of night comes on, bear lighted torches of the pine wood, which throw grotesque shadows over the spectators and picturesque wooden huts. The Pasch or Paschal eggs, which have formed a necessary part of all Easter offerings for centuries past, are not forgotten; some are dyed in the brightest colors and boiled hard; others have suitable mottoes written on the shells, and made ineffaceable by a rustic process of chemistry. The good wife has these ready prepared, and when the children bring their baskets they are freely given; at the higher class of the farmers' houses wine is brought out as well as eggs, and the singers are refreshed and regaled in return for their Easter carols.

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The Fourth of July

The Fourth of July 

by Charles Leonard Moore

Let be the herds and what the harvest brings ;
Give to oblivion all that's sold and bought,
The count of unrememberable things; --
Our better birthright is this day's report!
Live our sires in us? Keep we their old skill
To know Occasion's whisper and be great?
Can our proud blood in one contagious thrill
Put admiration in the eyes of Fate?
Wide is our realm, and twin seas feel our yoke,
Aye, and the oarless ocean of the North; --
Are we then mightier than that scattered folk,
That fringe of dingers by the sea-beach froth
Whose loins begat us? Let to-morrow show
If their stern arts hereditary grow.

The Birthday of The Nation

The Birthday of The Nation

by Daniel Webster

(From address delivered July 4, 1851, at laying 

the cornerstone of the new wing of the Capitol.)

       This is that day of the year which announced to mankind the great fact of American Independence! This fresh and brilliant morning blesses our vision with another beholding of the birthday of our Nation; and we see that Nation, of recent origin, now among the most considerable and powerful, and spreading from sea to sea over the continent.

       On the fourth day of July, 1776, the representatives of the United States of America, in Congress assembled, declared that these Colonies are, and ought to be, free and independent States. This declaration, made by most patriotic and resolute men, trusting in the justice of their cause and the protection of Heaven, -- and yet not without deep solicitude and anxiety -- has now stood for seventy-five years. It was sealed in blood. It has met dangers and overcome them. It has had detractors, and abashed them all. It has had enemies, and conquered them. It has had doubting friends, but it has cleared all doubts away; and now, to-day, raising its august form higher than the clouds, twenty millions of people contemplate it with hallowed love, and the world beholds it, and the consequences that have followed from it, with profound admiration.

       This anniversary animates and gladdens all American hearts. On other days of the year we may be party men, indulging in controversies more or less important to the public good. We may have likes and dislikes, and we may maintain our political differences, often with warm, and sometimes with angry feelings. But to-day we are Americans all ; nothing but Americans.

       As the great luminary over our heads, dissipating fogs and mist, now cheers the whole atmosphere, so do the associations connected with this day disperse all sullen and cloudy weather in the minds and feelings of true Americans. Every man's heart swells within him. Every man's port and bearing becomes somewhat more proud and lofty as he remembers that seventy-five years have rolled away, and that the great inheritance of Liberty is still his, -- his, undiminished and unimpaired; his, in all its original glory; his to enjoy; his to protect; his to transmit to future generations.

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England and America

England and America

by James Bryce

       This is a memorable day to Englishmen as well as to Americans. It is to us a day both of regret and of rejoicing: of regret at the severance of the political connection which bound the two branches of our race together, and of regret even more for the unhappy errors which brought that severance about, and the unhappy strife by which the memory of it was embittered. But it is also a day of rejoicing, for it is the birthday of the eldest daughter of England -- the day when a new nation, sprung from our own, first took its independent place in the world. And now with the progress of time, rejoicing has prevailed over regret, and we in England can at length join heartily with you in celebrating the beginning of your national life. All sense of bitterness has passed away, and been replaced by sympathy with all which this anniversary means to an American heart.

       England and America now understand one another far better than they ever did before. In 1776 there was on one side a monarch and a small ruling caste, on the other side a people. Now our government can no longer misrepresent the nation, and across the ocean a people speaks to a people. We have both come, and that most notably within recent months, to perceive that all over the world the interests of America and of England are substantially the same.

        The sense of our underlying unity over against the other races and forms of civilization has been a potent force in drawing us together. It is said that the Fourth of July is a day of happy augury for mankind. This is true because on that day America entered on a course and proclaimed principles of government which have been of profound significance for mankind. Many nations have had a career of conquest and of civilizing dominion: but to make an immense people prosperous, happy, and free is a nobler and grander achievement than the most brilliant conquests and the widest dominion.

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The Stone of The Sepulcher

The Stone of The Sepulcher

by Susan Coolidge

"How shall the stone be rolled away?"

Thus questioned they, the women three,

Who at dim dawn went forth to see

The sealed and closely guarded cell

Where slept the Lord they loved so well.

First of all Easter sacrifice,

The linen and the burial spice,

They carried, as with anxious speech

They sadly questioned, each to each:

Still, as they near and nearer drew

The puzzle and the terror grew,

And none had word of cheer to say 

But lo, the stone was rolled away!

" How shall the stone be rolled away?"

So, like the Marys, question we.

As looking on we dimly see

Some mighty barrier raise its head

To bar the path we needs must tread.

Our little strength seems weakness made,

Our hearts are faint and sore afraid;

Drooping we journey on alone. 

We only mark the heavy stone,
We do not see the helping Love
Which moves before us as we move,
Which chides our faithless, vain dismay,
And rolls for us the stone away.

"How shall the stone be rolled away?"

Ah, many a heart, with terrors pent.

Has breathed the question as it went,

With faltering feet and failing breath.

In the chill company of death,

Adown the narrow path and straight,

Which all must traverse soon or late.

And nearing thus the dreaded tomb.

Just in the thickest, deepest gloom,

Has heard the stir of angel wings,

Dear voices, sweetest welcomings,

And, as on that first Easter day,

Has found the dread stone rolled away! 

 

 

Below is a vase of lovely Easter jonquils for you to color.

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Easter Dawn

Easter Dawn

by Frances Ridley Havergal

It is too calm to be a dream.

Too gravely sweet, too full of power.

Prayer changed to praise this very hour.

Yes, heard and answered ! though it seem

Beyond the hope of yesterday,

Beyond the faith that dared to pray.

Yet not beyond the love that heard,

And not beyond the faithful word

On which each trembling prayer may rest

And win the answer truly best. 

Yes, heard and answered ! sought and found !

I breathe a golden atmosphere

Of solemn joy, and seem to hear

Within, above, and all around,

The chime of deep cathedral bells,

An early herald peal that tells

A glorious Easter tide begun;

While yet are sparkling in the sun

Large raindrops of the night storm passed.

And days of Lent are gone at last.

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At Easter Time

At Easter Time

by Laura E. Richards

The little flowers came through the ground,

At Easter time, at Easter time :

They raised their heads and looked around.

At happy Easter time.

And every pretty bud did say,

"Good people, bless this holy day,

For Christ is risen, the angels say

At happy Easter time!"

The pure white lily raised its cup

At Easter time, at Easter time.

The crocus to the sky looked up

At happy Easter time.

"We'll hear the song of Heaven ! " they say,

"It's glory shines on us to-day.

Oh ! may it shine on us alway

At holy Easter time!"

'Twas long and long and long ago,

That Easter time, that Easter time;

But still the pure white lilies blow

At happy Easter time.

And still each little flower doth say,

"Good Christians, bless this holy day,

For Christ is risen, the angels say

At blessed Easter time!" 

 

 

To color Easter eggs for you,
The bunnies work the whole day through.
 

Color this vintage Easter bunny egg dye from the 1950s.

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The Day of Victory

lily-of-the-valley and "Peaceful Easter Greetings"

The Day of Victory

by Rachel Capen Schauffler

Rise my soul and break your prison;

For the Christ, your Lord, is risen!

While His victories avail you.

Death nor terror can assail you;

Rise with Him and, with Him, risen,

Run to visit souls in prison;

Show them how your bonds were broken,

Lend them all your keys in token

That you fought your ways from prison

By the help of Jesus Risen.

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Mary by Sangster and a Primrose paper cut...

Mary 

by Margaret E. Sangster

She walked among the lilies

Upstanding straight and tall,

Their silver tapers bright against

The dusky wall;

Gray olives dropped upon her

Their crystal globes of dew.

The while the doors of heaven grew wide

To let the Easter through.

All heaven was rose and golden.

The clouds were reft apart,

Earth's holiest dawn in dazzling white

Came forth from heaven's own heart;

And never, since on Eden

Creation's glory lay,

Had ever garden of the Lord

Beheld so fair a day.

Her eyes were blurred with weeping.

Her trailing steps were slow;

The cross she bore within her

Transfixed her soul with woe.

One only goal before her

Loomed through her spirit's gloom,

As in the early morning

She sought the guarded tomb.

But down the lilied pathway

A kingly presence came,

A seamless garment clothed Him,

His face was clear as flame,

And in His hands were nailprints,

And on His brow were scars.

But in His eyes a light of love

Beyond the light of stars.

For tears she could not see Him,

As o'er the path He came.

Till, like remembered music.

He called her by her name ;

Then swift her soul to answer,

The Lord of life she knew,

Her breast unbarred its prison gates

To let the Easter through.

Such light of revelation

As bathed her being then,

It comes anew wherever Christ

Is known indeed of men;

Such glory on the pathway,

It falls again on all

Who hear the King in blessing,

And hasten at His call.

Rise, King of grace and glory.

This hallowed Easter-tide,

Nor from Thy ransomed people

Let even death divide;

For yet again doth heaven

Throw all its gates apart.

And send the sacred Easter

Straight from its glowing heart.

 

A Primrose Paper Border.

 

       Download and print out the pattern below. The dotted lines indicate where the image will be folded to continue the primrose silhouette seamlessly after it is unfolded. The number of images "linked" together in one continuous chain is determined by the length of the paper being cut. Use a very thin paper to make your cutting easier. Cut away the areas indicated by the design. (see image above and read text on the pattern below. This paper-cut may be used as a border around an Easter bulletin board in a classroom or as a paper chain for a shelf if you like.

Primrose paper cut pattern.

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Easter Lilies and Window Boxes Too...

Easter Lilies

By Susan Coolidge

 

Darlings of June and brides of summer sun.

Chill pipes the stormy wind, and the skies are drear;

Dull and despoiled the gardens every one:

What do you here?

We looked to see your gracious blooms arise

'Mid soft and wooing airs in gardens green,

Where venturesome brown bees and butterflies

Should hail you queen.

There is no bee nor glancing butterfly;

They fled on rapid wings before the snow;

Your sister lilies laid them down to die,

Long, long ago.

And here, amid the slowly dropping rain.

We keep our Easter feast, with hearts whose care

Mars the high cadence of each lofty strain,

Each thankful prayer.

But not a shadow dims your joyance sweet,

No baffled hope or memory darkly clad;

You lay your whiteness at the Lord's dear feet,

And all are glad.

O coward soul ! Arouse thee and draw near.

Led by these fragrant acolytes to-day!

Let their sweet confidence rebuke thy fear,

Thy cold delay.

Come with thy darkness to the healing light,

Come with thy bitter, which shall be made sweet,

And lay thy soil beside the lilies white.

At His dear feet! 

 

        "Boxes holding flowers just outside an apartment window are great favorites with those who live in towns and cities. Here is a little girl, who lives in an apartment, all ready to fill her window box garden.

This little girl paper doll looking at her flower box is in the CC.

 

       Before pasting this picture down on cardboard, color it with your crayons. The brick wall is different shades of red and pink and the box is blue, showing up well against the white curtains.

       Cut the dotted slits in the flower box. Insert the tab on the geranium down into the center opening and paste it in place at the back. Fold the tabs on the two ivy plants and slide them inside the slits on either side of the geranium plant. Paste these in place.

       Make holes as indicated at both ends of the top of the picture, put a string through it to make a hanger. Now you can hang your paper doll from your own window with just a small amount of tape!

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