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THE writer does not deem any apology necessary for adding another to the long list of gastronomic works, provided she has accomplished the desirable object of producing a Cook Book which shall commend itself to all persons of true taste-that is to say, those whose taste has not been vitiated by a mode of cooking contrary to her own. Although not a Ude or a Kitchener, she does profess to have sufficient knowledge of the culinary art, as practised by good American cooks, to instruct those not versed in this truly interesting science. The inefficiency of most works of this kind are well known to all experienced housekeepers, they being generally a mere compilation of receipts, by those who have no practical knowledge of the subject, and are consequently unable to judge of their correctness, or to give the necessary directions for putting the ingredients together in the right manner. A conviction that a good practical Cook Book was much needed, induced the writer to exert herself to supply the deficiency. She does not pretend to infallibility, but having taken a great deal of pains to have each receipt as correct and nice as possible, she trusts that they will generally give satisfaction. The mode of cooking is such as is generally practised by good American housekeepers, and the receipts embrace all the various branches of the culinary science, from preparing the most simple vegetables or broths, to making the most delicate cake, creams, sweetmeats, &c. The writer has endeavored to combine both economy and that which will be agreeable to the palate, but she has never suffered the former to supersede the latter. This book is intended for all classes of society, embracing receipts both for rich and plain cooking, and written in such a plain manner, that the most unskilled need not err. Placed in the hands of any servant of common capacity, who can read, it will set aside the necessity of those frequent applications for directions, with which the patience of housekeepers is often tried. The experienced cook may smile at the minuteness of the directions; but, if she has witnessed as much good food spoiled by improper cooking as the writer of these receipts, she will not think she has been too explicit. In regard to the seasoning of food, it has been found impossible to give any exact rules, as so much depends upon the quality of the seasoning and food. The cook should be careful not to have the natural flavor of the food overpowered by the seasoning; and where a variety of spices are used, no one of them should predominate. Independent of the receipts for cookery, we have annexed a collection of miscellaneous receipts relative to housekeeping, which, together with the copious illustrations and directions for carving, we trust will render it of superior usefulness. In conclusion, the writer would give her sincere thanks to those of her friends who have kindly furnished her with their choice and valuable receipts: and to those into whose hands the book may fall she would ask a fair trial of them before passing judgment

Mary Louise is a young girl, very honest and wise beyond her years. This at times put her at odds with her classmates at school, but she is mature enough to not be bothered by their attitudes for the most part. Mary Louise lived with her mother and grandfather, with whom she was very close. She is shocked one day when, after her grandfather had an awkward encounter with a man on their walk, her grandfather sits her down and tells her that he and her mother must leave her for awhile. He makes arrangements for her to board at school and sneaks off with his daughter in the middle of the night. Mary Louise is upset and then astounded to find out that her grandfather is running from the law. As the other children at school find out the circumstances surrounding Mary Louise's situation, they begin to relentlessly tease and trouble her. Mary Louise eventually runs away and finds a friend of her grandfather's, but also discovers that the law is trailing her as well. A host of mysterious characters begin filtering into Mary Louise's new life with the Conants and her friend Irene, and it is only a matter of time before Mary Louise finds out all these new people coming together is no coincidence. With Irene's help, Mary Louise finally unravels the mystery surrounding her family.

Descriere:Take any recipe vegan or vegetarian to suit your preference! Plant-based cooking means different things to different people. We all come to plant-based eating with different goals in mind. From building a plant-centric plate to cooking with plant-based meat and dairy, you'll find everything you need here to create varied, satisfying meals. Drawing inspiration from them, these recipes showcase produce, beans and grains, and vegan (and vegetarian) protein sources. The Plant-Based Cookbook is packed with ingenious tips for cooking with plant-forward ingredients and also practical techniques. Rethink how you use vegetables, discover how to boost umami flavor using tomato paste, dried mushrooms, and miso; and more. A thorough opening section delves into the details of modern plant-based eating, addressing shopping and storage strategies, the plethora of plant-based meat and dairy options, and how to meet nutritional needs. It's time to say goodbye to bland, complicated Vegan recipes and start your effortless journey to the Whole Food Plant-Based lifestyle!

Was Ambrose Meyrick insane or born in the wrong millennium?A Welsh orphan, he went to live with his uncle at a public school in the industrialized midlands, where he was seen as a lazy, idle, unrealistic and impractical dreamer. So he was caned by the teachers, bullied by his classmates, and bored by his classes.His father, before his death, had developed an enthusiasm in him for antiquities, especially the ancient Celtic branch of Christianity, taking him to desolate places in Wales, to the remnants of saint's wells and ruins of ancient buildings and holy sites, telling him stories of them and the saints and heroes of an almost forgotten era. But his father told him to conceal his interests from the world, which would not understand.Ambrose found out the hard way that his father had been right, and that he had to hide this fascination in order to conform to the expectations of his classmates and teachers. After all, they would never believe that he had seen the Holy Grail. And the school and its teachers had no interest in developing a mystic.He became a model student and athlete, and got admitted to Oxford. Meanwhile, at night he meditated and had dreams and visions. His uncle's young Irish maid, also an orphan, developed an interest in him, although she had doubts about his sanity. A couple of chance encounters with strangers suggested that he has a destiny of being an unappreciated outsider and a martyr.He eventually rebelled against the hypocrisy around him, but then discovered that he, too, had been a hypocrite, and must change himself.

The principles given in books one and two, leading to the development of the child's faculties find their greatest usefulness in school work. They will apply to every part of the child's work and aid in solving any of his problems. This is the demonstration ground and the time and efforts spent in the preceding games and exercises will manifest themselves in progress in school. It is best for the child to make his own applications. You can, of course, suggest and aid, but he should make his own picture wherever possible. The one making the effort receives the reward-which is development. The child will recall the idea which he works out for himself more easily than those worked out for him, even though the latter may seem better. The following pages will be given over to suggestive ideas as to how the principles may be applied to different lessons. Only a certain few concrete illustrations will be given, as the working out of the details would rob the child of the opportunity and development to be gained by doing the work himself. Children always learn the alphabet by pictures. Alphabetical books and blocks are made this way. This is because the child learns easily and quickly by this method. What is true in the early years is true in the later ones as well. Do not allow him to get away from this principle of learning by pictures. Follow the plan of teaching every thing possible by sight. Go out of your way if necessary to show him the thing he is reading about. The suggestions under "The Mind's Eye and The Story" in Book Two should be continued. When the child has learned to read have him pause and visually review what he has read, that is, to stop and see a mind's eye picture while the book is closed.

It is the author's aim in this collection to furnish stories for the child that shall be short, simple in form and familiar in subject, that shall contain much repetition, rhythm, dramatic possibility, alliteration, and also onomatopoetical and imaginative qualities, all of which the young child craves in the literature which is presented to him. The writer has striven to avoid elaborate introductions, long and intricate descriptions, and all those characteristics from which the child instinctively turns. The matter here presented naturally falls under three heads: first, original stories; secondly, favorite childhood stories rewritten; thirdly, adaptations of popular tales. Nearly all of the purely original stories are based upon some of the more vital motifs to be found in the best of our fairy lore. Of the favorite childhood stories, "Billy Bobtail" is evidently founded upon "The Bremen Town-Musicians"; and, as it is given here, it is an adaptation of a story heard frequently during the writer's childhood. It will readily be seen that "Kid Would Not Go" is only another form of "The Old Woman and Her Pig," and that "Fox Lox" is identical with the tale of "Chicken Little." "The Wee, Wee Woman" is supposedly an adaptation of the old English story of "Teeny Weeny." It is given here in the form in which it was told to the author by a friend. "The Little Long Tail" will be recognized by many as a prime favorite of their early childhood. In the three stories from Grimm it has been the aim to simplify, to shorten, and to eliminate all objectionable qualities; as, for instance, the cruel step-mother element to be found in the original Cinderella. The two stories from Mrs. Ewing and the adaptation of Saintine's "Picciola" have proved fascinating to the childish audiences to which they have been presented. Simplicity of form and language makes it possible for the teacher not only to tell the stories contained in this collection, but also to read them to the children, with good effect. Some of the tales, notably the favorite childhood stories rewritten, may be placed in the hands of the children themselves, to be used in the primary grades as supplementary reading material. This little volume is the result of several years of practical experience, and it is hoped that it will prove a valuable addition to the story repertoire of kindergartners and primary teachers.

Learn how to cut off someone's nose without hurting him and how to double your pocket money. Make an egg dance and a penny walk, produce feathers and candy from a silk handkerchief, and change a bowl of ink into clear water with swimming goldfish. With a little time, practice, and the help of this guide, aspiring magicians can astonish their friends and family with these and other classic parlor tricks. Designed especially for beginners by an expert in the art of legerdemain, the book presents simplified versions of popular illusions. Easy to obtain, inexpensive props include coins, handkerchiefs, eggs, and other common household items. In addition, the final third of this volume offers an introduction to the history and practice of ventriloquism.