RATTLERS' RATTLES IN ART 



29 r. 



time, patience, skill and keen artistic 

 sense, to produce a design that is a 

 faithful reproduction of the subject 

 chosen. After the outline has been 

 drawn, she generally does this work 

 with the aid of a hairpin as a tool with 

 which to put the rattles in place. The 

 very small specimens are handled with 

 a needle. 



When she has chosen the design, she 



turned to the design. This means the 

 frequent handling of the rattles before 

 the work is finished. After letting the 

 work dry for several days, she applies 

 a coat of varnish. This gives the rat- 

 tles a brilliant gloss, and brings the- 

 design out like a bas-relief carving 

 The work is then placed in a deep 

 frame, covered with glass, and sealed 

 to make it air-tight and dust proof. 



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•A RATTLING FINE DEER.' 



takes a piece of felt, large or small ac- 

 cording to the size of the pattern, and 

 on it draws the outline, after which 

 the real work begins. To arrange the 

 rattles on the drawing is not only te- 

 dious but laborious, requiring several 

 days' time and the use of many thou- 

 sand rattles, some of which must be 

 cut to fit in the proper place. Each 

 rattle is lifted from its place on the 

 felt, glue is applied, and the rattle re- 



One of the designs of which Mrs. 

 Friedrich is proud is that ot a deer. 

 She spent nearly four weeks in arrang- 

 ing the six hundred and thirty-seven 

 rattles on this figure, to say nothing 

 of the time used in finishing it. She 

 calls it "A Rattling Fine Deer." A 

 painted background representing a 

 forest with grasses covering the 

 ground was used to make the figure 

 look more natural. 



