WITH this issue we begin the publication of "Incidents in the Life of one of Earth's Pllgrims," being a biographical sketch of his life by Elder Edwin Stafford, who united with the church in an early day, and whose experience will be found rich in incidents not only of interest to the young because of his connection with the mighty deep, but to the church at large because it begins before the dark and cloudy day, extends through it and comes down to our own time, containing many strong testimonies in regard to the Reorganization. To the many in the church who are acquainted with Bro. Stafford it will not be necessary for us to say anything of the respect and confidence reposed in him by friends and neighbors; but to those unacquainted with him we would say, that to our knowledge he enjoys a goodly share of both, and is esteemed both as a citizen and a Christian very highly by those who know him best; and we bespeak for this sketch of his life a careful reading.

OWING to a pressure of duties connected with his work as Church Secretary and Recorder, Bro. Stebbins failed to complete in time the installment of the "Story of the Book of Mormon”

both of this and the last issue. From this time however, we feel safe in promising that there will be an installment of the story in each number.

OUR friends will remember that in our first issue we offered premiums to those sending us the first, second and third largest list of names for the Magazine from that date to April 1st. The first premium has been very decidedly refused by the party entitled thereto, because not willing to accept compensation for the service which was rendered with the sole view of aiding the magazine. The second and third we have forwarded to those entitled to the same. We here take occasion to thank our friends again for the zeal manifested in behalf of our publication, and to ask that as long as it proves worthy their support it may be extended to us in the future as it has been in the past; and we also wish to thank those who have sent us papers, magazines and clippings. We would not mention names where very many have been so kind.

Do NOT send for Nos. 1, 2, and 3, of "AUTUMN. LEAVES," as these issues are exhausted.

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Having made arrangements with the Board of Publication to have our books kept at the Herald Office, we wish to notify our friends that hereafter all letters of business connected with Autumn Leaves, "Home Column," or Hope, must be addressed to David Dancer, box 82, Lamoni, Iowa. This will include remittances for every purpose, whether subscription money, offerings for Home Column Missionary Fund, birth offerings for Hope, or Christmas offerings from the children. Please remember and in the future send all money to David Dancer.

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Send to M. Walker, Lamoni, Iowa, all articles

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intended for publication, either in Autumn Leaves, Hope or Mother's Home Column.

It is desirable at all times that letters and articles for publication as above specified be sent to M. Walker, but to accommodate our friendsand lesson expense, such articles or letters if sent to Herald Office will be handed to us, always provided they be written entirely separate from any matter of business.

Parties not connected with the work of the Herald Office can form no just estimate of the absolute necessity existing for a strict conformity to the above notice. It is not for our own convenience merely, but in order that all mistakes be avoided and patrons have their requestspromptly and correctly attended to. Let us re

peat, SEND ALL MONEY TO DAVID DANCER, BOX 82, LAMONI, IOWA.

HOW TO MAKE PLASTER CASTS.

It is not at all difficult; any one can succeed in it who will take the pains to follow carefully the directions given here for making plaster casts. Without the knowledge of drawing or modelling you can in this way reproduce almost any article in a very short time.

Časting in plaster is really so simple a process that even a child can soon learn to manage it nicely.

You will need a board about a foot and a half square, upon which to work fifteen or twenty pound of clay, five pounds of plaster of Paris, a cup of warm melted lard, and several small wooden pegs; these can be made of wooden tooth picks or matches broken in two.

Select an object with few angles and a smooth surface to experiment on; a firm round apple will do. Rub the lard all over the apple until every particle is greased, then lay it in the centre of your board. Take some clay and pack it around it just as high as the middle of the apple, forming a square. Smooth the clay off on the edges and stick pegs diagonally opposite corners; then with more clay build a wall close around the apple and its case, making the sides one inch higher than the top of the apple. Put a cupful of clear water into a pan or dish, and stir in enough Plaster of Paris to make it like batter; pour the plaster over the apple, filling the clay box to the top. This makes a half mould of clay and a half mould of plaster. When the plaster is hard, which will be in a very short time, pull away your clay wall, and take out the apple and half plaster mould to

gether, lifting the apple from its half clay mould.. Remove the clay from your board and set the plaster mould containing the apple in the centre. Rub lard over the apple and upper edgeof the mould, build around it the clay wall, as you did the first time; roll a small piece of clay into a slender conical shape and stand it upright on top of the apple. This will make a hole through which to pour the plater when filling the completed mould, and it must stand high enough to reach above the top of the clay wall. Pour the plaster over the apple as at first, and let it set or harden. Take away the wall of clay once more, and carefully separate the two parts of the mould with the blade of a table knife, remove the apple, and all is ready for the final cast which is to produce your plaster fruit.

Thoroughly grease the inside of your mould, fit the two parts together, and wrap and tie them with string to hold them in place. Pour in the plaster through the hole left in one-half the mould, until it is quite full; then gently shake it to send the plaster into all small crevices. Let your mould stand without moving again until sufficient time has elapsed for the plaster to harden; then gently separate the two parts and you will find a perfect cast of the apple. The ridge made by the joining of the mould you must scrape off with a sharp knife, or rub with sand paper.

In taking casts of almost any object not too complicated, this same method must be employed. The only difficulty lies in deciding just where to place the dividing line, which must be exactly at the broadest part of your model,.

otherwise you will break your mould in taking the object out.

In casting a hand the clay must be built up around each finger to precisely its widest part. Therefore it is a good plan before commencing, to mark on the hand, with a fine paint brush and ink, the line that is to be observed.

When making casts of long objects, or those that are larger at one end than the other, such as vases, always lay them on one side, as a much better mould can be obtained in that way.

I have read that if milk and water is used for mixing the plaster, or after the cast has hardened, if a little oil, in which wax has been dissolved, be applied to the surface it will take a high polish; and if left for awhile in a smoky room it will acquire the look of old ivory.

The dead white of plaster casts is frequently objected to when they are wanted for ornaments; but that difficulty is easily overcome by mixing dry colors with the plaster before wetting it. A small quantity of yellow ochre will make the plaster creamy or ivory-like; brown will give a wood color, and red a terra-cotta.

Plaster casts can also be bronzed with gold, red, or green bronze, which makes quite handsome ornaments of them. A plaster panel in bass relief bronzed with gold bronze and mounted on black or dark colored velvet, is an exceedingly rich wall decoration.

To mount a panel of this kind you must first secure a smooth, flat piece of board, not more than half an inch thick, and just large enough to allow about four inches of the background to show all around the panel when it is mounted. Cover the board with velvet or velveteen, bringing it smoothly over the edges, and tacking it down at the back. Fasten on it a small brass hook.

Make a ring or loop for hanging the panel in this way: Take a piece of wire about three inches long, form a small loop in the middle, and give the wire several twists; then bend the ends out on each side. Scrape a narrow place in the top edge of the panel, just long enough to admit the wire in this little ditch and fill up the hole to the top with soft plaster. When this hardens the ring will be quite secure.

A PRETTY HAT RACK.

The best way is to decide just the size of the glass you wish to have. Of course one can have them any size, and either square or long and narrow. I will describe one I saw and when you make yours you can exercise your own taste and judgment. The glass was 9x12 inches, the frame 18x21 inches around the cut edge, which makes it five inches deep. Have your frame made of old pine, no matter how old and rough the boards, and cover it with velvet. At the bottom put two bronze hooks and one on each side just below the center. On the edge at the top put two picture eyes to hang it up by, and then you have a pretty rack and so convenient if your hall is small and no room for a standing rack. Then it is so pretty for the sitting room

if you have no hall. Plush or satin is nice to cover one, with handpainting for decoration, or, if one can not paint or embroider, a large ribbon bow in the upper left hand corner will do nicely.

BLIND MAN'S SINGING SCHOOL.

One of the party must be blindfolded to take the part of teacher. The class composed of the rest of the players should sit in a line facing her. The teacher informs her scholars that they will begin the lesson by singing the scales. Then the one at the top of the line sings ah! and the next, ah! a little higher or lower, and so it goes down the line, each one in turn uttering ah! in any key or note she pleases; in a high shrill voice or the deepest tone a girlish throat is capable of. The teacher should listen attentively, and when she thinks she recognizes a voice she must command the class to stop while she makes some criticism on the manner in which the note is sung, at the same time calling the singer by name. When one of the players is named correctly, she must be blindfolded and become teacher while the former teacher takes her place in the class.

A general exchange of seats is made before the singing lesson recommences, that the voices may not be guessed by the direction from which they come. To give variety to this game the second teacher may direct the class to sing a song, selecting some well known nursery rhyme; then, beginning at the top of the line as before, each player must sing the word which comes to her to supply. It is the privilege of each teacher to direct the class to sing whatever she may choose, either song or exercise.

BLOWING THE FEATHER.

The requisites for this amusement are a sheet or any large piece of cloth, good lungs and good humor. The participants arrange themselves around the sheet, holding it nearly as high as the shoulders. The feather is placed in the center of the sheet, and when the judge calls "Ready" all begin to blow. It is the business of each to prevent the escape of the feather at the place where he stands; when the feather is blown off, the person nearest the spot where it floated away retires from the game. The sport is continued until but one remains.

TAILING THE DONKEY.

A large figure of a donkey is cut from dark cloth or paper and fastened on a sheet, which is hung upon the wall. A tail is also cut from the paper or cloth, and a large pin passed through, ready for use. Each person tries in turn to pin the tail in the place where it belongs, after first having been blindfolded, and at a little distance from the sheet on which the figure of the donkey is fastened, turned around three times. The one who pins the tail nearest to the right position is the winner and receives the prize; the one who pins it the farthest point away receives the "booby-prize."