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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #50451 (https://www.gutenberg.org/ebooks/50451)
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-The Project Gutenberg EBook of A Boy's Workshop, by Harry Craigin
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: A Boy's Workshop
-       With plans and designs for in-door and out-door work
-
-Author: Harry Craigin
-
-Release Date: November 13, 2015 [EBook #50451]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK A BOY'S WORKSHOP ***
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-                 D. LOTHROP & CO., Publishers, Boston.
-
-
-
-
-                           A BOY’S WORKSHOP
-
-
-                        WITH PLANS AND DESIGNS
-
-
-                     FOR IN-DOOR AND OUT-DOOR WORK
-
-
-                                  BY
-                         A BOY AND HIS FRIENDS
-
-
-                        WITH AN INTRODUCTION BY
-
-                          HENRY RANDALL WAITE
-
-
-                                BOSTON
-                        D. LOTHROP AND COMPANY
-                      FRANKLIN AND HAWLEY STREETS
-
-
-
-
-                             Copyright by
-
-                        D. LOTHROP AND COMPANY
-
-                                 1884
-
-
-                              =Press of=
-                          =Berwick & Smith,=
-                               =Boston.=
-
-
-
-
-CONTENTS.
-
-
-    Chap.                                                   Page
-
-      I. The Shop Itself                                       7
-
-     II. The Sawhorse and Workbench                           13
-
-    III. The Sawhorse and Workbench (_Continued_)             21
-
-     IV. The use of Tools                                     30
-
-      V. How to make a Tool Cabinet                           38
-
-     VI. How to make a Tool Cabinet (_Continued_)             47
-
-    VII. Hinges and Lock                                      54
-
-   VIII. Curtain Poles                                        62
-
-     IX. Book-rest                                            71
-
-      X. Book-rest (_Continued_)                              79
-
-     XI. A Bed Table                                          85
-
-    XII. Cabinet                                              89
-
-   XIII. A Boy’s “Catchall”                                   96
-
-    XIV. How to Build a Portable Wooden Tent                 107
-
-     XV. How to Build a Portable Wooden Tent (_Con._)        117
-
-    XVI. How to make a Fernery                               127
-
-   XVII. A Boy’s Railway and Train                           138
-
-  XVIII. How to make a good Fly                              154
-
-    XIX. How to bind Magazines                               163
-
-     XX. How to Photograph                                   169
-
-    XXI. Archery for Boys                                    186
-
-   XXII. Sir Walter Scott’s Idea                             196
-
-  XXIII. Knots, Hitches and Splices                          204
-
-
-
-
-INTRODUCTION.
-
-
-THE typical American boy, at some period in his life, has a taste for
-the mechanic arts. Before he is out of pinafores, he surreptitiously
-lays hold of edged tools, and with unlimited self-confidence tries to
-make something. If his success lies chiefly in the direction of making
-pieces of furniture and bric-à-brac, and the covering of his juvenile
-apron with gore, followed by a tableau in which a shrieking youngster,
-an angry sire, and a sympathetic mother are about equally prominent,
-the effect is merely to determine the amount of the boy’s grit, and
-to prepare the way, in the battles of the future, for the survival of
-the fittest. While a certain number of the pinafored experimenters,
-pensively regarding healed gashes and flattened thumbs, will ever after
-sedulously avoid contact with chisels and hammers, the plucky boys,
-who form the majority, will hardly wait for the shedding of belladonna
-plasters, and the bleaching of gory aprons, before seizing upon the
-instruments of their discomfiture, with a firm determination (founded
-on the boyish belief in the intelligence and moral responsibility
-of inanimate objects) to let those tools know that they know how
-to handle them without getting hurt. After various efforts for the
-mastery, the implacable foes of the unskilful juvenile, such as the
-hatchet, the saw and the hammer, will shake their sides in malignant
-laughter over the final discomfiture of a second installment of the
-rising generation, and will own themselves partially subject to the ten
-and twelve-year-old veterans who have come triumphantly through the
-struggle, and can use such tools as happen to fall into their hands
-with a more or less murderous degree of execution. To this large class
-of boys, intrepid, ambitious, industrious, and full of manly instincts,
-America looks for its inventors, its engineers, architects, designers,
-skilled artisans, and most successful business men in every walk in
-life. They constitute, in fact, what may be termed the “Honorable Guild
-of Amateur Artisans,” and it is for the benefit of the members of this
-juvenile guild that “A Boy’s Workshop” is sent forth, with the best
-wishes of its editors and publishers.
-
-It will bring to thousands of lads just such information in regard
-to the first steps in the mechanic arts as they most need, and will
-enable them, with little other direction, if wisely encouraged by their
-elders, to so develop whatever mechanical ingenuity they may possess,
-as to make it easy to determine whether they shall ultimately join the
-ranks of those wholly devoted to the useful arts, or continue to be
-amateurs, using to good advantage whatever skill they have acquired in
-connection with other occupations.
-
-But the parents and instructors of boys have no less reason than the
-boys themselves for awarding to this book a cordial welcome. In neither
-home nor school is adequate attention now given to the training of
-the hands to skill in the use of any of the tools employed in the
-industrial arts. It need hardly be stated that every boy should have
-at least a little training in this direction, while to thousands, such
-training is an essential part of their equipment as bread-winners and
-as useful citizens. “A Boy’s Workshop” is calculated to meet a need in
-this important respect, and on this account alone, is worthy of a place
-in the library of every home and school.
-
-The desire to turn the energies of hands and brain upon constructive
-work, is worthy and honorable. Let it have proper encouragement. We
-have too little of the industry which follows habits well formed, and
-too little of the thrift which follows skill. Society, the State, and
-the nation have need of the boy who has a workshop. May every boy who
-wants one, have one, and God bless him!
-
-    HENRY RANDALL WAITE.
-
-
-
-
-A BOY’S WORKSHOP.
-
-
-
-
-I.—THE SHOP ITSELF.
-
-
-IF there is anything a boy really likes to have, it is a workshop of
-his own.
-
-But then it must be really his own; a place where he can pound and
-hammer, saw and whittle, and make all the litter and noise he wants to,
-without having to clear up things.
-
-A boy likes a place where he can leave a thing half finished and be
-sure of finding it again. He wants a key to the door, so that he can
-lock up his treasures and know he shall find them safe the next spare
-hour he gets to work at some pet notion.
-
-Housemaids, and sometimes even mothers, don’t see the difference
-between unfinished work and rubbish, and off into the kindlings goes
-something that has cost a boy a lot of thought and work. No wonder a
-fellow who isn’t a saint, but only a human boy, gets out of patience
-and wishes emphatically, that “folks would just let his things alone!”
-
-So I say, let every boy have his own workshop and a key to it.
-
-Where shall the workshop be?
-
-I don’t think it makes much difference. There must be plenty of light,
-of course, and the room must not be damp. My first workshop was in the
-attic, with a skylight. I liked it first-rate; but it was a bother to
-bring the lumber up-stairs, and then, too, the shavings and chips had
-to be carried down. I got along with it capitally though for three
-years; but I like my down-stairs shop better. The noise of pounding and
-sawing never disturbs any one either, if it is below. One end of the
-woodshed can be partitioned off for a shop if there is no room in the
-house.
-
-Now you’ve got your workshop, the next thing is, “what shall go into
-it?”
-
-There are two ways to fit up a workshop. The easiest and the quickest
-is also the most expensive: _i. e._ get your father to tell the
-carpenter to fit it up, and then buy a tool chest. The objections are:
-the expense and the doubtful quality of the tools in a ready-filled
-tool chest; then, to my thinking, you lose a lot of fun yourself. It is
-a good lesson in carpentry to make your own work bench and tool chest,
-and the money you save that way can go into better tools.
-
-Every boy ought to remember this, a _cheap_ tool is probably a _dear_
-tool. The very best is really the cheapest in the end, and you can’t do
-good work with poor tools.
-
-Of course the boys I am talking to are not in the infant class. A boy
-who has never fooled round with tools, who has never cared enough about
-carpentry to try his hand at tinkering up broken chairs and boxes, the
-boy who hasn’t got past mashing his fingers when he drives a nail, and
-doesn’t know the difference between cutting with a saw and whittling
-with a knife, isn’t the boy to care whether he has a workshop or not.
-
-But I should like to help the boys who have had “toy tool chests,” and
-have used them enough to find out “they are no good,” and are really
-ambitious to do neat, serviceable work, and to know enough about the
-right use of good tools to be ready and able to do the hundred little
-odd jobs that come up in a house and can often be as well done by a
-boy carpenter as by a regular workman. I know one boy who in one year,
-doing odd jobs himself, saved the full cost of his outfit.
-
-When I began I couldn’t find anybody to tell me the things I wanted to
-know. I had to find them out for myself, and that is just what I am
-going to try and tell you. So we start with this understanding. You are
-in earnest; you wish to do good, substantial work; you haven’t a great
-deal of money to spend, and you are willing to let patience and labor
-make up for the lack of money, knowing, too, that the lessons you will
-get making your work bench and tool chest will be worth considerable.
-
-If your mother can spare you an old bureau, or an old-fashioned
-washstand with a lid and a cupboard, it will be handy in one corner of
-the workshop, not only to hold your tools till the chest is made, but
-to keep all sorts of odds and ends in by and by.
-
-You ought to have a stout pair of overalls, or a workman’s apron made
-of ticking, with a good pocket. I have both, and find them handy. If
-it’s a little job, I slip on the apron; if a long one it pays to get
-into the overalls. Your clothes keep clean, and there’s nothing to do
-when the dinner bell rings but to slip off the working uniform and wash
-your hands. Carpentry is cleaner work than printing. I know, for I have
-tried both.
-
-Now for the list of essential tools. If it sounds large and expensive,
-you must remember that once bought they will last for years, and are
-your capital, your stock in trade. From time to time you will add to
-them. If you live in Boston or the vicinity, I should advise you to
-go to Goodnow and Wightman’s, 176, or to Wilkinson’s, 184 Washington
-street, or some other first-rate establishment, and get what you want.
-On an order like this there would be quite a discount.
-
-The prices vary from time to time, so those in the list are given
-simply that you may have a general idea of the cost.
-
-I will say here that it will pay you to have two or three practical
-lessons in the use of a saw, a plane, and a chisel, from a carpenter.
-If you are in the city, there are regular classes where you can get
-such instructions. It will save patience and tools.
-
-  Hammer                                             .75 to $1.00
-  Saw (cross-cut) 16 to 18 inch                              1.25
-   "  (splitting)        "   "                               1.35
-  Chisel 1 inch socket firmer                                 .60
-   "     ½   "    "      "                                    .25
-  Bit brace (plain 1.50) ratchet                             2.00
-  Bits ⅜, ½, ⅝                                                .80
-  Small bits ¼ and less for screws, the set                   .50
-  Screw-driver (at Wilkinson’s ask for a gunmaker’s
-                and machinist’s drop forged        )          .40
-  Hatchet                                                     .75
-  2 ft. rule                                                  .25
-  Try square (9 inch)                                        1.00
-  Oil stone (1½ or 2 inches wide)                             .40
-  Mallet (large wooden)                                       .35
-  Small iron Block Plane (Bailey’s)                          1.25
-  Jack or Fore Plane, Stanley’s 20 inch                      2.25
-  Draw Knife 7 inch                                           .70
-                                                           ______
-                                                           $15.10
-
-Nails and screws of various sizes can be got at any hardware store.
-If you send an order through the village store, be sure to send to
-first-class establishments, and procure the following makes:
-
-Planes, _Bailey’s_ or _Stanley’s_, iron and wood; chisels and gouges,
-_Buck_ or _Moulson_; braces, _Barber_; saws, _Henry Diston_; rules and
-squares, _Stanley_; files, _Stubs, Greaves and Sons_.
-
-
-
-
-II.—MY SAWHORSE AND WORKBENCH.
-
-
-NOW that you have a fair assortment of tools to work with, the next
-thing is to have a work-bench; for even an accomplished carpenter can’t
-do much without a good, strong, firm bench. And of course you must have
-a sawhorse before you _can_ have a bench; but a sawhorse is a simple
-affair to make, and I will tell you how to set about it right away, for
-you ought not to buy anything that with a little trouble you can make.
-Besides it will be good, plain practise with try-square, saw and plane.
-
-[Illustration: Fig. 1]
-
-The sawhorse for the average boy ought to stand about twenty or
-twenty-two inches high, so that you can kneel with one knee on it
-easily.
-
-You must get two pine boards:
-
-  _A_, 6 feet long, 6 inches wide, 1½ inches thick.
-  _B_, 12  "    "   6    "     "   1    "     "
-
-Take A, cut off two and one half feet: if not already planed, plane
-nicely on all sides. (Unplaned boards are cheaper than planed boards.)
-
-Take this two and one half foot board and measure four inches from the
-end. Lay on try-square and draw a line across the board at dotted line.
-(_See right end of fig. 1._)
-
-Then measure five and one half inches more from this line: with
-try-square extend second line across the board. Measure one inch on all
-these lines from the outer edge of board, and connect by lines _b b_
-and _c c_. With cross-cut saw cut carefully through the one inch from
-_a_ to _b_; then with chisel cut out on line _b b_. Don’t cut quite
-as deep on the lower edge, for these openings are for the legs, and
-should slope out a trifle, that the legs may be farther apart on the
-floor than at the top when nailed on—one eighth of an inch will make
-difference enough for a good slant. All four leg sockets must be done
-alike, else your horse will be bow-legged and unsteady.
-
-Now plane the twelve-foot board _B_ (unless it is already planed).
-Square one end nicely; measure off twenty-two inches. Lay try-square
-and draw a line across the board. Take the cross-cut saw and saw neatly
-on the line. Smooth the end with a block-plane, bevelling it slightly,
-so it will fit firmly on the floor. This is for one leg. Do three more
-legs in the same way, always trimming the ends with block-plane, to
-make them stand upon the floor true and even.
-
-[Illustration: Fig 2]
-
-One thing, boys, you _must_ remember: In planing _across_ the grain
-never plane to the end at first, for you will chip the corners and
-spoil the end. Keep reversing the block; _i. e._ first plane from _A_
-to _B_, then from _B_ towards _A_. (_See fig. 2._)
-
-Before fitting the legs into their sockets, plane the legs to fit the
-five and one half inch spaces made in the first board. The inner upper
-edge of the legs must come exactly level with the top line of the
-board. The outer edge will of course be higher on account of the slope
-of the slot, and must be planed smooth with block-plane after the legs
-have been firmly nailed into place with three or four eight-penny nails.
-
-To keep the legs from spreading apart at the ends, you must make a sort
-of brace.
-
-[Illustration: Fig 3]
-
-Take a piece of the board left after cutting off the legs, and fit it
-across the legs under the top board in this way: Hold it close to the
-board and against the legs, then draw a pencil line, following the
-outside slant of the legs. (_See fig. 3._) Now with cross-cut saw cut
-across on this line; trim with block-plane before nailing; put one
-piece on each end, nailing through to the legs.
-
-One thing more and then your horse is done; ready to stand if not to go.
-
-Find the middle of one end of top board, draw a line three inches long
-down the board, with try-square. Then _on the end_ measure one inch
-each side of this centre line. (_See fig. 4._) Draw line from _a_ to
-_b_, and cut on lines with splitting-saw; this will leave a triangular
-space which you will find very useful by and by in cutting small pieces
-of wood.
-
-From board _A_ there ought to be left a piece about three and one half
-feet long, and from board _B_ a piece about two feet long. These you
-will put aside for further use.
-
-Now for the Bench (with a capital B, because it is the principal
-partner in the firm of Carpenter and Co.).
-
-Buy three good two-inch pine planks. Say two planks ten feet long, one
-foot wide, and one eight feet long, six inches wide. Ready planed, at
-the sawmills around here, these cost about eight cents a foot; a little
-less unplaned. Besides these, you want one ten-foot inch board, one
-foot wide; this should cost about four cents a foot. Before you really
-start on your Bench, look around your workshop and decide where you
-will have it stand. There must be a space ten feet long against the
-wall, with plenty of light. A window at the left is the best.
-
-One thing you must have which I didn’t reckon with the tools; but it
-is easy to prepare. I mean a _chalk line_. There are fancy ones, but
-the sort I’m going to describe does just as well.
-
-[Illustration: Fig 4]
-
-Get a piece of curtain-cord twelve or fifteen feet long, and make a
-loop on one end; then provide yourself with a good piece of common
-chalk; when you want to use it, chalk the line well by passing the line
-over the chalk as you would wax thread; to use it put the loop over a
-nail at one end of the line you wish to chalk, hold the other taut, and
-snap the line smartly in the middle; it will leave a straight chalk
-line for a guide in cutting.
-
-Now take the shorter of the two-inch planks, the one eight feet long,
-make a mark in the middle of each end, drive a small nail in the
-left-hand end exactly in the middle; having chalked your line well,
-slip the loop over the nail, draw the line taut down the middle of the
-board to the other or right-hand end, holding the line close to the
-board; pluck the string sharply in the middle and you will find an even
-chalk line the whole length of the board.
-
-Put one end of the board over sawhorse, take the splitting-saw and cut
-carefully down the line, holding the saw a little more vertical than
-you would a cross-cut saw.
-
-Having divided your board thus, lengthwise, you will have two strips
-eight feet long, three inches wide, two inches thick.
-
-With large plane smooth the rough sides of these strips as well as you
-can, resting the boards on the sawhorse. One end of each strip must be
-good and square: if not so already, take small block-plane and square
-it as best you can.
-
-From the squared end measure thirty inches; draw a line across the
-board. Then by aid of try-square make another line one eighth inch
-beyond. This makes it easy to saw straight across the wood with a
-cross-cut saw. Take block-plane and square the end nicely.
-
-[Illustration: Fig 5]
-
-You have now prepared one leg of your bench Cut another thirty-inch
-length in the same way from the piece left. Repeat this with the other
-strip. You now have four legs for your bench just alike with nicely
-squared ends.
-
-For cross-pieces cut from the pieces that remain two lengths of
-nineteen inches each; cut and trim as before.
-
-Take one pair of legs (_i. e._ two of the thirty-inch strips), lay them
-on the floor on the _two-inch_ side, just _nineteen inches_ apart. At
-one end, between the legs, lay one of the nineteen-inch pieces _also
-on the two-inch side_, so it will be flush with the squared ends of
-the legs; hammer the legs on to the ends of the cross pieces with two
-or three twenty-penny nails. This job ought to be done very neatly and
-accurately, so that the shape will be exactly like fig. 5. If you are
-careless and let the legs spread while nailing, your Bench will be
-hopelessly rickety.
-
-
-
-
-III.—MY SAWHORSE AND WORKBENCH. (_Continued._)
-
-
-TO give greater firmness to the bench there must be some brace made
-this way: Take the ten-foot inch board; square one end; measure
-twenty-three inches with try-square; cut off nicely with cross-cut saw.
-Now you have a board twenty-three inches long and twelve inches wide.
-Divide in middle at each end; connect the points with chalk line, then
-cut down this line with splitting saw.
-
-You will have two pieces twenty-three inches long and six inches wide;
-these are the two end braces. Lay one of these pieces across the legs
-you have just joined, at the closed end. All the edges must be flush;
-if not, plane them and make them true. You will see that if you have
-measured and cut carefully they will come right, for the legs are each
-two inches thick, making four inches, and the cross-piece is nineteen
-inches, making twenty-three in all; just the length of your brace. Nail
-the brace firmly into both legs and cross-piece with six-penny nails.
-Do the same with the other set of legs.
-
-Now in the space you have chosen for your bench, stand up both pairs
-of legs endwise to the wall, and six feet apart, leaving full two feet
-clear beyond, as your bench will be ten feet long when done.
-
-Take the two big planks (the ten foot ones, two inches thick), measure
-two feet from each end of each plank: draw a line in direction _a a_.
-(_See fig. 6._) Then parallel to _a a_, draw another, _b b_, one inch
-farther toward the middle of the board; then another, _c c_, an inch
-beyond that, always measuring away from the ends. On these lines _a a_
-and _b b_ mark the places for your screws in alternate spaces, thus—
-
-[Illustration:
-                 *---------*---------*-----------*
-
-                  ----*---------*---------*------  ]
-
-Remember always that screws or nails put in diagonally like that hold
-more firmly than the same number in a straight line.
-
-Before putting in the screws, see that the legs stand parallel and
-close to the wall; put the first board on the legs so that the back
-edge of board is even with the back edge of the legs. Screw firmly
-into place, taking care to have the outer edge of the legs directly
-under the first or dotted line; this brings the screws evenly along the
-cross-piece.
-
-Lay the second board close to the first, securing in same way; the
-front edge of this second board ought to project one inch beyond the
-legs. The heads of the screws on the top of the bench must be sunk. You
-have left a board eight feet long, one foot wide, and one inch thick.
-
-This board is to be put on in front directly under the top board and
-against the legs. It should come flush at the _right end_ only, leaving
-space of two feet at the left. Nail this board on to the legs with
-six-penny nails. You have now a capital bench, which only needs a vise
-to complete it.
-
-Cut from the board _B_ (left from sawhorse) a length of eighteen
-inches. Square both ends nicely; lay this against the left hand front
-leg, flush with the outer edge and coming close under the front board,
-and nail firmly on to leg.
-
-For seventy-five cents at a hardware store, you can buy a wooden screw
-about two feet long for vise, with shank one and three fourths inches
-diameter.
-
-[Illustration: Fig 7]
-
-On the front board, ten inches from top of bench, and about five inches
-from left edge, draw a circle one and three fourths inches in diameter;
-this circle when cut out should come as close to the leg as possible
-without cutting it.
-
-To cut this hole take a five eighths bit and bore a series of holes
-round the inside of the one and three fourths inch circle. (_See fig.
-7._)
-
-The piece in the middle will fall out and leave a rather rough hole;
-but the edges can easily be trimmed.
-
-Then take the board _A_ (the three and one half foot piece), cut it
-thirty-one inches long. Square one end and then round it as at _D_.
-(_See fig. 8._) On the back side draw a pencil line through the middle;
-place the board against the left leg, with the sharp edge flush with
-_top_ of bench, so that the pencil line will bisect the circular hole.
-Draw a similar circle on the board, and cut out as before.
-
-[Illustration: Fig 6]
-
-Be careful in the doing of this, as the two holes must be exactly
-opposite for the screw to pass through. You ought to have two bits of
-wood left after cutting the legs and cross-pieces. Take one of these
-bits and put behind the front board on its two inch side and about
-three inches to the right of the left leg and parallel with the leg. It
-should just clear the hole. Fasten securely, so that it will cross the
-joint _A_. It will serve as a brace, and also give a level bearing for
-the wooden nut which comes with the screw and is wound on the end of
-screw after it passes through the two holes.
-
-Your vise as it is will work all right for small pieces, but if you
-have a large article to hold, the loose board _b_ will not keep its
-parallel position, for the thickness of the object you have in above
-will throw out the top end, and the lower end will of course swing in.
-To remedy this and make your vise adjustable to work of any size, you
-must do one more thing:
-
-A little to the right of leg, and one inch from the lower edge of the
-fixed upright, cut a slot two inches high and one inch wide; make a
-corresponding hole in the loose upright.
-
-[Illustration: Fig 8]
-
-Take a strip of board two feet long, two inches wide, and one inch
-thick. On a line drawn lengthwise through the middle measure one inch
-from end and mark; then two inches from that point on same line make a
-second mark; at both those points bore holes with half-inch bit and fit
-in a peg at each hole. The pegs will be one and one half inches apart.
-
-Then at intervals of one inch bore two alternate rows of holes with
-half-inch bit, as far as the length of the strip allows. Run this
-strip through the slot in loose board as in _fig 8_, and through the
-corresponding slot in upright put a peg in _a_ in _front_ of loose
-board and a peg in _b_ _behind_ loose board; these pegs will hold the
-strip firm in the slot in the loose board.
-
-According to the size of the object to be held in use, draw the loose
-board toward you and put third peg into hole at proper distance to
-keep the loose board parallel with the fixed upright.
-
-You see by having holes enough in the strip you can adjust the vise to
-any size. Of course you understand that this is not needed in small
-work.
-
-If you look closely at _fig 6_ you will find that there is still one
-thing unexplained: the rows of holes in the front board.
-
-When you have some long piece of work in your vise you will find it
-troublesome to keep it level; if you have a number of holes bored
-in the front of bench, with a good peg to fit, by changing the peg
-according to the height desired, you can raise the right end of your
-piece of work to the right level.
-
-A plain hook is a desirable addition to the work-bench: its use is
-to hold a board when you wish to plane the surface. It is adjustable
-according to the thickness of the board, and should be set in and
-screwed on to the bench at point Y. It will cost at hardware store
-about seventy-five cents.
-
-    Note.—In _fig. 1_ (the sawhorse) one leg is drawn in dotted
-    lines to show the way the leg is fitted into the hole, and the
-    right slant. In _fig. 6_ the broken space in front board is to
-    show the position of brace on right leg.
-
-
-
-
-IV.—USE OF TOOLS.
-
-
-WE begin with the saws, of which you have two: cross-cut saw, and
-splitting saw.
-
-The use of a cross-cut saw, as the name implies, is to cut _across_
-the grain or fibre of the wood: it is one of the most indispensable
-tools we have. The teeth are finer and closer together than those of
-the splitting saw, which, as the name describes, is intended to cut
-_with_ the grain, usually lengthwise, of a piece of wood. Never try to
-substitute one for the other, for you would injure your tools. When
-you want to use a cross-cut saw, the saw should be held at an angle
-of about forty-five degrees, and must also be held steadily without
-swerving to the right or left; otherwise the teeth of the saw will
-stick, and you cannot make a clean cut.
-
-You will observe in looking at a saw that the teeth are _set_, as it is
-called; every other point turning a little away to the right or left
-of a straight line; the reason of this is, to make the cut wider than
-the saw blade; otherwise after cutting in a little way the friction
-would make the blade bind. Saws are, or should be, in proper condition
-to use when they are bought; if not, or if by any accident the teeth
-should get bent, you must have the saw _set_ without meddling with it
-yourself.
-
-A splitting saw is used differently from a cross-cut saw; it should
-be held more nearly upright; the cutting is always done on the _down_
-stroke. Never press the saw against the wood; the teeth will catch, and
-the saw bend, and the wood won’t be cut if you add any weight to that
-of the saw itself.
-
-There is a certain amount of knack required in order to saw well, but
-practise will improve even the most awkward workman. Always saw slowly
-and easily, in a sort of regular time. Be sure the wood is held firmly
-and doesn’t _hop_.
-
-
-USE OF PLANES.
-
-We have jack-planes, smoothing-planes, and block-planes. When you want
-to make aboard thinner, or smoother, it has got to be planed; also the
-sides and edges of a board are sometimes rough, or you wish to bevel
-them.
-
-If the grain of the wood is perfect, there is no trouble about planing
-in either direction, but generally the grain runs in a slight slant
-or angle to the surface of the board instead of parallel to it. If,
-then, you start your plane and plane “against the grain” of the board,
-the edge of the plane will catch in ends of the grain lines, and the
-surface will be chipped instead of smoothed. If, however, you start it
-and plane “with the grain,” the ends of the grain lines are smoothed
-down, like the feathers on a bird’s wing when you stroke it down
-instead of up. So it is well to be sure about the grain before you
-begin to plane. Sometimes the grain is twisted and runs one way in one
-part of the board and another way in another part in a wavy line. Then
-you must vary the planing according to the surface. You would soon
-learn these simple things perhaps, but to know them at the outset will
-save you some vexation.
-
-The smoothing-plane is much shorter than the jack-plane, and is used
-for smoothing smaller pieces which would be lost under the jack-plane,
-and also for smoothing inequalities left by the jack-plane. I have put
-no smoothing-plane on your list, as for ordinary work the block-plane
-can be used as a smoothing-plane. Thus: Turn the small thumb-screw
-at the front of the block-plane and press it forward; this opens the
-mouth of the plane so that the plane can be _set_ more and cut a larger
-shaving.
-
-Now for the proper use of the block-plane, remembering to restore it
-to its original _set_ if you have been using it as a smoothing-plane.
-To smooth the ends of boards you need a small plane which can be _set_
-very fine; i. e., with the blade projecting very little from the face
-of the plane, and with the mouth so closed that the blade will not chip
-in cutting.
-
-One important principle must be practically learned before you can do
-good work: _Everything in carpentry from beginning to end must be done
-on the square._ In planing, above all things, the square must begin
-every bit of work, and end it, and be used to test it, all the way
-along; it is just what the name implies, a _try square_; so perhaps the
-next thing explained had better be some of the uses of the square.
-
-To give all the uses of this apparently simple tool would be to give
-you a thorough knowledge of geometry, and fill a volume. I will,
-however, give some of the more common uses:
-
-1. In sawing across a board, if you wish to have the cut true and even,
-you must use the square. One edge is, of course, already planed, and
-from this all your lines are drawn. You wish, we will suppose, to saw
-three inches from the end of your board; lay the thick or handle part
-of the square close against the even edge of the board, three inches
-from the end; you will find that the blade lies flat across, the board
-at a right angle with the edge, and a pencil line drawn close to the
-blade will be a guide for cutting.
-
-2. To test the evenness of the end of a board which you have been
-trimming with a block-plane: Apply the square to the side and edge of
-the board; if the work is true, the blade will be level with the end of
-the board; if uneven, the defect is quickly seen.
-
-3. It is well to test your square itself; thus: Lay your square snug
-against a straight edge with the handle to the left; draw a line
-where the edge of the blade comes: then reverse the square, having
-the handle to the right; draw a similar line: if the square is true
-the lines will coincide; if they diverge ever so little the square is
-imperfect, and you should buy another.
-
-4. In planing the edge of a board, put the handle of the square against
-the _face_ of the board; the blade will then go across the edge, and
-you can soon see if it is even; i. e., at right angles with the face of
-the board.
-
-Hammering a nail seems a very simple thing, but there’s a right way and
-a wrong way to do that, as you’ll find for yourself after you’ve split
-two or three bits of work; but you might as well learn the right way at
-first.
-
-If you look at a nail of any size, from a brad to a twenty-penny spike,
-you will find that the sides are parallel and straight, and two are
-wedge-shape or sloping; also one of the straight sides is finished
-smooth, the other is rough. A nail is virtually a wedge. Now the
-principle of the wedge is to split things when the wedge goes with the
-grain, as when you split a board with an axe or hatchet; for an axe is
-a wedge, as you will see if you think about it.
-
-If, then, your nail is put in wedge-fashion _with_ the grain, ten to
-one the second good tap with your hammer splits the board; if, however,
-you turn the nail the other way, so the wedge side is _across_ the
-grain, and the straight side _with_ the grain, the nail is held firm by
-the grain pressing against the wedge, and the board doesn’t split. This
-is the reason that fine work is done with brads better than with tacks,
-for tacks are wedge-shaped on all sides, and in driving them if the
-wood is thin it is very apt to split.
-
-Always _start_ a nail in the direction you mean to have it _go_, and
-don’t depend on straightening it afterwards. If, however, it gets a
-wrong slant, don’t bend it back with your fingers, nor hit it a knock
-sideway with your hammer which will likely enough break the nail short
-off; but with every regular stroke of your hammer give an inclination
-in the right way, and it will get there.
-
-Don’t hold on to the nail too long; in soft wood the second hammer tap
-ought to find the nail firm enough to stay. Don’t make the first or the
-second hammer stroke a long hard one; if you do, likely as not you’ll
-mash your fingers. The first tap should be light and short; get the
-swing gradually, a few inches first, adding a few inches more with
-each stroke; by the time you want full force to drive the nail home,
-you’ll find you can’t hit anywhere but on the head of the nail. This
-is something that practise alone can make you perfect in. If you watch
-a good building-carpenter, it seems as if he threw the nail into place
-with one hand and hit it on the way.
-
-Don’t think you must look at each nail in order to place it right. Your
-eyes must be in your finger tips; _the smooth side goes with the grain_.
-
-Always keep the different sizes of nails separate; then you won’t be
-bothered by finding the wrong nail in your fingers when you are in the
-midst of a job.
-
-In using chisels and gouges never strike with a hammer, but always with
-a wooden mallet; the hammer splits the handles.
-
-In most chisel work it is better to put the bevel edge to the line you
-wish to cut until you have cut out most of the wood, then finish with
-the other edge and the pressure of your hand instead of the mallet.
-
-It will be easier to explain the use of the other tools as we come to
-them in construction.
-
-
-
-
-V.—HOW TO MAKE A TOOL CABINET.
-
-
-NOW that you’ve got some very good tools, it is time you knew how to
-take care of them as well as to use them.
-
-The best tools will grow rusty and dull, and shabby, also, even if
-they don’t hide away out of sight just when you most want to use them,
-unless you have a proper place to put them and _always remember to put
-them in that place when you have done using them_.
-
-I suppose you think you must have a tool chest for this; now a tool
-chest is a very good thing if you want to carry your tools on a
-journey, i. e. if you are a city boy and want to take your kit up into
-the country and have the tools safe from jarring under the hands of the
-baggage-smashers; but I’ve found that a tool chest isn’t as handy to
-have in the work shop as a tool cabinet; so I’m going to tell you how
-to make a good tool cabinet with less expense of money, material and
-labor than a tool chest would require.
-
-But you must be more exact and careful in measuring and cutting than
-you had to be in making the sawhorse and bench. In getting your
-materials, try to have the boards fully one foot wide and three fourths
-of an inch thick. It is easier to make estimates on these dimensions,
-and foot boards are usually the easier to obtain; so all the measures
-for the cabinet are made with reference to these dimensions. If you
-happen to have boards that are wider or narrower, you must do a little
-figuring on your own account and make the proper allowance.
-
-For a tool cabinet three feet three inches long and two feet wide,
-which will hold all the tools on the list given in the first paper and
-leave room for several more that you will be likely to own by and by,
-you must have one six-foot board fully twelve inches wide and three
-fourths of an inch thick; one seven-foot board, twelve inches wide,
-one half inch thick; one nine-foot board, twelve inches wide, one half
-inch thick; also a number of three fourths inch screws which you are
-supposed to have in stock; one pair brass (or iron) hinges for three
-fourths inch board, and a hook for fastening, unless you prefer a lock.
-
-Take three fourths inch board (the one six feet long), plane both
-edges; then by aid of chalk line and splitting-saw, cut off a strip two
-and one half inches wide, running the whole length of the board.[A]
-
-[A] I do not explain again how to use a chalk line and a splitting-saw,
-for you ought to thoroughly understand that if you have read the other
-papers and made the sawhorse and workbench yourself.
-
-The board that remains should be nine and one half inches wide. Smooth
-the edge with plane enough to remove the roughness left by the saw;
-then cut off another strip two and one half inches wide like the first.
-Smooth the edge of the remaining seven-inch board; then divide this
-seven-inch board into two even strips which will be six feet long and
-about three and one half inches wide, perhaps a trifle less, from the
-loss in planing.
-
-All these strips will have one edge that has been planed and one left
-rough by the saw. If you lay them together you will find that you
-have two pairs of strips; one pair two and one half inches wide, and
-one pair three and one half inches wide. _Each pair_ must be alike
-in width, otherwise the cabinet will be uneven and lobsided; so
-before going any farther lay the strips together and plane down any
-inequalities.
-
-Now take one of the three and one half inch strips with try square
-and block plane. Square one end; measure three feet three inches from
-squared end and allow one eighth inch for waste in cutting.[B] Cut off
-square with cross-cut saw. Square end of piece cut and also of piece
-remaining. Measure twenty-two and one fourth inches and cut and plane
-as before. Do the same with the other three and one half inch strip.
-You have now two sides and top and bottom of main part of cabinet, and
-some small bits left for which we shall find a use, i. e. you have two
-pieces three feet three inches long and three and one half inches wide,
-for sides, and two pieces twenty-two and one fourth inches long and
-three and one half inches wide for top and bottom.
-
-[B] Where accuracy is required always allow one eighth inch for waste
-in sawing; draw line and saw _on_ the line and plane off any thickness
-over and above the measure required.
-
-Now take the two and one half inch strips; cut three feet three inches
-off each, also twenty-two and one fourth inches as with the others.
-Each set of pieces must be alike in length and width; you have two
-pieces three feet three inches long and two and one half inches wide,
-and two pieces twenty-two and one fourth inches long, two and one
-half inches wide; these are for sides, and top and bottom of door of
-cabinet. Lay these four pieces aside while we get ready for the back of
-the cabinet and front part of door.
-
-From the seven-foot board (after planing and squaring one end) cut off
-three feet three inches; plane square the ends and cut off another
-piece three feet three inches.[C]
-
-[C] Always remember to square and plane edges _before_ measuring from
-them.
-
-From the nine-foot board in the same way cut two similar pieces three
-feet three inches; smooth edges, planing off as little as possible.
-
-
-[Illustration: THE TOOL CABINET OPEN.]
-
-The piece remaining will measure about two and one half feet in length;
-from this cut off a piece twenty-two and one fourth inches long. Saw
-strip three and one half inches wide, which to save confusion we will
-mark _A_; plane edges, cut off another strip two and one half inches
-wide; mark this _B_. Next a strip three and one half inches wide;
-mark this _C_. Cut _C_ so as to measure seventeen and one half inches
-in length.
-
-The cabinet is now mostly cut out; the next step is to put it together.
-
-Take pieces for sides and top and bottom of cabinet. Lay two sides
-parallel at a distance of twenty-two and one fourth inches apart; put
-top and bottom in so they will be flush with end of sides. Nail the
-sides on to ends with six or eight-penny nails. Take care to keep the
-corners square, as they will be if the edges are even and kept flush.
-
-Before nailing on the back test the squareness of the frame in this
-way (unless your eye is very accurate; even then it is a good thing to
-get in the habit of measuring exactly): measure the diagonals from the
-opposite corner. If the measures are alike, all right; if, however, one
-diagonal be longer than the other, make it right with gentle, steady
-pressure on each corner with both hands. When the diagonals are exactly
-alike the corners will also be right angles. Now lay on two of the two
-and one half inch pieces (those three feet three inches long and one
-foot wide); be sure and keep all the edges flush and nail firmly.
-
-Do the same with pieces prepared for doors, and you will find you
-have two shallow boxes three feet three inches long and two feet wide
-(outside measure); one will be three and one half inches deep, the
-other two and one half inches deep.
-
-Now take piece marked _A_, which is for a shelf in the cabinet; measure
-and mark six and one half inches from right hand end (this is the
-length for the small plane); then measure and mark another one half
-inch beyond this point; from this _last_ point measure length of your
-oilstone, which is probably six or eight inches. The space remaining
-will make a sort of box, or tray, for rule, chalk line and reel,
-pencils, etc., when you have made some use of the bits of wood you had
-left after cutting the shelves.
-
-In the one half inch space between place for plane and oilstone put a
-little block one half inch wide and one inch long. At the end of space
-for oilstone nail a strip an inch wide across the shelf, and a similar
-strip in front. This makes one side and front of tray; the other side
-and back will be formed by the cabinet itself.
-
-
-
-
-VI.—HOW TO MAKE A TOOL CABINET. (_Continued._)
-
-
-AFTER shelf _A_ is fitted in this way, you will nail it into its place
-in cabinet so that the top of shelf is just seven inches above top of
-lower shelf, or bottom of cabinet which serves for a shelf.
-
-After the shelf is fitted into its place in the cabinet, you will find
-that at one end you have a convenient little tray to hold such things
-as chalk-line, rule, pencils, and other small things that are always
-getting out of sight when you most need them. The plan for _A_ is just
-six inches above lower shelf (or bottom of cabinet).
-
-N. B. All measurements now are inside measurements.
-
-_B_ is twenty-two and one fourth inches long and two and one half
-inches wide. Draw a line down the middle of this strip (i. e., one and
-one fourth inches from each side). Measure one inch from left-hand end
-and mark. Then from this point on pencil line measure one and one half
-inches and mark again. Repeat this until you have six points marked on
-the pencil line, with one and one half inch spaces between. From the
-last point measure one inch, and mark. Repeat at intervals of one inch
-until you have thirteen with inch spaces. This should leave about three
-fourths of an inch on right end.
-
-[Illustration: TOOL-DOORS.]
-
-On the first six marks (those one and one half inches apart) bore five
-eighths inch auger holes. These are for tool sockets. First two for the
-chisels you have already; next three for the chisels or gouges you may
-have; the last for the screwdriver.
-
-There must be doors for the tools to enter by; so you must cut openings
-one half inch wide from the front of shelf to each hole. This is easily
-done with your cross-cut saw, leaving spaces as in drawing.
-
-You have still thirteen marks with inch spaces. Bore nine holes a
-trifle larger than the shanks of the bits you are to place therein;
-three of these bits you already have; the other six spaces are for the
-bits you are likely to purchase by and by.
-
-The four remaining marks are for holes graduated in size, thus: First,
-one with three eighths inch bit (one of those belonging to smaller
-set); second, with one fourth inch; third and fourth, with the next
-smaller sizes; each bit going into a hole a size larger than itself.
-These smaller bits go in _point down_. It will be a great convenience
-to mark the numbers of the bits on the shelf against their sockets.
-
-Shelf _B_ is to be nailed twenty and one fourth inches above shelf _A_.
-
-Now for shelf _C_. Ten inches from left-hand end, put small one half
-inch block for same purpose as similar block on shelf _A_; i. e., to
-keep plane from sliding. Nail shelf _C_ three inches above shelf _A_ in
-left-hand side of cabinet. This little shelf of course does not reach
-across the cabinet like the others.
-
-Six and one fourth inches above shelf _C_, and four inches from
-left-hand side of cabinet, bore hole with one half inch bit, which
-shall have a slant downward. Parallel to this, and eight inches to the
-right, make another hole just like it. Insert in these holes wooden
-pegs two inches long. Be sure they fit firmly with back of cabinet.
-These pegs are for the draw-shave to hang upon, as seen in diagram.
-
-Ten and three fourth inches above shelf _A_, and three inches from
-right-hand side, make one half inch hole slanting down; one and one
-half inches beyond make another; insert pegs three inches long. These
-are for the mallet.
-
-The body of the cabinet is now fitted, and we will go to work on the
-cover.
-
-Take two blocks one inch square and one and one half inches long; draw
-a line lengthwise exactly in the centre of each; cut down the line
-one half inch deep the length of block. Put one of these blocks slit
-uppermost on bottom shelf of door four inches from left-hand corner.
-Five and one half inches to the right, put the other; fasten into place
-with screws.
-
-Twenty-one inches above first block, four and one half inches from side
-of door, put block one inch square, one and one half inches long. This
-goes on horizontally, parallel with lower block. In centre of this
-make small hole, say one fourth inch deep, with smallest bit.
-
-Make a second block just like it, and place five and one half inches to
-the right of the first one.
-
-Then from one half inch wood, cut two little strips two inches long,
-one half inch wide, for buttons. In the middle bore hole large enough
-for screw to turn freely; attach to middle of upper blocks with screws.
-The tips of the saw-blades go into the slits in the lower blocks. The
-openings in the handles slip over the wooden buttons which you have
-just made, and which are horizontal when the saws are put on, and are
-then turned like the button on a barn door to hold the saws firmly in
-place.
-
-Now we must provide for the hatchet, so it will not get harm nor do
-harm.
-
-Take block of one inch wood, five inches long, three inches wide; plane
-one half of one face in a slant from the middle, so one edge will be
-three fourths thick, leaving one half the block one inch thick, as at
-first. Bore two holes in the half that is still square, big enough
-for two screws to go through and fasten on to lower shelf or bottom
-of door. This block in its place is one inch wide at the bottom, and
-three fourths inches at top, leaving a kind of bevel five inches long
-for hatchet-blade, between block and back of door. Put hatchet in; hold
-it upright and mark where handle needs support to keep it horizontal;
-probably about nine inches from blade; with screws fasten on two small
-brackets, or else put in slanting pegs, if you do not care about the
-looks outside.
-
-Four inches from top, and five and one half inches from left-hand side,
-put similar bracket or peg; three and one half inches further, on the
-same line, put another; these will serve to support the bit brace, and
-I have left enough room for the keyhole-saw, which you can see in the
-diagram, and which some time you will like to own.
-
-Now cut a piece of wood three inches long, two inches wide, and three
-fourths inches thick; draw line across one end and down the edge two
-inches long.
-
-Cut this line out as you did for the slits for the saws, and then (slit
-up of course) with two screws put through the lower part, fasten block
-at point ten inches from right-hand side, just far enough above the
-saws to clear them. This is for the try square, the slit being for the
-blade.
-
-Fifteen inches from left-hand side, and four inches from top, put a
-bracket; on the same line, one and one half inches farther from the
-left side, put another; these are for the hammer.
-
-You now have all your tools in place. You will in all probability have
-had some tools in the house before we began, such as pincers, gimlets,
-perhaps a saw; but of course I have not a list of those things.
-
-So I have simply given you a good deal of room to put them in, and by
-this time you ought to know how to secure them in their places.
-
-
-
-
-VII.—HINGES AND LOCK.
-
-
-TO make the tool cabinet complete there must be hinges and a lock.
-These you can get at a hardware store. Ask for hinges for three
-quarters inch wood, and about three inches long; you will need three
-hinges, and the screws to fit the holes. Brass hinges are best, and
-look neater and more tasteful than iron, though iron will do. If the
-screws don’t come with the hinges, then look out some that will fit,
-from your stock on hand.
-
-The first thing for you to settle is which way you wish the cabinet to
-open; i. e. to the right as in the diagram, or to the left as might
-be if the only place for your cabinet happened to be a corner which
-would not admit of opening to the right. Suppose the door is to open
-to the right. Find the middle of the front edge of the right hand side
-of _cabinet_. Mark across the edge, then measure one and one half
-inches _each way_ from that line and mark. This is the place for the
-middle hinge. Five inches from the lower corner on the same side, and
-five inches from the upper corner measure and mark; then measure three
-inches further from these last lines and mark; these are for upper and
-lower hinges. In these three spaces, so marked, cut out rectangles as
-deep as the thickness of one wing of the hinge.
-
-Repeat these measurements, markings and cuttings on the _left_ hand
-side of cover or door. Be careful in measuring so that the two halves
-of the cabinet will come together and exactly match.
-
-Now to put on the hinges: Take one hinge, shut it together _tight_,
-so as to be sure you are folding it the right way; then open till the
-wings are at right angles. Lay _left_ wing into space cut for it in
-_right_ side of cabinet. Take care to have the wing fit neatly, letting
-the round edge of hinge project. Screw firmly into place. Put all the
-hinges in place on the cabinet before beginning on the cover.
-
-Now lay the cabinet down flat on your workbench, or on the floor. Put
-the cover down beside it, with a bit of board or blocks underneath
-thick enough to bring the hinge places of the door on a level with
-those of the cabinet. Then fasten the _right_ hand wings of hinges into
-the places prepared on the _left_ side of door. Be careful, as before,
-to have the round part of hinge project so that it will work freely and
-have the _wings flush_ with inside of cabinet and door.
-
-When open, there will be a narrow space between the door and cabinet,
-but when closed they will fit tight.
-
-Now for a fastening: If you simply wish to keep the cabinet closed when
-not in use, you can put a hook on the door, the eye on the cabinet.
-If however you wish to lock up your tools for safe keeping, you must
-invest in a good lock and key. The best sort for your purpose is what
-is called a chest-lock. (_Fig. 1._) They come in various sizes, so I
-can’t give exact measurements. It must of course go in the middle of
-the side opposite the hinges.
-
-[Illustration: FIG. 1.]
-
-As you look at the lock you will see that one face is smooth, and the
-other side, where you find the keyhole, is irregular. This irregular
-part is the one that sets into the wood. From the inside of cabinet
-(opposite the middle hinge) cut a place to correspond in size with
-the lock so that it will fit neatly. The opening for the key must of
-course be cut through on to the outside of cabinet. Be careful to do
-this neatly and cut out no more than is needful for the key to pass in
-freely.
-
-By and by, on a bit of nicer work, I will tell you how to put on a
-scutcheon to guard the keyhole, but it isn’t necessary for this. The
-other part of the lock which has the tongue, or tongues, is fitted
-into the door of the cabinet in the same way; the tongues of course
-projecting from the edge of the side. Be careful to have them come
-exactly opposite the openings for them in the cabinet side. _You cannot
-be too exact in carpentry._ The next thing is to fasten the cabinet
-securely against the wall. Of course you can stand it on the end of
-your bench, but it is better on the wall.
-
-You will need four strips of brass four inches long, one inch wide, and
-about one eighth thick, with four holes for screws bored in each piece.
-Two of these go on the top corners, and two on the lower corners
-of cabinet. Put them on so that the screws will go through into the
-inch-thick side of cabinet, not merely into the thinner back. Half the
-length of the brass piece with two holes must project above on the
-upper corners, and below on lower corners. (_Fig. 2._)
-
-[Illustration: FIG. 2.]
-
-You will want some one to hold the cabinet steady for you while you
-secure it with long heavy screws, two at each corner. Of course your
-tools are not in the cabinet while you are at work upon it.
-
-One word of caution: If the cabinet is to go in a corner, leave a few
-inches (i. e. the thickness of the door) measured outside between the
-wall and hinges, or you’ll find you can’t open the door.
-
-If you have carefully followed all the directions, you have now a good,
-plain, serviceable tool cabinet.
-
-If you would like to stain it, which would improve the looks, I will
-try to tell you how. You must not get discouraged if the first attempt
-doesn’t turn out very well, for one must practise even to stain well;
-but the cabinet is a good thing to start with. Of course the staining
-is easier done before the cabinet is hung; but a neat workman can do
-it on the wall.
-
-First determine the color you wish your stain to be. I should say black
-walnut, as it is the easiest to put on, and you will not be likely to
-tire of it. The quantities I give will do more than the cabinet; but if
-stoppered tight will keep for future use, and for very small quantities
-you have to pay exorbitant prices.
-
-I haven’t much faith in home-made stains; they cost about as much, and
-are not very satisfactory. At any oil or paint shop, get a quart of
-stain, which will cost forty or fifty cents; one fourth pound _clear_
-glue for sizing—this ought not to be more than eight or nine cents;
-one quart nice varnish (what is called _inside_ coach varnish is the
-best), this will cost about seventy-five cents; at same time get a
-small piece of putty, same color as the stain; the man at the paint
-shop where you get your stain, will color the putty for you. With this
-colored putty fill up all holes made by nail heads or screws.
-
-If you are on good terms with a painter, he will likely enough lend you
-a couple of brushes. If you have to buy them, get one large and one
-small, costing from fifty to seventy-five cents.
-
-See that the surface of the cabinet is free from dust; to make sure,
-wipe inside and out with soft cloth. Stir the stain up thoroughly from
-the bottom of the can with a small stick; repeat this frequently,
-otherwise your stain will not be even colored.
-
-With the large brush put on one coat of stain, remembering always to
-draw the brush in _one direction_ and _with the grain_ of the wood.
-
-Put on as evenly as possible; always pat and press the brush on the
-side of the can so it will not drip, otherwise your stain will be
-streaky. Let this dry thoroughly for half a day where no dust is
-flying. Prepare the size by melting glue in warm water, add boiling
-water till thin and smooth, then add a spoonful of lime water.
-
-Clean the stain brush in warm water and use it for the size; one coat
-put on evenly so as to cover every part stained; clean your brush again
-in warm water. Next day put on the varnish; this requires especial
-care. It must be a _thin_, _even_ coat if you wish to have a creditable
-job. It is worth taking pains. It ought to have a day or two to dry in
-a place where no dust is flying.
-
-If you are in a hurry, you can use shellac, which dries almost
-instantly; but for this very reason, is much harder to put on well. I
-always prefer the coach varnish.
-
-The small brush is handy for the shelves and corners.
-
-Make a neat job, and don’t let the size or the varnish get into lumps
-in the corners.
-
-
-
-
-VIII.—CURTAIN POLES.
-
-
-PERHAPS this paper will sound more like upholstery than carpentry,
-but there is carpentry in it, and of the sort too that boy-carpenters
-can do just as well as men-carpenters, and make changes in accordance
-to the requirement of the windows for which they are planning, the
-material at hand and their own taste. Always remember that mere rules
-for such work are not enough, and that you must keep on hand a good
-supply of _common sense_.
-
-If you should look in the yellow-covered Farmer’s Almanac, hanging by
-a loop in the chimney corner, you’d see, “About this time look out for
-clearing weather;” that means clearing out and cleaning up and setting
-the house in order inside, as well as old Mother Earth outside: what
-our mothers call “spring cleaning.” Curtains come down to be washed
-and put up again, and it’s a good time, too, to put up curtains where
-there never have been any, for nothing makes a room look more homelike
-and inviting than drapery of some sort or other, no matter how simple.
-
-It used to be the fashion to tack curtains across the top of a
-window-frame with a strip of stamped brass-work called a cornice, or
-a bit of bright chintz, or turkey red, or something like a ruffle, to
-cover the edges; but curtain poles, or rods and rings, are the fashion
-now. They are prettier than the other things, and have one advantage
-beside: the curtains can be pushed quite to one side when one wants
-more air or light, and can be drawn close together again when more
-perfect shade is needed.
-
-Suppose you want to fix up your own room to look pretty and not
-cost very much. I found it good fun to make something useful out of
-something other people had discarded as useless. I’ll tell you how
-I made my room look cosey, and what I did it with. It had just one
-window, a half-dormer as they call it, and looked to the west, out over
-the hills; but the sun shone in very bright and hot in the afternoon,
-and I had to have a dark shade which I fitted myself from one that
-had belonged to a larger window. It kept the sun out, but it was not
-pretty, and I was determined to have some draperies. Of course I
-could not make curtains, for a boy is more handy with a hammer than a
-needle; but when mother found what I was up to, she said she’d give me
-the curtains if I could do all the rest. They were very simple, just
-cream-colored Nottingham lace, and cost $1.00. They might have been
-made of unbleached strainer cloth at six cents a yard, with a ruffle,
-if this had been for your mother or sister who didn’t mind sewing; but
-it is the pole I mean to tell you about.
-
-I’m sure to look at it you would never guess what that pole was, or
-where I got it.
-
-Up in the attic, in one corner, I found an old United States map, so
-old, so out of date that as a map it had been useless for years and
-years, for it was printed when the State of Ohio was “way out West.”
-The map used to hang in grandfather’s library half a century ago. It
-had black rollers with acorn knobs on the ends. I thought right away
-that the smooth slender pole would be just the thing for a curtain pole
-if I could get the map off without splitting the roller which was of
-soft pine stained black. A sharp knife and a little care did it. One
-of the knobs was easily loosened. Then I measured carefully over my
-window and cut the pole the right length and fitted the knobs smoothly
-into place. A little sandpaper and a coat of varnish made my stained
-pine roller look like ebony. But what was I to do for curtain rings!
-The pole was too slender for the heavy wooden rings sold by the dozen
-at the upholsterer’s; besides I did not want to spend any money. Back
-to the attic I went and rummaged in what we call the “trumpery box,”
-full of the odds and ends that accumulate in an old house. Among a lot
-of brass knobs and hooks and hinges, I came across a lot of dingy metal
-rings tied together with a bit of stout string. The rings were about
-an inch and a half across; I could not tell what the rings were made
-of, they were so black, but I thought a good washing would bring out
-the complexion, so I put the rings into a bath of ammonia and soda,
-which soon showed that under the black coating was something very much
-like brass. A stiff brush and a little fine pummice gave me a dozen
-glittering rings, six for each curtain. I divided the curtains evenly;
-with strong thread fastened the rings in place on the upper edge of
-each curtain and slipped them on to the pole. Two inches from the ends
-of the pole I screwed the little rings through which the cord had
-passed when the map was hung. A little hook at each end of the upper
-window frame served to hang my pole, which of course was very light,
-but heavy enough for muslin or lace. In the same “trumpery box” I found
-two brass knobs (door knobs, I guess they were). I screwed one of these
-each side of the window and looped back my curtains. There was my
-window, as new-fashioned or as old-fashioned as you choose to call it,
-but very pretty and inexpensive.
-
-There are few old houses in the country that would not give at least
-as much to work with as I had. The old rollers on old-fashioned paper
-shades, such as you will find in lots of up-country attics, would make
-just as good poles stained and varnished. Even the acorn caps are not
-essential, for many of the most fashionable _portieres_ and curtain
-poles, nowadays, especially those of bamboo, have no caps at all on
-the ends: only then you put a screw in at right angles, to keep the end
-ring from coming off.
-
-That was the first curtain pole that I put up. The next room I tried
-my hand on had a bay with three windows, and was harder to manage, but
-it did not cost very much after all. I saw an advertisement of an odd
-lot of curtain poles with rings and brackets complete for seventy-five
-cents apiece. Since then I have seen them advertised for sixty cents,
-which is cheaper than you can get the wood and turn them for yourself.
-
-I found that two poles would do for the three windows, for the side
-windows were narrow, and half a pole was enough for each. I only wanted
-two ends instead of the four that belonged with the poles, so a trifle
-was allowed, enough to give me some extra rings and two extra brackets.
-
-The first thing to do was to get the angle of the bay: this I did with
-some mathematical instruments, but you might not have those handy, and
-this way will give it near enough. Take a good-sized piece of stiff
-paper (stout wrapping paper will do), lay a straight edge on the floor
-against the mop-board of the middle window, and fold the end of the
-paper to exactly fit the side mop-board, something like this. Then fold
-the straight edges together and you will have the angle shown in the
-dotted line.
-
-Measure length of middle and side windows and cut the poles at the
-angle shown by the folded paper: a few brads will secure the slanting
-ends when they are neatly put together.
-
-[Illustration]
-
-The brackets that come with these cheap poles are iron spikes bent up
-at one end. Two are used for each pole; they are driven into the wall
-about four or five inches from the ends of the poles, and the poles
-rest on the brackets; of course the joined corners count as ends, and
-are supported in the same way. Some prefer to put ring-headed screws
-into the poles and slip the rings over the ends of the spikes; and
-more expensive poles have brass “cup brackets” which of course are
-ornamental, but also expensive.
-
-The wooden rings have ring screws on which to fasten the curtains.
-The number used is a matter of taste and depends upon the stuff the
-curtains are made of, the size of the folds you want, and the number of
-rings you have. Five or six do very well for a yard-wide curtain. Be
-sure and divide evenly; put one ring at each upper corner and the rest
-as they come; a few stitches with coarse thread will secure them, or
-better still, an inch of tape slipped through the ring and fastened by
-the doubled ends on to the edge of the cloth. You can buy curtain hooks
-if you like, and have them sewed on. These are something like big dress
-hooks: the advantage is, that when you want to take curtains down you
-just unhook them from the rings without taking the poles down at all.
-
-I know a boy who made a pretty pair of curtain-poles out of two
-straight, slender beech saplings; he twisted rings out of stout wire
-and wound them with crossway strips of dark cloth. For muslin curtains,
-loops of bright ribbons instead of rings would be prettier still on
-such rustic poles.
-
-Would you like to know what curtains went on to my sixty-cent poles?
-They are very “æsthetic” in color, but are just soft Canton flannel
-at a shilling a yard. The centre of olive, the sides dark crimson with
-bands between of darker olive. These are looped away on either side
-with bands made of the flannel and underneath are full curtains of
-six-cent scrim, (unbleached).
-
-But curtain-making belongs to the girls, so having told you how to make
-the poles and put them up, I will leave the rest to them.
-
-
-
-
-IX.—BOOK-REST.
-
-
-PERHAPS you would like now to make something useful and pretty for your
-father or your big brother, so I will try to tell you how to make a
-book-rest like one I made myself for Christmas. It has no fancy carving
-about it, but is made (as you can see by the illustration) of straight
-pieces.
-
-The directions for finding the angles might be given mathematically,
-so that you could get them for yourself with a little figuring, but it
-will be easier practically to find the angles in the way I describe,
-and they will be accurate enough for this piece of work.
-
-For the book-rest you must buy some planed whitewood which is
-preferable to any other on account of staining. A piece eighteen inches
-long, twelve inches wide and one half inch thick, will be enough; it
-will cost about ten cents.
-
-Lengthwise with chalk-line mark off eleven strips five eighths inch
-wide; cut them with splitting-saw and plane, the sides cut with
-fore-plane, making each strip JUST one half inch in breadth as well as
-thickness.
-
-We will begin with the uprights for the front.
-
-Take one of these strips, square one end: then measure a little over
-one half inch down the stick, and with try-square make a continuous
-line around the stick.
-
-Find the centre of the end just squared by drawing diagonals, and then
-either with block-plane or knife, point the stick by putting the edge
-of knife on the continuous line on one of the faces of the square, and
-directing the blade toward the centre of end; a steady, firm pressure
-will give a good bevel. Finish the other three sides in the same way,
-and you will have a pyramid with square base for one end of your
-stick: cut the stick off square thirteen inches from the point. Finish
-two more sticks in the same way, and you will have your three front
-uprights.
-
-[Illustration: FIG. 1.]
-
-Now take another piece; square one end as nicely as possible
-(everything depends in this job on the neatness and accuracy of your
-work), measure seven and five eighths inches from squared end; cut off
-and square: you will have a stick seven and one half inches long. Make
-another like this from the piece left. These pieces we will mark _A_:
-they are the short uprights in diagram. Now cut two pieces twelve and
-one half inches long: square both ends; find exact middle, measure one
-fourth inch in each direction from middle and draw lines with square
-_across_ the stick. Right and left on the side faces (_not_ the one
-underneath), draw lines parallel with top face one fourth inch from it.
-These last lines show how deep you are to saw on the first two lines
-with cross-cut saw. With chisel remove the little piece one half by
-one half by one fourth. Take care not to cut the stick deeper than the
-lines indicate. The sticks will look like fig. 1. These are the cross
-bars, _BB_.
-
-From another stick cut three pieces six inches long: square both ends;
-these are marked _CCC_; two belong to the back, and one for the front
-connecting _CC_. From short pieces left cut two pieces two and three
-fourths inches long, of course squaring the ends: these are _DD_, and
-go at side of front.
-
-For uprights of back cut two pieces ten inches long: square ends. On a
-board or piece of paper mark on a line two points three and one half
-inches apart. From the right-hand point draw a perpendicular, the
-line connecting the two points being the base of a triangle. Lay one
-ten-inch stick from the left hand point to the perpendicular, making
-the hypotenuse of a right-angled triangle. You will readily see how
-much of a bevel is required to make the lower end set firmly. It will
-probably be about one eighth of an inch; make the same bevel on the
-other ten-inch piece: these we will mark _EE_ (the uprights for the
-back). Bevel the lower ends of the three-pointed sticks (the uprights
-for front) in the same way. (_See base of fig. 2._)
-
-[Illustration: FIG. 2.]
-
-On one front upright, measure two and three fourths inches from point
-on face _A_: cut out bit one half by one half by one fourth as in piece
-_B_. Repeat at eight inches; again at ten and five eighths inches from
-point of stick. This completes middle upright.
-
-Now to return to pieces _EE_. On a board or paper mark in line three
-points three and one half inches apart. Hold beveled end of pointed
-upright on point one, so that a point _Y_ ten inches from bevel will be
-perpendicular to point two. Stand bevel end of _E_ on point three, so
-that the other end will rest against point _Y_. You will then see the
-bevel needed on upper end of _E_ to make it fit against point _Y_. It
-will be about an inch long.
-
-[Illustration: FIG. 3.]
-
-Treat the other _E_ in the same way, taking care that both bevels start
-from same face of stick. Square end of new stick: cut off six inches
-and square again. At point three inches from end cut out bit one half
-by one half by one fourth, as in _B_. This is the stick _F_.
-
-Cut two sticks ten inches long: square ends. These are _GG_.
-
-The pieces are all cut out; now of course you had more whitewood
-than these measures, but it is so cheap it seemed best to allow for
-mistakes, and the spoiling of two or three sticks in cutting bevels,
-etc. The bits left always come handy.
-
-In putting the parts together you must be very careful. You will need
-some one-inch brads and some seven-sixteenths or three eighth ones
-also, and about two feet of brass spring wire, two French screws one
-inch long (slim ones), and two five eighths inch ones.
-
-Take first the pointed piece for the middle of front: the one with the
-squares cut out of it: fit one of the _B’s_ into the upper place and
-the other into the lower one. Put piece _F_ into the middle slot; put
-two brads through each piece (_BBF_) and into the pointed one. Turn the
-whole over so the face _A_ is down.
-
-Take two pieces marked _A_; with inch-brads fasten pieces _D_ endwise,
-so that upper face of _D_ will be two and one eighth inches from end of
-_A_.
-
-Place one _A_ between the two _B’s_ on the right of pointed stick with
-_D_ pointing to the right; you will find that the end of _F_ touches
-_A_ at a point two and one eighth inches from the bottom, so that _F_
-and _D_ divide _A_ plus one half inch (eight inches) into thirds.
-
-Place the other _A_ and _D_ facing just opposite on the other side
-of pointed stick. You will find that the ends of the _A’s_ touch the
-_B’s_ at a point half-way between the end of _B_ and the pointed piece.
-Secure in position with inch-brads.
-
-Place one of the other pointed sticks to the right, the other to the
-left of ends of _B_ and _D_, and fasten so that the end of upper _B_ is
-two and one half inches from point, and _D_ two and one eighth inches
-from upper _B_ and lower _B_ _slightly_ over two inches from bottom of
-bevel. In placing these two pointed pieces _be sure_ and have the face
-_a_ (_fig. 2_) down.
-
-Now for the back. Take the pieces marked _E_; measure two and five
-eighth inches from upper ends; fasten one of the pieces _C_ by the ends
-to these points, and the second _C_ at a point a _little_ over two
-inches from bottom.
-
-Fasten upper beveled ends of the _E’s_ to backs of points _x_ (_see
-picture_) with short brass screws and a couple of brads.
-
-Next take pieces _G_, and measure two and three fourth inches from end:
-bore holes large enough to admit long screws; with brads fasten third
-_C_ at points one and one half inches from ends of _G_, and one and one
-fourth inch from holes. (This is to support the book.) Then screw _G_’s
-directly under _B_ and _A_, the long ends directed backward. You will
-find the seven-inch ends will touch the lower part of pieces _E_ about
-one half inch from bottom. Fasten with brads.
-
-These two pieces (_G_) serve to keep the back from spreading away from
-front and make the rest strong enough to support quite a heavy book.
-
-This is really a very simple thing to make, for the lines are all
-straight, and if you are careful in cutting, fitting and joining, you
-will feel paid for the trouble.
-
-
-
-
-X.—BOOK-REST. (_Continued._)
-
-
-YOU now have the book-rest all put together ready for finishing. The
-first thing now to do is to sandpaper it. For this you must buy some
-(o) or (oo) sandpaper, and go over the whole thing, being careful not
-to round the corners. You can accomplish this by stretching a piece of
-sandpaper over one of the little bits that remained after cutting: this
-will make a flat, firm surface, and will not be so liable to round the
-edges as if stretched over your thumb.
-
-[Illustration: FIG. 1.]
-
-Before staining, you must make the brass springs to hold the leaves
-back.
-
-Cut six and one half inches of your spring wire, (which should be
-about one sixteenth of an inch in diameter.) At a point five eighths of
-an inch from end, bend the wire into a right angle; two and one fourth
-inches from that point give the wire a turn round a small nail, or
-piece of telegraph wire (you cannot turn it evenly with your fingers
-alone); this is to give the wire a spring, and will enable you to lift
-the end of the wire on to the leaves of the book. Now turn the end of
-the wire in so as to make a rounded end. It will then look like _fig.
-1_.
-
-Make another spring exactly like this one: then cut off a piece five
-and one half inches long, bend to a right angle at a point five eighths
-of an inch from end. Then at a point two inches from angle, give the
-wire a turn as in the other set, and turn the end in. Make a second one
-like this of the remaining piece of wire.
-
-To fasten these springs on to the rest, you must bore a hole
-one-sixteenth of an inch in diameter through the sides of the two _end
-uprights_, at a point just below the end of piece _D_. Insert the five
-eighth inch ends of the larger set of springs into these holes, from
-the outside. You will find that you can lay the springs back when not
-in use, and that you can turn them out and lift the ends over the edges
-of your book, so as to keep the pages down when you do need to use them.
-
-The smaller set can be fastened in the same way under lower _B_ or
-under _G_ if you prefer, at a point near the lower ends of _A A_.
-
-If you are going to stain the book-rest, it is better to do it before
-fastening in the springs.
-
-I think ebony stain goes best, and as you can make it yourself, it
-would perhaps be cheaper.
-
-First you must get some logwood chips (about a teacupful); after
-boiling them in a pint of water for an hour or so, apply with an old
-brush (not the chips, but the decoction you have made by boiling the
-chips!). You can put on two or three coats of this, letting it dry each
-time.
-
-The next part will perhaps be the hardest. Get some iron rust or
-old iron filings, put these in strong vinegar or acetic acid and
-let it stand a day or two; if by this time the liquid is not of a
-reddish-black color, add more iron rust.
-
-After the two or three coats of logwood, your wood will be of a dark
-yellow color, but this will immediately turn to a fine black when you
-apply the iron. Only one coat of this is needful, because it does not
-soak in. You might try the logwood and the iron on a small bit of wood
-first, and then you will see if the solution of iron is strong enough
-for a good black.
-
-When the book-rest is _perfectly_ dry, rub on some thin shellac with a
-soft cloth: this will make the dull finish now considered so desirable.
-
-This book-rest is very convenient to use round the house at home, and
-is, as you have seen, very easy to make: but it as an awkward thing to
-pack away in a trunk if you are going into the country, for instance,
-or are travelling.
-
-You may like to make another, if you have been successful with this
-one, and this time you can make it with hinges, so as to fold up
-compactly, by making the following alterations:
-
-The front will be the same and the back also, with the exception of the
-uprights _E E_, being hinged instead of screwed on to upper _B_.
-
-The two _G’s_ must have a one fourth inch hole bored one fourth of an
-inch from the back end, and a corresponding one bored through _E_ about
-an inch from the bottom; these holes are for pins, on which the _G’s_
-may turn.
-
-Instead of the six-inch _C_ which joins the two _G’s_ at a point one
-and one half inches from outer end, there should be two pieces seven
-inches long fastened with brads, at points respectively three inches
-and six and one half inches from outer ends of _G_. The piece six and
-one half inches from end _can_ be left out—though it looks neater with
-it—but the back will shut closer without it.
-
-[Illustration: FIG. 2.]
-
-Now put the peg through the _G’s_ and into the _E’s_.
-
-Draw the back of the book-rest from the front, put ends of _G’s_
-through the spaces bounded by pieces _A_, _B_ and _D_, and you will
-find that the _G’s_ rest in the corners made by _A_ and _B_.
-
-When you want to shut up the book-rest, you must draw the _G’s_ out,
-and turn them away from front on to the back of the _E’s_, and then
-shut the _E’s_ up on to the _A’s_ as in figure.
-
-I don’t think this quite as pretty as the fixed book-rest, and there
-are of course other ways of changing the original plan which would be
-more ornamental; but this is very easy and will answer the purpose. You
-will find it good fun and good practice to experiment on changes in any
-of the designs given, after you have mastered the simple forms and the
-plain directions given in these papers.
-
-
-
-
-XI.—A BED TABLE.
-
-
-THE accompanying figure shows you a very useful but rather peculiar
-piece of furniture quite simple to make; if you are ever ill in bed
-yourself or any one in the family is obliged to lie in bed and have
-meals brought to them, I think you will say it is a handy thing to have
-instead of a waiter that joggles and tips on one’s lap in the bed,
-instead of even a table at the side of the bed that compels one to
-twist round uncomfortably in order to reach.
-
-It explains itself, almost; but a few directions and dimensions will
-help you.
-
-As you can see, it is a tray with legs to set over the lap in bed,
-with a rim to keep things from sliding off, and is light enough to be
-carried by the side handles; a tempting breakfast for the invalid can
-be arranged neatly upon it instead of a waiter.
-
-It can be made of any kind of wood, but black walnut is as pretty as
-any and enough can be bought for it, for about fifty cents.
-
-You will need two boards, each two feet long; one should be one foot
-wide and one half inch thick, the other one and a half foot wide and
-one half inch thick.
-
-[Illustration: BED TABLE.]
-
-Take the first one; plane nicely, being careful to have the ends and
-edges square. Set this aside for the top of tray.
-
-Plain one edge of second piece (the one and one half feet wide); with
-splitting saw cut off strips twenty-four inches long by four inches
-wide: square ends and plane edges of piece left. Measure one foot from
-end, square and cut off. You will have two pieces alike for the ends or
-legs, and one strip two feet long, four inches wide, for back.
-
-Round off one edge of top (the piece two feet long by one foot wide)
-with small plane, and sandpaper smooth. Take two side pieces; find
-points nine inches from bottom and respectively four and eight inches
-from side of leg; bore holes with largest bits, split out piece
-between, enlarge and smooth with gouge or knife to fit the hand. These
-are to slip the fingers through to hold the tray.
-
-Draw a line parallel with, and ten inches from, bottom of legs and
-fasten one leg on either end of the two foot by one foot piece, using
-three one inch screws for each leg.
-
-Fit the back piece neatly on to square edge of top and fasten with four
-screws; put a screw on upper corner of each of the sides, through into
-end of back to make it steadier.
-
-If the corners of the sides are rounded as in picture, it will look a
-little better.
-
-You can make this bed table even more useful by attaching a simple
-book rest which will be a great comfort to an invalid who is able to
-read yet finds it fatiguing to hold a book.
-
-Cut two pieces one quarter inch thick, one wide and seven inches long,
-and one piece nine inches long; one half inch from bottom of the two
-seven inch pieces, bore holes large enough for seven-eighths inch
-screws to play in.
-
-One half from ends of nine inch piece, make some smaller holes, and
-also two holes one inch from top of back (on inside) and eight inches
-apart.
-
-Screw ends of seven inch pieces into these holes and the nine inch
-piece into the other ends of the seven inch pieces; of course the
-screws must play easily. When not in use the rack will fold over and
-lie inside the back as shown by dotted lines.
-
-To keep the book from slipping forward insert two movable pegs about
-three and a half inches apart in front of middle of back.
-
-
-
-
-XII.—CABINET.
-
-
-I HAVE often been asked to describe a “Cabinet for Specimens,” such as
-I made for minerals. It would be equally good for shells, eggs, coins,
-or even for a bookcase. The shelves hold the specimens protected from
-dust with glass doors, and from meddling fingers with a lock and key.
-The cupboard (or drawer if preferable) below holds duplicates useful
-in making exchanges, and the needful tools for the specialty which
-interests you.
-
-The cabinet of course can be made of black walnut or any other hard
-wood, but for lightness as well as cheapness I used pine (stained)
-and put in a back of dark-brown cambric instead of wood, the cambric
-costing fifteen or twenty cents, where the wood would cost nearly a
-dollar and a half.
-
-I can’t give you close estimates about lumber either as to price or
-lengths, because at different mills boards vary greatly in dimensions,
-and values at the West or in Maine are unlike those in cities. I will
-therefore describe my own, feeling sure that by this time if you have
-made all the other articles in the series you can alter the pattern I
-give you, or follow it accurately, according to the purpose you have in
-view.
-
-My cabinet fits easily in an alcove six feet, six inches high, and
-four feet, six inches wide; and is large enough to hold an interesting
-collection. For convenience in cutting, the seven boards I used were
-selected according to the following dimensions:
-
-    A—12 feet by 12 inches.
-    B—6 feet by 10 inches.
-    C—8½ feet by 12 inches.
-    D—12 feet by 12 inches.
-    H—4 feet by 13 inches,
-    and 2 boards for shelves 8 feet long by 1 foot wide.
-
-If possible, get three-fourths-inch board, as it is both lighter and
-cheaper, but inch-board is often easier to get and my measurements are
-for that. Get it all as clear as possible.
-
-Besides the boards you will need two pieces of two-inch moulding six
-feet long, and two pieces of three-fourths-inch about eleven feet long,
-to hold the glass in the doors, and three pair of hinges; also lock and
-key if you desire all to be secure.
-
-Take _A_, divide in two, plane edges and square ends for sides.
-
-Take _C_, cut two boards, each four feet two inches long, and one foot
-wide, for top and bottom.
-
-[Illustration: THE CABINET.]
-
-From _B_ cut two pieces that shall be six feet long, and four inches
-(for sides of door casing), then from remainder cut strip three and one
-half feet by one inch, to go behind lower moulding for hinges of _E_.
-
-From board _H_ (which is four feet by thirteen inches) cut out block at
-_each end of one edge_, three inches long by one wide.
-
-Nail _CC_ on to top and bottom of _AA_, taking care to put top and
-bottom (_CC_) _on_ and not between uprights _AA_.
-
-At point nine inches from lower _C_, nail board _H_, with the
-projection facing outward. On each side on front nail strips _BB_. You
-will find they fit into cuts made in _H_.
-
-Nail the three and one half feet strip close to bottom _C_ between _BB_.
-
-From remainder of board _B_ cut piece three and one half feet long;
-with splitting-saw divide this into two boards, one eight inches, one
-four inches wide. Nail the four-inch piece directly under _C_, between
-the _BB_. This finishes the front for the doors.
-
-Now for the mouldings: from one of the two-inch strips cut piece four
-feet, four inches long; cut ends at angle of forty-five degrees; cut
-two pieces one foot three inches long: have right-hand end of one and
-left-hand end of other cut at angles of forty-five degrees, i. e., one
-half of a right angle. Cut a second similar set of mouldings, nailing
-one set to top, the other to bottom of cabinet.
-
-The piece three and one half feet by eight inches is a kind of door,
-which is hinged to the strip behind the moulding at the bottom. In my
-cabinet I have it for a cupboard, as I said before, but you can put in
-a drawer in its place if you prefer.
-
-For the doors, cut from _H_ four pieces four feet, ten inches long by
-three inches wide, and four pieces one foot, nine inches long by three
-inches wide.
-
-The best way of putting this together is of course to mortise it. To do
-this, draw lines at each end of one of the long pieces on the edge one
-fourth inch from each side; then draw lines _across_ the edge at points
-three fourths and two and one fourth inches from end.
-
-This rectangle must now be cut out. Bore three one half inch holes one
-and one half inches deep: then with chisel split out the remaining wood
-and smooth as nicely as possible. Repeat this on all the long pieces.
-
-To make the tenons or tongues which fit the mortises, measure one and
-one fourth inches from ends of short sticks, and with try-square draw
-line all round the stick. On sides of stick saw in one fourth inch
-deep; on edges saw three fourths inch deep. Then, parallel to sides,
-draw lines one fourth inch from sides of stick on the end, and two
-more lines three fourths of inch from and parallel with edges of stick.
-Place edge of chisel just outside of lines and chip off the little
-blocks, gradually shaving the tenons down to the lines.
-
-If this is nicely done, the tenons will fit into the mortises so that
-the side edges and ends of the four long sticks will fit snugly on to
-the short ones. Put a peg through long and short pieces at the tenons
-to keep them from coming apart.
-
-This can be done in another way that is also somewhat easier, by
-cutting from the sides at the ends of the pieces squares three inches
-by three inches by one half inch and screwing together.
-
-If you have only one light of glass to each door, there will be no need
-of a cross-piece, so you will simply have to put the moulding round on
-the inside of the door frames. If you have smaller panes, you will need
-the crossbars.
-
-[Illustration: TENON AND MORTISE.]
-
-For the four shelves you will require you must cut the two eight-foot
-boards into four, and make cleats to support them. These are merely
-narrow strips of wood nailed on inside of _HH_ (at the height desired)
-on which the ends of the shelves rest. The staining is done by the rule
-given in a former paper, and the hinges and lock are set as in the tool
-cabinet.
-
-About four yards of dark cambric tacked on the back will finish a neat,
-simple, but serviceable cabinet like the illustration.
-
-
-
-
-XIII.—A BOY’S “CATCHALL.”
-
-
-THERE is no better way for a boy to spend his evenings, half-holidays,
-and vacations, than in making some useful and pretty articles of
-furniture for his own room, providing he has an aptitude for such
-work, and the mechanical ingenuity and natural patience to do it with
-neatness and accuracy. Yet a boy should not—if he takes pleasure in
-such work—become discouraged if his first attempts are not wholly
-attended by success, as no success comes without perseverance; and
-perseverance, if the love for the work be not wanting, will inevitably
-bring its own reward.
-
-The average boy is not usually blessed with overmuch room in which to
-bestow his many treasures—his bats, balls and marbles, his collection
-of butterflies and bugs, relics of many a pleasant tramp through field
-and wood, and last, but far from least important, the treasured books
-of tale and adventure, so dear to the heart of a genuine boy; therefore
-the little case or cabinet of the illustration has been contrived,
-for his own making, as a resting-place for all these and more, and to
-prove the happy truth of the old adage, “A place for everything, and
-everything in its place.”
-
-[Illustration: SKETCH NO. 1.]
-
-It may be constructed of nicely-selected pine, for this is easily
-obtained, is cheap, and any little mistake will not entail too much
-expense if the work has to be done again, and also it is easily worked,
-and takes a beautiful golden color when “filled,” and finished with
-shellac. Pains must be taken not to mar the wood with tool-marks. To
-make a nice piece of work, you will not use any nails, but put the case
-together with dowels, screws, and glue.
-
-Now look over the drawings together. _Sketch No. 1_ shows the completed
-case as it should look when finished and in place. The first section,
-_A_, (_Sketch No. 2_) is a fair-sized box with lifting cover, and a
-shelf beneath. This will be found handy for many odds and ends of
-boyish treasures too cumbersome to be stored away in drawers and boxes.
-_Section B_ contains the specimen, or butterfly case, with a row of
-small drawers below, these drawers being handy receptacles for marbles,
-tops, twine, or like odds and ends that make a troublesome litter when
-thrown together in a large drawer. Two large drawers below these, and
-the shelf, will find their uses, without doubt. _Section C_ has a
-couple of shelves for books, with storage room for bats, hockey sticks,
-etc., below; and in one corner is a small box large enough to hold two
-or three balls; outside of this, as the other plans will show, is a
-receptacle for a foot-ball, made of bent wire. This, if not a desirable
-addition, may be left off.
-
-Having looked our case over in a general way, let us now go into the
-details of construction and finish. In _Sketch No. 2_ will be found all
-the general measurements. The figuring and lettering on the _Detail
-Sketch_ all refer to this drawing. We will first get out the stock
-for the side-pieces of the various sections, four in number, and two
-of them—those belonging to _Section B_—of exactly the same size and
-shape. These should be of one and one fourth inch stock, and of the
-dimensions given in _Detail Sketch No. 3_. Mark out carefully the
-simple outline indicated for each piece, using a piece of charcoal, so
-the line may be easily wiped out and corrected if unsatisfactory. Go
-over the corrected outline with a soft pencil to preserve them, and
-then saw them out. This must be done with care, to keep the edges even
-and true, using either a draw tool or small saw on the finer outlines.
-
-[Illustration: SKETCH NO. 2.]
-
-The half-trefoil on side of _Section A_ at the bottom should be drawn
-with a compass, or scribing tool, and cut with a hand scroll-saw; and
-the simple pattern on the sides should first be marked out with a
-compass, the larger hole carefully cut out with a sharp tool to the
-depth of one fourth inch. The smaller holes, surrounding it, bore out
-to about the same depth with a small auger-bit. The straight line
-decoration on sides of _Sections B_ and _C_ are first neatly lined with
-a pencil, and then cut with a sharp tool, one fourth inch wide, and
-about as deep. The cover of _Section A_ should be of seven eighths
-inch stock, and should project fully an inch over the side and front.
-The back piece, on which the hinges are fastened, should be two and one
-half inches wide. This will allow ample room for the back board, and
-give to the cover, when open, sufficient slant to lean easily against
-the wall. This piece should be well glued and doweled into place, and
-two neat brass hinges set in, to hold the cover. The bottom of box and
-bottom shelf of this same section are of same thickness as top, firmly
-doweled and glued into place. The front panel is of same thickness, and
-cut to fit exactly into place, doweled and glued. The small jig-saw
-patterns at bottom of _Sketches No. 8_, _9_, _10_, are cut from one
-half inch stock, and glued on firmly. _Section A_ is now ready to
-attach to the side piece of _Section B_. This must be neatly and firmly
-done with dowels and glue.
-
-[Illustration: SKETCH NO. 3.]
-
-In _Section B_ first get out the top, centre and bottom shelves, as
-well as the narrow strip division for the drawers; these last need
-not run back more than three inches, excepting for the row of small
-drawers. This division should run entirely from front to back, the
-same as the shelves. The thickness of all the shelving is the same
-throughout. Having framed together our sides with the centre and bottom
-shelves, and drawer partitions, next place the two narrow uprights, on
-which the doors are to be hung, in position. These are one half inch
-wide and firmly doweled and glued into sides; the doors are hung with
-simple brass hinges and made to lap one over the other on one fourth
-inch rebate, and shutting against an upright post about three fourths
-inch square. Glue a strip one inch wide and one half inch thick around
-the sides and back piece, for the top to rest upon and be fastened to,
-by one fourth inch dowels, and glued; this strip should, for further
-security, be fastened by a number of small screws. Space will not allow
-the details of construction of drawers; but if the lad will look at any
-well-made drawer, he will easily find out for himself.
-
-We have already got out the side for the book shelves and bat holder,
-_Section C_, and have only to dowel and glue shelves firmly into place,
-put the back boards in position, having got them out the size and shape
-shown by _Sketches 7 and 8_.
-
-Now our case is well framed together and it only remains for us to
-finish various small details. After fitting a one fourth inch shelf
-into the specimen case midway, the next move is to line the whole of
-the specimen case and the two long drawers beneath with thin, flat
-pieces of cork about one eighth inch in thickness. First apply to the
-whole surface to be covered, a thin coating of hot glue, fitting in the
-piece of cork while the glue is hot; rub well into place, and apply an
-even pressure, to be left until the glue is thoroughly “set;” when this
-is done cover all the cork with nice white paper, applied with flour
-paste. Frame up the door as shown in _Sketch No. 12_, of one half inch
-stock, setting the glass in from the front into a narrow rebate. Then
-glue a narrow moulding on the outside to prevent the glass from falling
-out. Hang the door with brass hinges and fit a small lock into place;
-then dowel neatly into place the under brackets, _Nos. 9_, _10_, _11_,
-in their respective positions, place pretty brass pulls on all the
-drawers, and the case is nearly ready for finishing.
-
-In the book case _Section 6_, the simplest way of arranging the shelves
-is to bore a row of one fourth inch holes front and back and at both
-sides, and fit little pegs into these for two shelves to rest on. These
-may be raised or lowered by changing the positions of the pegs. Make a
-little box as shown of one fourth inch stock, fasten this neatly with
-small screws into the left-hand upper corner of the bat holder under
-the lower shelf; this is to hold the base and hockey balls. The back
-of the case may be made of narrow strips of one fourth inch sheathing,
-held in by screws.
-
-Fill the woodwork thoroughly with a good filler; Wheeler’s is good.
-After it is wholly dry, go over the case with a good coat of white
-shellac, and when dry, rub it down carefully with powdered pummice
-stone, oil and emery cloth. A second coat of shellac carefully rubbed
-down, will result in a rich golden brown hue, that will improve with
-age. This case, when complete, will cover a small space of four feet
-nine inches by three feet three inches.
-
-In buying stock, select the best pine for all portions that will show.
-Get the stock well planed and smooth it down.
-
-If made by a carpenter, twenty-five dollars would be the smallest
-payable price for a good job, so that the price named is not at all
-excessive for a really good thing.
-
-This case being somewhat elaborate is intended both in design and
-instructions here given, for those boys who have a fair knowledge of
-construction, and some ideas as to the best way to set about it; and
-it must be borne in mind although pine is soft and easily worked, it
-is also easily soiled and injured by tool marks more readily than the
-harder woods.
-
-The general schedule of material and cost given below will be found
-useful in buying.
-
-
-SCHEDULE OF COSTS, ETC.
-
-  50 feet,  ⅞ inch pine, } at 6c per foot,             $4.50
-  25  "     ½     "      }
-  Sawing, if done at a mill, about                      1.50
-  Finishing and filling the wood in four coats, about
-      1 quart of shellac, etc.,                         1.50
-  Hardware, locks, hinges, drawers, pulls, etc., etc.,  1.50
-  Glass for doors,                                       .50
-  Cork, paper, glue, etc., about                        1.50
-                                                      ------
-               Total,                                 $11.00
-
-[Illustration: A PORTABLE HOUSE.]
-
-
-
-
-XIV.—HOW TO BUILD A PORTABLE WOODEN TENT.
-
-
-WOODEN tents such as I am about to describe, are in use by the
-contractors who are building the western extensions of the Denver and
-Rio Grande Railway in Colorado. There are no towns there ahead of the
-railway, and it is necessary to provide sleeping-quarters, provisions
-and eating-houses, for the engineers and road-makers. It is therefore
-needful to have a style of building which can be put up and taken down
-easily, and, above all, which shall be capable of transportation over
-the frightful mountain roads. The result, it seems to me, might be
-useful to bevies of boys, to schoolmasters and pupils, and to families
-who camp out every summer for some considerable time, and really
-need to take to the woods a house somewhat better than a cloth tent,
-where they can live in warmth and comfort, and which shall be a cosey
-headquarters for storing supplies, and to which they may return. My
-object now is in these papers to instruct our young home carpenters
-how during their winter leisure to get one of these comfortable wooden
-tents in complete readiness for summer transportation. It can be done
-very cheaply; if you can improve on it, so much the better. For my
-part, I have never seen or heard of the like anywhere else, though I
-believe that circus sideshows sometimes have a far more cumbersome
-arrangement answering the same purpose.
-
-Boys might club together, not only to own such a portable house in
-common, but to build it—a jolly way of spending Saturdays in some
-great wagon-house or tool-chamber where there is a big workbench and a
-good tool-chest.
-
-This movable house consists wholly of wood except the roof, which is
-canvas, and the floor, which is dirt, unless you choose to plank it.
-It may be made of any size you see fit, it only being necessary that
-all the parts are adjusted to the scale decided upon. The dimensions
-I give, however, are measured upon a plan twelve feet square, because
-that happened to be the actual size of the one nearest to me. The
-railway men generally join from two to half a dozen of these together,
-end to end, making a long and commodious building. A half-dozen
-congenial families could do the same, insuring endless good times
-in the forest solitudes. One twelve-foot length is then known as a
-“section.” If you would rather have an oblong figure, make your ends
-shorter and reduce the length of your rafters; or, if you don’t like
-the pretty low pitch of the roof which my measurements imply, lengthen
-your uprights and rafters to suit your own ideas of the right angle.
-
-Now for my details:
-
-The walls of your tent-house, six feet in height, are to be made of
-inch-thick matched flooring twelve feet long. They should be No. 1
-pine, best quality. Fasten these firmly together, to the width of six
-feet, by three dressed cleats, six inches wide, one at each end and
-one in the middle, and do this on both sides. Make three of these
-platforms, or walls, which will furnish three sides of your house. For
-the fourth side make a similar platform nine feet in length, filling
-out the remaining three feet with a door.
-
-[Illustration: FIG. 14.]
-
-This door swings _out_, and the hinges should be very strong,
-preferably of the kind used on barn doors, so that it can be lifted off
-its hanging with ease, and so that the long shaft of the hinge will act
-as a support to prevent undue sagging. An arrangement must be made to
-lock this door. It can easily be secured on the inside by a bolt, and
-outwardly by hasp and padlock.
-
-[Illustration: FIG. 1.]
-
-There remain, now, the peaks or gables at the ends, to be provided
-for. Many of the railway men get their roof canvas sufficiently large
-to come down and cover this, but I think a better plan would be to
-make two triangular platforms of boards, fitted to your peak, cleating
-them together just like the lower walls. Then place about four flat
-staples in the outside of your end walls, and let iron hasps bolted
-to the lower edge of your peak boards drop into them. This would hold
-the bottom of the peak and the top of the end wall squarely together.
-In addition to this a couple of bolts should pass through the upright
-and be secured by nuts, so as easily to be unscrewed. (_See fig. 14._)
-There should be no middle cleat on the inside of the gable. The general
-character of these walls appears in several of the illustrations, but
-the cleating is shown in _fig. 1_. Screws should be used throughout
-instead of nails. The woodwork remaining to be shaped, consists of
-the uprights, or centre-poles at each end, the ridgepole, rafters and
-braces.
-
-[Illustration: FIG. 2.]
-
-The two uprights in my model were 8 feet and 9 inches in height; a
-greater length would add pitch to the roof. These uprights should be
-made of clear, firm stuff, 4 inches by 2, and should be thickened
-at their lower ends by adding pieces of similar size, as shown in
-_figures_ 2 and 4. This upright stands inside of the wall, and
-edge-wise. Into its upper inner edge must be set two iron “eyes”
-having an inner diameter of three quarters of an inch. (_See fig. 3_).
-The uppermost of these is placed about two inches from the top of the
-stick, and the second six inches below. These eyes should pass clear
-through the timber and be held by nuts on the other side. Six feet from
-the bottom of the upright, a hooked bolt should be passed through the
-timber, the hook facing outwardly, and having enough space between it
-and the wood to allow the wall to come between. Its purpose is to hold
-the end wall snugly to the upright: therefore it must be loose enough
-so that it can be turned up while the wall is being put into position,
-and then turned down to clamp it firmly, as in _figure 4_.
-
-[Illustration: FIG. 3.]
-
-[Illustration: FIG. 4.]
-
-Having made both uprights alike, you now turn your attention to the
-ridgepole. This ought to be somewhat heavier than the uprights, two
-by six scantling being none too strong for the strain which the weight
-of your canvas and an occasional gale of wind will put upon it. It is
-twelve feet long, of course, and six inches from each end will have
-an iron pin 18 inches in length driven through from its upper side,
-intended to go through the eyes at the top of the uprights. This is
-shown in _fig. 5_.
-
-On each side of this ridgepole screw in four stout staples or eyes,
-one at three inches from each end, and the others at equal distances
-between; to these the rafters are to be attached. (_See figs. 3 and
-5._) Similar staples must be placed an inch below the upper inside edge
-of the side walls to contain the irons at the lower end of the rafters,
-as in _fig. 6_; of course, therefore, it is necessary that the staples
-in the walls should fall exactly opposite those on the ridgepole.
-
-[Illustration: FIG. 5.]
-
-The rafters themselves, eight in number, may be made of the same sized
-stuff as the uprights, or lighter, if a tough wood like elm or ash is
-used instead of pine; and each will be 7 feet and 4 inches long unless
-you want a pretty steep roof, in which case you must lengthen them
-somewhat. To the underside of the upper end is fastened a strong curved
-hook, which hangs in the staples on the ridgepole (_fig. 5_); while to
-the lower end is fastened a pointed iron three inches long, and set at
-such an angle that it will stand vertical in the eye on the wall (_see
-fig. 6 next paper_) when the rafter is in place.
-
-
-
-
-XV.—HOW TO BUILD A WOODEN TENT. (_Continued._)
-
-[Illustration: FIG. 6.]
-
-
-THE braces are intended to serve the same purpose as the guy-ropes of
-the ordinary wall tent, and are three in number on each side. They
-consist of stout sticks (two by four inches is a good size) long enough
-to reach the ground from the top of the wall (five and one half feet
-in the present case) at an angle of forty-five degrees. At the upper
-end, underneath, which is beveled to stand flat against the face of the
-wall, the brace is armed with a strong hook. This hook sets into an eye
-inserted into the top of the outside cleat, just as the rafters are
-hooked to the ridgepole. At the lower end, which also is beveled off
-to fit the ground, is fastened a large ringbolt. This is on the upper
-side, so that when the brace is in position, the ring lies flat on the
-ground beyond it, and through it is driven a barbed pin of iron. These
-braces not only hold the wall from sagging out, but equally prevent it
-from pulling in, which is just as great a danger. How they are arranged
-is seen at a glance in _fig. 7_.
-
-[Illustration: FIG. 7.]
-
-There is also another brace which goes across from the corner of the
-side wall over the doorway to the upright, where it is hooked into an
-eye placed six feet above the ground. This cross-brace forms a lintel
-to the door, and serves to make solid the otherwise somewhat shaky end
-of the right-hand siding.
-
-Now comes the setting up and roofing; but before you can do that you
-must provide fastenings at the corners of your walls. I have reserved
-this for the last, since it is the most difficult bit of mechanism.
-
-[Illustration: FIG. 8.]
-
-[Illustration: FIG. 9.]
-
-Go to a blacksmith and have him forge for you six pieces of iron of the
-shape shown in _fig. 8_, each about an inch and a half wide, and an
-eighth of an inch thick; the shafts, or straight ends of three of them,
-should measure six inches from the point marked _a_, while the shafts
-of the others should be nine inches in length, the elbow being alike in
-both cases. In the shaft should be punched two holes big enough to pass
-stout bolts through; but in both sizes these holes should be within six
-inches from the straight end. Having provided yourself with these bent
-irons, bolt one of the _short size_ upon each end of the _outside_ of
-the _rear_ wall of your house six inches from the lower border, and
-in such a way that the bent end which is to be turned _upward_, shall
-project beyond the end of the wall just enough to leave a space of a
-quarter of an inch between the inside of the curve and the edge of the
-cleat to which it is bolted. Draw the nuts on your bolts very tight.
-Now take your remaining short one, and put it upon the lower corner of
-your front wall, so that its lower edge shall be just seven inches from
-the bottom of the wall, and with the elbow projecting as before, but
-_turned down_.
-
-[Illustration: FIG. 10.]
-
-[Illustration: FIG. 11.]
-
-[Illustration: FIG. 12.]
-
-You have now left your three longer pieces of iron. One of these must
-be placed on the lower rear end of your right-hand side-wall (as you
-face the door) at seven and one half inches above the bottom, and with
-the elbow turned _down_. The other two go on opposite ends of the
-left-hand wall, that at the rear end turned _down_, and that in front
-turned _up_, the former seven and one half, the latter six inches
-above the bottom edge. But _all these long ones must project_ three
-and one quarter _inches_, because they must reach past the edge of the
-adjoining wall, as you will see when you stand the walls up; the edge
-of the rear flush with face of the sidings, and lock them together, as
-shown in _fig. 9_.
-
-Though I have seen the same arrangement at the top, yet a better way is
-as follows: (_Figs. 10, 11 and 12._)
-
-[Illustration: FIG. 13.]
-
-Have your blacksmith make three flat pieces of iron, each six and one
-half inches in length, having a closed loop turned up at the end, which
-carries a link six inches long, as in _fig. 10_. Bolt this piece of
-iron near the upper corner of each of the end walls—that is, above
-each of the _short_ hooks, allowing the loop in which the link hangs,
-_and no more_, to project. Get at the same time three squarely bent
-hooks of round iron (_fig. 11_), with a thread and nut at the long end,
-and the bent-up point no longer than the inner diameter of the link,
-lengthways, so that it will freely pass through the link. Set these
-hooks in those unprovided upper corners of your remaining walls that
-come opposite your links when the walls are set up, at such a distance
-that when the link is bent around the corner it will snugly fit over
-the hooks. In order to do this, however (and you can see what I mean
-by a glance at _fig. 12_), you must set your hooks so loosely that you
-can turn their points backwards. The link is then slipped over, and the
-reversion of the hook to the position shown in _fig. 12_ binds the two
-walls cornering there as securely together as the interlocking hooks
-hold them at the bottom.
-
-[Illustration: FIG. 14.]
-
-You will notice that I have no clamps or link at the front end near
-the door. There is no chance for any. Instead we trust for solidity to
-the outside brace, which is specially important, and to the horizontal
-brace which extends across from the top of the wall to the forward
-upright. (_See fig. 13._)
-
-[Illustration: FIG. 15.]
-
-The next thing is your canvas. Measure how much you need for your roof,
-and determine how far down your walls you want it to extend. If you are
-going to camp in very cold weather, you would do well to have it all
-the way to the ground. It would add greatly to the warmth. As a rule,
-though, you will only want it to come well over the top of the siding,
-with some lapping in front and rear to keep out driving rains. When it
-is sewed into a big sheet you must attach to it at frequent intervals
-a short stout strap. Opposite these straps (_fig. 15_) nail to the
-outside of your walls straps containing big buckles (_fig. 14_) whereby
-you can buckle down taut your canvas roof. I know of no more secure
-and convenient method of holding the tent cover than this; but I would
-advise you to experiment on the reach and “full” of your cloth before
-nailing the buckles to the wood work.
-
-[Illustration: FIG. 16.]
-
-Now comes the setting of your tent-house up. The first consideration is
-the position. I can only say that it should be level, and where water
-will not drain into it in case of heavy rains. The next thing to be
-decided is, Will you have a floor? If so, lay it a few inches larger
-than your building, set your house on it, and nail down a narrow cleat
-all around inside close to the wall; an upright bolt dropping into the
-floor in the centre of each side, will be well also.
-
-First set up the centre poles and ridgepole, placing the latter on top
-of the former, and sliding the iron pins down through the eyes. (_Fig.
-3._) Then place in position the _rear_ wall. The side walls will come
-next, their clamps dropping easily at the corners into those of the end
-wall, and holding them firm while you slip the links over their hooks
-and twist them tight. Then set up the braces at the door end, and put
-up the front wall, turning down the tent pin on the ridgepole, to hold
-it firm, and locking the whole structure with the last link. Next, hook
-on the rafters, bolt the triangular gable walls to the upper part of
-the ridgepole, and set your braces at the sides. Nothing remains but to
-draw over your canvas, put your door upon its hinges, and hang up your
-hat. You are at home; a home you have put together at leisure hours in
-your barn or woodshed during the winter, have taken to the woods in a
-lumber-wagon, and set up with the help of a single companion; and when
-you are done with it you will carry it back to town and store it away
-in the woodshed or stable again.
-
-In respect to the cost, I can give no estimates so good as in a few
-moments you can compile for yourself. It all depends on the price of
-materials and the cost of blacksmithing in your own neighborhood. The
-weight and breadth of the canvas purchased is also to be estimated
-variously, according to your selection, and the expense will be
-increased according to the degree of finishing, painting, and
-decoration put upon the structure. If I should make one for myself in
-New York or New Jersey, I should not anticipate its costing me more
-than twenty-five dollars ready for setting up; but this includes no
-floor and no painting. The interior furnishing of cots, cupboards,
-tables, stoves, _et cetera_, I presume you will understand as well as
-I. Also that you can contrive to put in windows as you want them, and
-provide a means of carrying your stovepipe through a tin ring in the
-canvas roof so as to be safe from ignition. I only wish I might help
-enjoy all the fun you will have!
-
-
-
-
-XVI.—HOW TO MAKE A FERNERY.
-
-
-AUTUMN is the time to be getting ready for your fernery—all you who
-are off in the country (or who live there), or are just getting back
-from your summer vacation, with a big parcel of ferns and things which
-you collected at the White Mountains, or among the Green Mountains, or
-the Berkshire Hills, or at Mount Desert, or in some woods, or by some
-pond, or by the sea, or somewhere, no matter where—lovely things were
-around you wherever you went.
-
-I know what you have been doing: for, have I not seen in my summer
-trips for these twenty years, how you young people do; how it seems
-as if you wanted to carry all the woods home with you; how, hot and
-tired, but happy, you have been seen coming back to the farmhouse
-or hotel where you boarded, with your arms full; how you put your
-treasures safely away in the coolest, shadiest corner of the back
-piazza, and asked anxiously if they would keep till you could get them
-home? And when the morning of packing up came, what a stir to get them
-all into the smallest possible compass; for were not the older folks
-of the party all complaining because the boys had cut so many cones,
-and the æsthetic grown-up daughters had such bundles of cat-tails and
-sun-flowers, so that the “baggage” was already beyond all bounds of
-reason!
-
-If it should happen that you have not secured what you would like to
-stock your fernery with, you can do it now: and if anybody should tell
-you that those frail-looking things will not stand the journey home,
-you can answer, on my authority, that they are mistaken. Just get the
-roots, and you are all right. I have not much doubt that there are
-ferns growing in a Western city to-day from some dry-looking roots
-which a lady from New England took out with her, and after being a week
-on her journey, distributed among her friends, so that the ferneries
-all about the city were beautiful with them by Christmas time.
-
-There is a good deal of vitality in roots: their hold on life is
-something wonderful. Plant them, and you will hear from them, as Doctor
-Franklin did from a seed or two he found in a piece of broom corn, to
-which, I suppose, all the brooms in the United States may be traced.
-
-Therefore, collect, and have patience. The way is to tear up a whole
-mass of the greenery from some moist knoll or hummock, moss and all.
-It will be sure to be full of things, gold-thread, bunch-berry,
-partridge-berry, mitre-wort and dew-berry; and every one of them will
-blossom in a fernery in winter. No knowing what will come up out of
-the moss. Get also from the woods the two-leaved Solomon’s seal—you
-will know it by the bunch of finely speckled berries; the Indian
-cucumber root, the rattle-snake plantain, lady’s slipper, wake robin,
-chick-weed, winter-green, princes’ pine, pyrola. All these and many
-others will bloom there, and violets. I might make a long list of
-flowers, besides nearly all kinds of ferns, and mosses. But it is well
-to get any and every little delicate woods’ plant that you like; roll
-them up in moss, which will keep them damp enough, and when you get
-home, fit up your fernery.
-
-But first—in accordance with the principle laid down by the famous
-Mrs. Glass, in her cook-book, who says about cooking a hare, “first,
-get your hare,”—you will first _get_ your fernery.
-
-Many persons would have one quickly enough but for thinking the
-expense too great. But it is not at all important that you have one of
-those nice black walnut cases with the costly oval or round glass. A
-home-made one is more convenient, and much cheaper.
-
-This, which the artist has drawn from one in use, is, as you notice,
-proportioned like a house with a steep roof. The frame is of hard
-wood—a mere sash to hold the glass (for it is really a glass house),
-so are the bottom or floor, and the base, which is about four inches
-deep. A groove is cut in the sash, in which the glass is set firmly; no
-putty was used, though I should suggest it as being more secure. All
-the corners are dovetailed together and made sure by little brads.
-
-[Illustration: A FERNERY.]
-
-The roof is separate, so as to be lifted off; and when on, is kept fast
-in place by means of two little corks the size of a pipe stem, which
-are fastened to the pieces of wood at the bottom of the roof, and shut
-into holes made for them in the strips on which it is set, so that when
-closed not so much as a crack is to be seen. This is eighteen inches
-long and fourteen wide, and from base to top is twenty-four inches. The
-glass sides are about ten by sixteen; the ends ten by twelve; the sides
-of the roof are ten by sixteen, and the triangular pieces at the ends,
-ten by ten. One could be more elegantly proportioned if the roof was
-not so steep. These figures are given as a guide. This is very roomy,
-especially in height; but that is no disadvantage, because a tall
-fern can be set in the middle and have space to spread off at will, or
-some little hooks can be screwed into the ridgepole (likening it to a
-house), and tiny hanging things suspended from them.
-
-The glass is of the common window-pane kind, and was about eleven cents
-a pane; eight panes were required, and the man who had them for sale
-cut them to fit the sash. The wood was maple, and was hunted out of the
-odds and ends in the loft of the wood-house. Any thoroughly seasoned
-wood, even pine, is suitable, and the cost is not worth mentioning. The
-frame should be neatly finished and joined, should be strong and firm
-on account of the weight after the earth and plants are in; and before
-the glass is cut, should be stained, or oiled, or painted, outside and
-in. A pretty stain is made by stirring a tablespoonful of burnt umber
-into a cup of vinegar, more or less, according to whether you wish the
-color to be lighter or darker. Stir vigorously and put it on with a
-little swab: it will dry in the course of a few hours, and then can be
-varnished if you like. Five cents’ worth of umber is enough to do your
-fernery, with plenty left for three or four brackets besides.
-
-All the work should be faithfully done, for you want no shrinking
-or gaping or warping afterwards. You must remember that it is to be
-subjected to dampness within and dryness without. Once done well, your
-fernery will last for years, and you can have something beautiful in it
-from January till January comes again, a perpetual delight to all who
-see it; and costing so little.
-
-Now, an important part remains—the movable zinc tray, which must just
-fill the wooden bottom, and be of the same height, but not fit so
-closely that you cannot take it out when necessary. Ours cost fifty
-cents, but may be made for less; any tin-man will make it.
-
-There you have the figures. You can proportion one as you like, but
-this is large enough unless you wish to set little flower pots in; but
-a larger one would be heavy to move about, and instead of a fernery one
-would need a Wardian case.
-
-Now, for the fitting up. Last October we removed the roof and the tray
-and washed the glass, preparatory to having everything fresh and clean
-for the coming winter. The old contents were emptied, and we began
-anew. The first thing was to place a layer of broken brick, and small
-pebbles and gravel, on the bottom of the tray for drainage, perhaps
-an inch and a half deep, over which we scattered bits of charcoal to
-keep all pure. We had previously collected a great store of things
-from the woods with which to stock it, taking up a whole mat of moss
-with all that therein grew, and everything with a little of the woods’
-mould on the roots; also we had a clump of pitcher plants from a
-cranberry meadow, and some rattle-snake plantain. Altogether for our
-fourteen by eighteen accommodations, I should judge that we had about
-a wheel-barrow load of material to select from; but we were in the
-country then.
-
-It is always desirable to use the rich, mellow leaf mould that is
-found in the woods. You can easily take up your plants with enough of
-it clinging about them; and it is so loose and light it will not add
-materially to the bulk or weight. Not much is needed for the fernery;
-two or three inches of it only above the bed of drainage, mixed with a
-little sand. In the cities it can be obtained from greenhouses. Many
-of the plants would flourish if only moss was put in.
-
-In ours we placed a good layer of such soil; and the first plant we
-set out was a tall, beautiful fern which reached nearly to the roof,
-for we wanted it to look pretty all at once without waiting for things
-to grow. Then a pitcher-plant, purple polygala, creeping snow-berry,
-lots of partridge-berry, with the scarlet berries on, and nearly all
-of the wild things I have named. Then we went into the garden and dug
-up lilies-of-the-valley that we were sure were going to bloom, which
-is indicated by the bluntness and plumpness of the crown just above
-ground (the leaves were gone), also roots of pansy and fragrant single
-violet. These we put into the corners where they would have the most
-light. We packed the tray full, too full, perhaps, not forgetting roots
-of maiden-hair fern. We had not much faith in trailing arbutus, though
-we set out a root or two; our hopes for that sweet flower we based on
-the clusters of buds we gathered from the woods, and these we put in a
-small tumbler of water and set among the greenery.
-
-Then we gave our little garden under glass a thorough sprinkling, put
-the roof on, and set it in the light. Occasionally we raised it and
-admitted the air for a short time, but it does not answer to do this
-often. It must be kept covered, watered perhaps once a month, kept in
-the light and warmth.
-
-The result to us was beyond our highest anticipations. Though the
-pansies did nothing but grow tall and rank, there was always a violet
-to give a friend—a delectable violet which made the room fragrant when
-it was taken out; there were “many flowers” week after week; mitre-wort
-bloomed, princes’ pine, gold-thread, and other little things; and
-while snow yet lay on the ground, the lilies-of-the-valley blossomed.
-Greatest success of all, and to our utter amazement, the pitcher-plant
-flowered, maiden-hair thrived, the great fern spread off till its tips
-touched the glass, the rattle-snake plantain sent up a spire of bloom,
-and everything was beautiful.
-
-I have told you now the method, the expense, and how simple a thing
-it is to fit up a fernery. Another winter we shall put in tulip bulbs
-and some other garden plants there may be room for. Things will bear
-packing quite closely if you are careful to keep those that like the
-shade in the background, and let the others have the best chance for
-the light. Occasionally the fernery needs turning so the sun can reach
-all; otherwise it requires but little care.
-
-
-
-
-XVII.—A BOY’S RAILWAY AND TRAIN.
-
-
-IN a certain old-fashioned house that I visit, a large attic is set
-apart as a playroom for the boys, in which to keep their tools, their
-jig-saw, and their treasures of all sorts, dear to the hearts of young
-people.
-
-All around the edge of this room runs a small railway with curves and
-switches complete, with bridges and tunnels, and an elegant station,
-made of a deserted dog house, and painted in the newest style.
-
-Over this track, propelled by boy-power, runs many times a day, a train
-of cigar-box cars, engine and tender, baggage and passenger cars, all
-in order. And everything about it, from the ties to the latest parlor
-car, was made by two boys under fourteen years of age, at a very small
-cost.
-
-[Illustration: FIG. 1.]
-
-These boys are no wiser or more skilful than other boys, and there
-is nothing about it hard to make. I thought many of you young readers
-of mine would like to copy it, and so I have studied the thing, taken
-my instructions from the builder himself, and here it is, so plainly
-told that no ordinary boy of twelve need make a mistake if he follows
-directions exactly, although to make it perfectly clear, I have to use
-a good many words which make it _look_ hard. To begin with the track:
-first, come
-
-
-THE TIES.
-
-To make ties for a single track, take a board one inch thick. Saw from
-the end a piece five inches long, and split it with a chisel into ties
-an inch square. The number you will need depends, of course, upon the
-length of your road. Having these ready, the next thing is the
-
-
-RAILS.
-
-Buy at a tinner’s sheets of tin which come fourteen by twenty inches
-in size, though any other size may be used. If convenient, have the
-tinner cut each sheet into eleven strips twenty feet long and about one
-and a quarter wide. You can, however, cut them yourself, with a pair of
-old shears, first measuring carefully, and ruling the sheet off.
-
-Along one side of each strip of tin, near the edge, punch nail holes;
-one close to each end, and four between, making thus six holes about
-four inches apart.
-
-To bend the rail to shape, take a ruler and scratch a line the whole
-length one quarter of an inch from the edge which has no holes. Lay
-this edge on a straight board, with the mark exactly on the edge of the
-board, so that the quarter of an inch sticks out beyond the board. Then
-tack the tin with two or three tacks, to keep it from slipping, while
-you take a hammer and pound the tin down over the edge till it is bent
-at a right angle to the rest. Then take out your tacks, and laying the
-tin on the board, pound this turned-up edge over till nearly flat. This
-makes the top of your rail, as you see in _fig. 1_ (which shows the end
-of a rail) at _a_.
-
-To make the bend _c_ (_fig. 1_) draw a line the whole length half an
-inch from the edge where the holes are. Again tack the tin to the
-board, with the half-inch sticking out beyond, and pound this edge over
-into a right angle. This completes your rail, the holes being along the
-edge marked _b_ in the figure.
-
-
-TO LAY THE TRACK.
-
-Place a number of ties side by side, and with a ruler and pencil draw
-two lines across them, three and a half inches apart, having about
-three quarters of an inch beyond the lines at each end. These marks are
-to guide you in laying the track straight. When you have thus prepared
-a number of ties and rails, fasten them together by nailing, with
-small-sized carpet tacks, through each punched hole, on to a tie, being
-careful that the _end_ of each rail reaches no more than half over its
-tie, so that the next rail may join on right (_fig. 2_). The tacked
-edges of the two rails turn towards each other on the inside of the
-track, and thus do not show when a train is on, and the angle _c_ rests
-exactly on the line drawn on the tie. Go on in this way till your
-rails are all used, or you come to a curve.
-
-
-TO MAKE A CURVE.
-
-Take a cold chisel, or an old common chisel, and one of your finished
-rails. On the flat side (from _b_ to _c_, in _fig. 1_) cut slits
-reaching from _b_ to _c_, and half an inch apart. Lay a row of ties in
-the curve you wish to make, and bend the rail to fit them. The slits
-will enable you to bend them nicely, on one side by gaping apart, and
-on the other by slipping over.
-
-If you want a guard rail to keep your train from running off at this
-point, lay an extra rail fastened in the same way inside of each rail
-on the curve.
-
-
-TO MAKE A SWITCH.
-
-Select a point where two rails join, for a switch, and take one length
-of rail for the purpose. This length, which includes both rails, of
-course, is to be movable, and so must slide over the common ties, and
-not be fastened to them. To keep them in place they must be tacked to
-special ties, much thinner, and coming between the regular ties that
-they slide over. Having prepared this length, put a tack, smaller than
-the hole you have punched, through the end hole at _a_ (_fig. 4_), so
-that the switch will move easily on it.
-
-[Illustration: FIG. 2.]
-
-At _b._ (_fig. 3._), where your two tracks come together, you must put
-pegs (_b. b._) to keep the switch from moving too far either way, and
-throwing your train off. Also, from this point, the ties must be long
-enough to hold the side track till it is clear of the regular track
-(_fig. 3_). The curve of this side track is made, of course, by the
-directions for making a curve. The last special tie at _c_ (_fig. 3_)
-must run out far enough to take a hold of, to move the switch.
-
-
-TO MAKE A FROG.
-
-At the point where the rails cross (_d_, _fig. 3._) you will need a
-frog, to allow your train to go smoothly over. To make this, you cut
-your side rails square off at _d_, and begin it again on the inside
-of the rail, leaving a space of a quarter of an inch open to let the
-flange of your car wheels pass through.
-
-Also, you must cut a notch in your regular track at the same point, so
-that the wheels on trains switching off may go through (_fig. 4_).
-
-Now your track is ready, you may begin on the train; and first the
-trucks.
-
-[Illustration: FIG. 3.]
-
-
-TO MAKE THE TRUCKS.
-
-For wheels you need a lot of rather large spools with quite thick
-shanks, unless you can afford to have brass or wooden ones turned for
-you. The best spools come in the shops of New York, with French sewing
-cotton, and next best are those which hold the knitting silk, so much
-used nowadays by ladies.
-
-Ask your mother and sisters, and all your fancy-work loving friends,
-to save their spools for you, and it will not be long before you have
-enough.
-
-Saw each spool into three pieces, as at _a, a_ (_fig. 5_). The outsides
-form the wheels with their flanges _c, c,_ and the middle piece _b_,
-you will need later.
-
-Now for axles, the best are cheap lead pencils (cost one cent each),
-but you can use common skewers such as butchers use, whittled down to
-fit. The axles are to fit tightly into the wheels, and turn with them.
-
-Now take a block an inch thick, four inches long, and two and a half
-wide, to hold the wheels. In each corner of the underside of the block,
-three quarters of an inch from the end, screw a very light wire screw
-ring (or screw eye) with a ring a half-inch in diameter.
-
-The axles run through these rings with the flanges of the wheels next
-to the block, to run inside the track.
-
-Next comes the car itself.
-
-
-TO MAKE THE CARS.
-
-Cigar boxes are nice for cars, being already very neatly made. You can
-get at the cigar stores, at small cost, if not as a gift, any number
-of boxes with square ends, that is, with the ends of the box as high
-as they are wide. After you have washed off the paper, get two boards,
-one a quarter or three eighths of an inch thick, and the other somewhat
-thinner, both being the width of the box. Saw off pieces three inches
-longer than the boxes, for platform and roof.
-
-First fasten your trucks under the thicker board, which is the bottom.
-To do this, bore a gimlet hole exactly through the middle of each truck
-block; put a six-penny nail from the bottom, first through the hole in
-the truck block, then through the cast-off part of a spool (_b_, _fig.
-5_), or half of it if too thick, or a small twist spool a half-inch
-high. Nail one to each end of the board loosely, so it will turn.
-
-Now, carefully take apart your cigar box, and mark on each long side
-a row of windows, like a passenger car, and in each end piece mark a
-door. Saw them out on a jig saw. (If you have no saw you can paint
-windows on the outside.)
-
-After cutting the windows and doors, put the box together again, with
-the brads which held it before, and laying it on to the platform board,
-so that each end of the board projects for a platform, nail them
-together. Then open the cover (which must never be broken off) and nail
-the roof board on to it in the same way; that is, so it will project at
-each end. Use brads for this nailing. The object of fastening the roof
-to the cover is that you may open your car and fill it with passengers
-if you choose.
-
-
-TO MAKE THE COUPLINGS.
-
-[Illustration: FIG. 4.]
-
-Take pieces of stiff copper wire three inches long, and with pliers
-bend over one end of each to form a hook, and the other ends into a
-small ring. Turning your car upside down, lay one of these wires in
-the middle of the end, with only the hook sticking out, and fasten it
-by a small screw through the ring (_fig. 6_); do the same at the other
-end, and then with some small brass curtain rings, which cost two or
-three cents a dozen, you can couple your cars nicely.
-
-Baggage and freight cars you can make in the same way, only cutting one
-large door in the side. You can make the cars as showy as you please,
-with paint of different colors, and finish them with a piece of muslin
-glued part way over the windows inside for shades. And now last comes
-the engine.
-
-
-TO MAKE THE ENGINE.
-
-For the foundation take a board one foot long, and three inches wide,
-which I will call the platform. To make the boiler, have a cylinder
-turned of wood, two and a half inches in diameter, and eight inches
-long; or take a square piece of that size and shave it down yourself
-to a cylinder; or—what is less trouble, and costs little—have a
-tinner make one for you, open at both ends, of course.
-
-[Illustration: FIG. 5.]
-
-The one I will describe, since it is the most simple to make, is the
-wooden one. Nail it to the platform board in such a way that the board
-will project in front one inch. You will have to nail it from the
-bottom of the board.
-
-[Illustration: FIG. 6.]
-
-Now take a three-quarter-inch auger and bore a hole one inch deep,
-in the top of the boiler, one half inch from the front end. This is
-to receive the smoke stack. To make the smoke stack, get a piece of
-dowelling three quarters of an inch thick, and four inches long, or use
-a bit of broom handle of that length. Shave the end down till it fits
-nicely into the hole on top of the boiler. Have it reach to the bottom
-of the hole, so as to be firm, and leave three inches standing up.
-
-To finish the smoke stack, and make it look like the newest fashion
-in American engines, you must nail on to the top, with brads, a round
-piece of wood, a quarter of an inch thick, and a quarter of an inch
-larger all around than the broomstick itself. Behind the boiler
-
-
-MAKE THE CAB.
-
-This is a peculiar thing, and the boy builder of the cigar-box train
-insists that it must be done exactly as he directs, in order to make a
-really _proper_ cab. To proceed, then:
-
-For the front piece take a board a half-inch thick, three and three
-quarters inches high, and two and a half wide. Cut with a jig saw, near
-the top, two windows, one on each side, to overlook the engine. Nail
-this to the back end of the boiler, and to the floor. Make the two side
-pieces of the cab of cigar-box wood three inches wide and four inches
-high. In these cut two windows, also near the top. Before you nail
-these side pieces on, make a third piece out of half-inch wood, two and
-a quarter inches long, by two and a half wide, and nail it with brads
-to the front piece of the cab, one inch from the floor, like a shelf.
-This is the real floor, and without it your cab will be a mere toy, and
-not at all the correct thing. Having this shelf in place, nail on your
-side pieces, both to the front piece, and to the shelf.
-
-The roof requires a piece of thin board, two and a half inches wide,
-and four inches long, so that it will project one inch beyond the
-sides. Remember it must be put _between_ the side pieces, and on _top_
-of the front piece, and nailed with brads.
-
-
-TO MAKE THE DRIVING WHEELS.
-
-The engine wheels are four in number, made by sawing from half-inch
-board four circles four inches in diameter, and from cigar-box wood
-an equal number four and a half inches in diameter. Each wheel is
-double, you see, to form the flange which keeps it on the track. Nail
-with little brads, each larger circle on to a smaller one, so that the
-former will project equally all around. Then bore a hole exactly in the
-middle of each, and your wheels are ready. With lath nails fasten one
-pair of wheels to the platform board at the side of the cab (flanges
-inside, of course), and the other pair to the same board in front, and
-so far that the rims of the two wheels on one side will be about two
-inches apart.
-
-
-TO MAKE THE COW-CATCHER.
-
-For this very important addition to the engine take a piece of wood
-three inches wide and two inches thick. Saw it on _both_ sides to a
-point (_fig. 7_). First shave it down on top so that it forms a sharp
-point at _b_, _fig. 7_. Then draw a line through the middle of the
-top (_a_ to _b_, _fig. 7_), and shave down each side so that it shall
-present a sharp edge all around from _c_ to _b_, and from _b_ to _d_
-(_fig. 7_). Nail this to the front end of the platform board with
-inch-long brads.
-
-
-TO MAKE THE TENDER.
-
-This is very easily made of a cigar box, one of the low sort, the same
-width as your cars, but only half the height. Remove the cover and take
-out one end board. Put the box on a board a half-inch longer than
-itself, and finish with trucks as you did your cars.
-
-At the back end of this tender—the closed end—fasten couplings like
-these on the cars, but to the engine it may be fastened by a common
-wire hook and eye. The hook being on the engine.
-
-This completes your train, and if you wish to make a double track, you
-need only make your ties long enough to allow trains to pass, and then
-lay your tracks side by side.
-
-[Illustration: FIG. 7.]
-
-With a little ingenuity, you can make bridges and tunnels, freight
-trains, and gravel trains, and can, in fact, increase your “rolling
-stock” to any extent.
-
-I hope you will enjoy building this railway and train half as much as
-did the boys in the attic in New York City. With them the building and
-improving, the running of trains and the adding of new facilities, make
-a never-ending entertainment.
-
-
-
-
-XVIII.—HOW TO MAKE A GOOD FLY.
-
-
-FLY-FISHING is poetry; ordinary angling is prose. The latter looks to
-the catch; the former to skill shown in the capture. There is more
-sport in hooking and playing one single bass with a light pliant
-fly-rod, than in dragging in a dozen by mere muscular force. To cast a
-fly lightly to a chosen spot, to note instantly the swell indicative of
-a “rise,” to strike at once, but deliberately, to keep your rod bent,
-your line taut, and your fish in the water long enough to exhaust him,
-all require judgment, skill and self-control.
-
-But after you have put up your rod for the season, you may still
-extract pleasure from mending your tackle, putting reel and rod in
-order, and last, but not least, in making a supply of artificial flies
-for future fishing.
-
-[Illustration: FIG. 1.]
-
-The articles necessary for making flies are hooks, silk, white wax,
-silkworm-gut, tinsel-feather fibres—dubbing for the bodies of fur,
-wool, silk or feathers—hackles for legs, and larger feathers for wings.
-
-[Illustration: FIG. 2.]
-
-[Illustration: FIG. 3.]
-
-First, get a good hook. The good hook is as sharp as a needle, and
-the barbed end points nearly exactly in a line with the end of the
-shank; not inside of the “line of pull,” _a_, _b_ (see fig. 1), lest
-the point come not in contact with the fish; nor too far out, lest the
-barb be pulled flatwise against the fish’s mouth, and thus not pierce
-it readily; nor exactly _in_ the line of pull, for, though in that case
-it would pierce anything between the point and end of shank, it might
-slip out without touching the unclosed jaws before the jaw had passed
-the line of pull. A point like _x_ would be bad, so would one like
-_z_; but one like _y_ would be about right. Now take the hook between
-the forefinger and thumb of your left hand, the shank pointing to your
-right, as in fig. 2. Say the end of a strong piece of silk, well waxed,
-on the hook near the bend, and, holding it firmly with your forefinger
-and thumb, wrap it tightly around the hook nearly to the end of the
-shank, as in fig. 3. Now coil a piece of silkworm-tug that has been
-soaked ten or fifteen minutes, and lay it on the hook with the coil
-to your right, and wrap it with your silk carefully and firmly down
-to the bend of the hook, cutting off the silkworm-gut a little before
-you get to the bend, so as to cover it well with the wrap, like fig.
-4, at first; it looks like fig. 5 after wrapping. Now take two of the
-fibres of a peacock’s feather, technically known as peacock’s herl, and
-a piece of silver or gilt tinsel; lay the tinsel on near the bend, and
-then, after two wraps of the silk, lay on the two pieces of peacock’s
-herl, which must be fastened by two or three wraps, as in fig. 6. Now
-fasten in with a turn or two of the silk the dubbing for the body of
-the fly. Supposing it to be peacock’s herl, three or four pieces will
-do, as in fig. 7. Then take a hackle-feather, shaped like fig. 8, from
-the neck or rump of a gamecock or brown leghorn, and fasten in the
-point with three wraps of your silk, as in fig. 9.
-
-[Illustration: FIG. 4.]
-
-You have now a hook, _a_, wrapped with well-waxed silk, _b_, with a
-piece of silkworm-gut, _c_, a piece of tinsel, _d_, two tail-pieces,
-_e, e_, dubbing for body, _f, f, f_ and hackle for legs, _g_.
-
-[Illustration: FIG. 5.]
-
-[Illustration: FIG. 6.]
-
-[Illustration: FIG. 7.]
-
-[Illustration: FIG. 8.]
-
-Now for the wings. Strip off or cut from a hawk’s feather, like fig.
-10, a clipping or two, like fig. 11, and fold it into a convenient
-width, and clip the ends square, like fig. 12. Lay them on the shank
-of the hook, butts to the left, points to the right, and fasten with
-three or four firm wraps, as in fig. 13. Now draw the silk under the
-wing, between them and the hook, to hold them temporarily, and going
-back to the bend of the hook, wind the dubbing, _f, f, f_ around the
-hook over and to your right as far as the root of the wings, leaving
-the hackle out; fasten the dubbing with one or two wraps, taking the
-silk from under the wing to do the wrapping. Next wind your tinsel
-_d_ up to the same point and fasten in same way. Now wind your hackle
-towards the right, twisting the quill as you wind to keep the fibres
-sticking outwards, and picking out any fibres that get entangled with
-a dubbing-needle (a needle stuck in a piece of soft pine, like fig.
-14) and fasten. Now turn back the wings with the points to your left,
-towards the bend of the hook; fasten back with one or two wraps,
-passing the silk through an opening between the wings made by the
-dubbing-needle, to separate them. Finish by making two loose wraps,
-like fig. 15; then draw the silk through them tightly, like fig. 16.
-Touch this fastening with a drop of gum-shellac, and it will not slip
-or be affected by water. Gum-shellac dissolved in alcohol can be gotten
-at any drugstore, and should be rather thick. Your fly will now look
-like fig. 17.
-
-[Illustration: FIG. 9.]
-
-[Illustration: FIG. 10.]
-
-Your flies should be _rough_ imitations of any water-flies you see in
-your tramps, in _color_ and _number_ of _parts_; outrageously colored
-flies will be taken by black bass, who seem to bite at anything that
-has the nearest apologies for body, wings and legs. All game-fish
-bite readily at a simple hackle wound from bend to shank around any
-attractively colored body in the form of a caterpillar; a good one for
-black bass is made with one reddish-brown hackle and two black ones;
-and a body of peacock’s herl wrapped with green or red silk is a good
-imitation of a caterpillar common here (in Virginia) in November.
-
-[Illustration: FIG. 11.]
-
-[Illustration: FIG. 12.]
-
-[Illustration: FIG. 13.]
-
-Anglers also make something having no counterpart in nature—a winged
-hackle—by tying the hackle in a winged fly back from the bend to the
-end of shank—a sort of winged caterpillar. Some fish, no doubt, are
-affected by it as by a caterpillar; others as by a fly; others just
-strike out of curiosity, as a kitten plays with a ball. Should you buy
-your tackle, buy from tackle-makers who angle occasionally themselves.
-They know more “wrinkles” in their “line” in a day than ordinary makers
-learn in a year. Some of the best houses in Boston, New York and
-Baltimore derive their most valuable specialties from the presence of
-one or more actual anglers in the firms.
-
-[Illustration: FIG. 14.]
-
-[Illustration: FIG. 15.]
-
-Water-flies have generally, like the Mayfly, fig. 18, a body, wings,
-legs, and tail-like appendages, technically, so you will not be far
-wrong if you make your fly have those parts, though fish bite at flies
-with less than these enumerated. For black bass, greens, yellows and
-reds seem the best colors, though white and black are often used. I
-like, however, flies that are combinations of bright and sober tints.
-A favorite fly with me has a body of peacock’s herl brown; wings,
-yellowish-white feather of chicken-hawk with discolorations on them;
-legs, a reddish-brown hackle from a gamecock or brown leghorn cock;
-tail-pieces, two fibres, like wings. I put a red streak in each wing. I
-call it the “academy,” after a school once under my care.
-
-[Illustration: FIG. 16.]
-
-[Illustration: FIG. 17.]
-
-[Illustration: FIG 18.]
-
-
-
-
-XIX.—HOW TO BIND MAGAZINES.
-
-
-IT is often the case that in households where even several magazines
-are taken, that little money can be afforded for the purpose of binding
-them; and it follows that they are soon destroyed, or else stored away
-and never looked at. The pretty covers provided for most magazines by
-the publishers are of course preferable; but they also, of course,
-cost something. Therefore I have concluded to tell you of a durable,
-cheaper, and on the whole, pretty way of binding your yearly, or
-half-yearly volumes.
-
-For several years we have made it a business to bind up our magazines
-every spring before cleaning house time; and we proudly exhibit to our
-friends our collections of neat, strong books which would look well
-in any library. We usually turn a corner of the living-room into a
-bindery, as we have no workshop.
-
-We bring in the work-bench with vise attached, pile our magazines on
-it, sort them into volumes, remove the covers and advertising leaves,
-put the engravings in their proper places if they are not there, place
-each volume according to date or page, lay the title page and table of
-contents at the top of each pile, and there are our magazines ready to
-bind. We have meantime a little pot of good glue in readiness on the
-stove, which, after it is dissolved thoroughly, is better to be kept
-only warm. A little good twine, a few strips of strong cloth, about an
-inch wide, a handsaw, a pair of shears, and some of the old covers and
-leaves are also at hand on the bench. Also we have two bars of wood an
-inch thick, two or three inches wide, and about two feet long, fastened
-together at one or both ends (one end only is necessary if a vise is
-used) by a bolt five or six inches long—this is the press.
-
-[Illustration: FIG. 1.]
-
-Now we take a volume of the magazines, lay an old cover on each side.
-Making sure that the numbers are perfectly even at the back and upper
-ends, we place them in the press with the backs projecting a quarter
-of an inch at least, placing them in the vise with the backs in a
-horizontal position (_see fig. 1_) and screw up pretty tightly. Then we
-saw into the backs as far as they project in three places (_fig. 1_).
-Next we dip a piece of cord into the glue, and wind it back and forth
-once or twice in the grooves made by the saw. This, as you will see,
-binds the volume firmly together.
-
-[Illustration: FIG. 2.]
-
-Now we take as many strips of cloth as there are grooves, each about
-six inches long, and gluing them in the middle, place one in each
-groove (_see fig. 2_). Then we cut a strip of strong paper, and glue it
-on the back of the volume.
-
-The book may be taken immediately from the press, though it is better
-to not handle it for a little while, and another set of numbers be
-put in. Several volumes may be bound in a short time, and if these
-directions are followed the binding is altogether as durable as that
-done at a bindery would be.
-
-The next thing in order is to smooth the edges; this we do by placing
-each book in the vise again—the tighter the better now—front edges
-up at first, and projecting far enough to allow them to be made even.
-Now we rasp them off even with the press, with a coarse furniture
-rasp, or the side of a saw. Sometimes we leave it thus, and sometimes
-we spatter-work it by dipping an old toothbrush in ink and drawing
-it across a sharp edge of wood, allowing the spatters to fall on the
-book before it is taken from the vise. The ends we treated in the same
-manner.
-
-Now we have a pile of books, without covers, to be sure, but even at
-this stage they are more available than if they are not bound at all.
-However, we provide covers without expense. We use old paste-board
-boxes for this purpose, cutting them a little larger than the volume
-they are intended for. We lay these covers in place, cover and fasten
-them by gluing the edges of the strips of cloth upon the _outside_
-smoothly; the cover goes as far back as the cloth will permit. Then
-we make a cover of cloth for the back, usually using black or brown
-cambric, or selesia. The back cloth is always at best an inch longer
-than the covers, and about three inches wider than the back; we cut
-coarse twine into bits a trifle longer than the book is thick, using as
-many as we may choose.
-
-[Illustration: FIG. 3.]
-
-We dip these twines in paste, one at a time, and lay them crosswise
-of the cloth, one at each end, at least, and just as far apart as the
-covers are long (_fig. 3._), laying the others between. Then we cut
-a strip of strong paper as wide as the cords are long, and just as
-long as the covers, and paste it over the cords, and then we paste the
-cloth down on the paper at the ends, and pin the completed back tightly
-around a stick—a broom handle is good—and let it remain there to dry.
-When we take it off we slip it over the back corners of the covers and
-fasten it strongly down with glue.
-
-After this the covers may be finished as elaborately as you may choose;
-we bind the edges of most of ours with cloth, and then trim off the
-edges of some of the front covers of the magazines and paste them on.
-We make a pretty inside finish by laying in a double leaf of manilla
-paper, one half pasted to the inside of the cover the other being left
-as fly-leaf.
-
-The freshly bound books should be piled with plenty of paper between
-them to absorb the moisture, with weights atop, until they are wholly
-dry. Shabby books may be made almost as good as new by smoothing the
-leaves, rebinding and recovering; and it is surprising to see how
-pretty bits of wrapping paper, and bits of brown, black, or gray cloth
-can be made to serve in this work; bits of leather may be used on the
-corners of covers. Sabbath-school papers, Lesson Quarterlies, etc., may
-thus be made into pretty volumes very easily. Five cents’ worth of glue
-will bind a great many volumes, and the gluing is a much easier and
-better way than sewing.
-
-
-
-
-XX.—HOW TO PHOTOGRAPH.
-
-
-NEARLY ten years ago I took lessons in landscape photography, and since
-then have made hundreds of photographs of places rarely visited, of
-strange people and wonderful vegetation, which have delighted the eyes
-of many friends. Assuming that many members of the Reading Union will
-wish to retain more permanent pictures of vacation scenes this summer
-than can be carried in memory alone, I propose to show how they can do
-this with little trouble and expense.
-
-First, I must congratulate you upon your good fortune in being able
-to enter upon the study of photography in the year 1882, rather than
-twenty, or even ten, years earlier. In no other department of science,
-except perhaps in electricity, has such an advance been made. It was
-only in 1839 that Daguerre published his success in obtaining an image
-on a silver plate, and in 1851 that the collodion process—that most
-in use at the present day—was given to the world. But within the past
-few years improvements have been made, by means of which the art is not
-confined to professional workmen, but can be enjoyed by all the young
-folks in the land.
-
-I well remember the disadvantages attending outdoor photography, even
-no longer ago than when I made my first attempts. By the collodion or
-wet process it was absolutely necessary to carry a large trunk full of
-chemicals and bulky apparatus. Among other things there was the “dark
-tent;” in its most compact form it was a box, about two feet and a
-half square, with curtains and aprons arranged so as to exclude all
-_actinic_ or chemical light. After setting your camera in position and
-focusing the picture, you had to retire into the dark tent, arrange
-the curtains about you to exclude all outside light, and consequently
-air, and then you coated the glass plate with collodion and dipped it
-into the “silver bath” to make it sensitive to light. This operation
-required several minutes, and if the day was hot and sultry, the
-operator in the dark box was nearly suffocated before he emerged with
-the prepared plate ready for the camera. After exposing this he was
-obliged to hide himself again in that hot box full of chemical fumes,
-and there “develop” the picture supposed to be upon the glass.
-
-With the discovery that plates could be prepared ready for use at
-any time, and that would remain sensitive to the action of light for
-months, a new field was opened, in which any one could wander who had
-the inclination. By this discovery all the bottles of chemicals, with
-the dark tent and the clumsy apparatus, were done away with. Materials
-for a hundred photographs can now be carried in a small valise or in an
-ordinary trunk amongst clothes and books.
-
-Though an amateur, and having no greater interest in photography than
-arose from a desire to secure pictures of the spots I visited, I hailed
-the appearance of the “dry plates” and their simpler mode of use, for
-I was heartily tired of the old way. My fingers were always black with
-silver stains, and my clothes streaked and stained with salts of iron
-and soda. My accidents, from the tipping over of chemicals, and in
-struggling over mountain roads and the beds of mountain torrents, were
-more than I could count on my fingers. In Florida, whenever I crawled
-into the dark tent—pitched, perhaps, on the border of a swamp or
-in the deep woods—the mosquitoes and sand-flies would make furious
-attacks upon my legs and nearly drive me wild, and I would be haunted
-by fear of the snakes and alligators that might attack me in that
-defenseless position—with my head in a sack and my hands employed.
-One day an enormous old billy-goat, taking offence at the outlandish
-appearance of my tent, as I was at work in it, half concealed from his
-view, charged on it with such force as to knock us all in a heap. When
-I had crawled out from the ruins, expecting to learn that an earthquake
-had passed by, I saw that billy-goat standing calmly by, chewing his
-cud, and shaking his head sidewise, as much as to say, “Get into that
-box again, and I’ll knock you over a second time!” In the West Indies
-it was always necessary to hire two negroes to carry my trunk, and as
-they invariably bore their burdens on their heads, the silver solution
-would sometimes leave a black streak down their faces, even darker
-than their ebony countenances!
-
-The new discovery did away with all this trouble. I was quick to see
-this, and in one of my trips to the tropics carried a camera and
-a stock of “dry plates.” Alas! I had too hastily adopted a crude
-invention. I climbed mountains, descended into craters of volcanoes,
-threaded tangled thickets, and penetrated to secluded valleys to
-photograph new scenes with my new instrument. Having perfect faith in
-the new invention, I did not test my plates with chemicals on the spot,
-but kept them till I returned, and then gave them to the photographer
-to manipulate. My carelessness was well rewarded, for of the nearly
-one hundred plates, _not one_ contained a perfect picture. I was in a
-condition then to sympathize with the great Audubon, who had a trunk
-full of drawings, the result of a year’s labor, destroyed by mice.
-
-Unlike him, I had not a sufficiently powerful incentive to repeat
-my travels, and the anticipated pictures were gone forever. Nothing
-daunted, I next year procured another machine and tried again, this
-time in Mexico. In that year the inventor had not been idle, and I
-informed myself upon the merits of his invention so that my results at
-the end of the journey were such as greatly pleased me and my friends;
-for from the plates of glass exposed to light in the camera flashed out
-fac-similes of strange idols of stone, grand old ruins, snow-capped
-volcanoes, valleys almost hid in dense vegetation, palms, tropical
-plants, and the picturesque features of that strange country.
-
-But, without further preface, let me tell you how you may take pictures
-this summer without any of the hindrances that I had to encounter in my
-first attempts.
-
-The first thing needed is a camera, which in its simplest form is a
-darkened box, with a lens in front, through which the scene is focused
-upon a plate in its back—a plate of glass prepared with chemicals so
-that its surface is sensitive to the light admitted through the lens.
-
-A few seconds of time is generally sufficient for the transmission
-of an impression to this plate, and before and after that “exposure”
-it must be kept away from all light until the “latent image”—the
-picture we cannot yet see—has been brought out and “fixed” by means
-of chemicals. This forms the “negative,” which is to the finished
-photograph what an engraved block is to the engraving on paper. To
-obtain this negative is your first object; having got this, you may
-produce from it as many prints as you like, at very little cost, either
-by taking it to a photographer, or by continuing the process and
-printing them yourself.
-
-While there are several instruments in the market with which the
-negative can be taken, most of them are so costly as to be beyond the
-reach of a boy or a girl with a limited supply of pocket money for a
-vacation trip; hence I shall choose one that is not only very cheap,
-but which I know by experiment will perform the work for which it
-is intended. It is the invention of a young man who has a practical
-knowledge of photography, and is called the “tourograph.”
-
-At first sight it is a small mahogany box, eight by ten inches broad,
-with a strap by which one can carry it. But by pulling out a slide in
-front a lens is revealed; and by drawing out another slide on the top
-an inner box is shown full of negative plates. This smaller box is
-fitted in position on top of the larger one, so that the plates, one at
-a time, can be dropped into a carrying-rack turned by a screw, in the
-dark chamber below. This plate having been placed in focus, the lens is
-uncapped for a few seconds, then recapped, and the glass is returned to
-the box above, where it is kept till evening, or until a favorable time
-for development. In this way all the plates—eight or ten—in the box
-may be exposed, and their places filled with fresh ones later on.
-
-The camera is supported upon a tripod, or three-legged stick, which can
-be closed up until not much larger than an alpenstock.
-
-This is the outline of the mechanical operation necessary to secure
-the negative. The plates, being ready prepared and packed in little
-boxes of a dozen each, are transferred to the camera at night, or in
-a dark room by day, by the aid of a _red_ light. This is obtained by
-placing a roll of red or orange-colored paper—made expressly for this
-purpose—around a lamp or candle, as the light that shines through a
-medium of this color is _non-actinic_, or without the power to produce
-chemical change in the very sensitive plates. You now have a plate with
-a latent image of the picture you desire to retain; this plate must
-pass through a chemical operation before that image will appear.
-
-Imagine yourself in a darkened room illuminated only by the _red_
-light, with a plate in your hand on which you fondly hope there is a
-duplicate of the scene before which you had set up the instrument. To
-all appearances it is a plate of plain glass, one side covered with
-a film of gelatine, and if you hold it to the light nothing appears
-to indicate the change that has taken place in that film since it was
-exposed to the light. The question is, how to bring that picture out
-from its hiding-place. First, you must have a shallow pan at hand, and
-place yourself near a good supply of water. Into the pan you pour the
-chemicals previously mixed, necessary for the _development_ or bringing
-out of the hidden image. These chemicals are, oxalate of potash and
-protosulphate of iron. To simplify matters, the inventor of the
-tourograph puts up these chemicals in papers, so that you only have to
-put into four ounces, or a gill, of water[D] one paper of the potash
-and another of iron; mix well, and the solution is ready for the plate.
-This must be placed in the tray with the film side up, and the solution
-flowed over it. When completely covered, let it remain, and carefully
-watch the development.
-
-[D] The operator should bear in mind that old saying, “A pint’s a
-pound, the world around,” then he will remember that it contains
-sixteen fluid ounces, four ounces to the gill, &c.
-
-This is the period of greatest anxiety for the young operator, for it
-is the critical stage of the proceedings. A few seconds will determine
-whether you have a picture before you, or merely a square of plain
-glass. Gradually the details unfold themselves: the “high lights” or
-white portions first, then the “half tones” or grades of shadow, then
-the deeper shades of foliage or objects feebly lighted. When the view
-has come out distinct, seems to progress no farther and to gradually
-fade away to a deep brown, you have got out all it is possible to
-obtain from that exposure, and the plate must be removed from the
-solution, and chemical action arrested by washing in clear water.
-
-Now you have before you tangible evidence of success, but your picture
-is not complete; it is dull, perhaps obscure, and if exposed to the
-light of day would quickly vanish. It must now _fixed_ in another
-solution and in another dish. The “fixing solution” is made by
-dissolving half an ounce of hyposulphite of soda in five or six ounces
-of water. Into this place the developed plate, and allow it to remain
-until all the whitish film is dissolved away. If both operations are
-faithfully performed you will have, on taking the plate from the
-solution and holding it to the light, a brilliant picture on glass—the
-_negative_—with all the lights and shadows reversed, the white
-portions quite opaque, and the dark parts almost transparent.
-
-Now wash very thoroughly in clear water, beneath a tap if possible, or
-by pouring a gentle stream over the glass for a few minutes, in order
-to remove every trace of superfluous chemical substance that might work
-injury. As a precaution against the possible peeling of the film, it
-is well to dip the negative in a strong solution of alum and water,
-then wash again, and set up to dry in a slanting position, with the
-film side next the wall. When perfectly dry a coat of photographic
-varnish, furnished with the chemicals, is flowed over the coated side
-of the glass, and the impression is securely fixed, ready for use
-in printing. Having secured the negative, your object is virtually
-attained: the possession of a souvenir of a vacation ramble, a favorite
-view, or of a picturesque camping-place. If it were my negative, I
-should take it to some good photographer, and let him prepare from it
-the prints I wanted, as that expense is small, and involves a good deal
-of labor for the amateur. But I suppose my readers will wish—as I did
-years ago—to see the whole process, and to make their own prints or
-paper pictures.
-
-
-PRINTING FROM THE NEGATIVE.
-
-White paper coated with albumen is made sensitive to light by being
-floated upon a solution of chloride of silver in water; and this, when
-dry, is placed against the negative and exposed to the sun. In this
-way, by pressing the silvered surface of the paper against the film
-side of the negative, a duplicate impression of the picture on the
-glass is transferred to the paper. This may be repeated with other
-pieces of paper any number of times, until hundreds are obtained from
-the same negative. Instead of attempting to prepare the paper yourself,
-it would be better to purchase it already _sensitized_, which you can
-do of any dealer in photographic goods. A printing-frame, or grooved
-block with a spring back, is used in printing. After having placed it
-with the negative and paper in the sun, watch carefully. By removing
-the frame and retiring to a dark corner, you can examine the paper
-by unspringing _one-half_ the back at a time, and thus print to the
-degree desired. It is best to print a little darker than it is designed
-to have the print when finished, as it will bleach a little in the
-subsequent process of _toning_. This toning operation, as well as the
-cutting up of the paper, the placing of it on the negative and removing
-it, should be performed in a darkened room. When a sufficient number
-of prints are done, trim them the size they are to be when finished,
-wash in two or three changes of water, and then place in the “toning
-bath,” made as follows: Chloride of gold one grain, water ten ounces,
-saturated solution of bread soda three or four drops. This will change
-them to a deep bluish or purple color, and gives them that lovely tint
-we admire in fine photographs.
-
-The chloride of gold is sent in solution, as well as the soda, so
-that you have but to follow the printed directions accompanying them,
-putting a certain quantity of each in the water, and your toning bath
-is at once prepared.
-
-After toning for a few minutes, remove the prints, and place in another
-dish containing an ounce of hyposulphite of soda dissolved in a pint of
-water; allow them to remain ten minutes, and then remove and wash an
-hour or more in water—running water if possible—constantly changing
-the water and moving the prints about. Then dry your prints and the
-completed picture is before you, ready for mounting on a card, or
-pasting in an album.[E] If you wish to obtain merely a “proof,” or a
-fair print, without the delicacy of shading and tone of the silver
-print, you can do this with “blue paper,” by simply exposing this
-prepared paper beneath the negative, and washing and drying without any
-further toning or fixing.
-
-[E] Many preparations are advertised for sticking the prints to the
-cards, but common starch paste is about as good as anything. Mix the
-starch in cold water, very thin, and then boil it, constantly stirring
-it to break up lumps, and remove from the fire soon as it reaches the
-boiling point. The prints should be wet and pasted on while quite
-moist, rubbing them down beneath a sheet of blotting-paper from the
-centre to the margin, in order to expel all air, that would otherwise
-cause lumps or wrinkles.
-
-These, in brief, are the various processes necessary for procuring
-a photographic print; but, as I have already remarked, the negative
-being your main object, it would be much better to rest content with
-securing that, and depend upon some photographer to give you the paper
-impressions.
-
-To recapitulate: For a short trip, fully equipped for taking
-photographs, we shall need the following:—
-
-  A “tourograph,” for plates 4×5 inches, with alpenstock
-    tripod and lens                                           $15.00
-  One dozen 4×5 plates                                          1.00
-  One graduate (or measuring glass)                              .50
-  Two developing pans                                            .40
-  One pound oxalate potash, in papers ready for use, 60 cents,
-    half pound protosulphate of iron, in papers, 10 cents        .70
-  One pound hypo’ soda, in papers, 10 cents, six ounces
-    varnish, 50 cents                                            .60
-                                                              ------
-  Sum total for apparatus and chemicals sufficient for
-    development of fifty negatives                            $18.20
-
-  If you will insist upon printing your own views, then you
-    will need in addition—one printing frame                    .60
-  One bottle chloride gold sufficient for a certain number
-    of prints as stated in directions with it, 50 cents, one
-    bottle bicarb, soda, 10 cents                                .60
-  Sensitized paper for one dozen prints                          .25
-                                                              ------
-                                                               $1.45
-
-In round numbers, for $20.00 you can be fully prepared to set up for
-yourself as an amateur photographer, and after many trials, with
-diligence and perseverance, can hope to secure photographs of scenery,
-interiors, and even portraits, that will compare favorably with the
-work of professional artists. The above is such an outfit—except that
-I had a larger camera and larger stock of plates—as I have carried to
-the West Indies and to Mexico.
-
-Since my return, however, I find that my friend, the inventor, has
-produced yet another instrument, which he calls his “pocket camera,”
-which folds up into a small package but one inch and a half in
-thickness, and weighs but _twenty-four ounces_. This is so constructed
-that double plate-holders, each containing two dry plates, form the
-top, sides and back of the camera, and the entire outfit for the taking
-of eight negatives, sold for ten dollars.
-
-It is only fair to state that other apparatus and outfits can be
-purchased at rates almost equally low, notably those of the Scovill
-Manufacturing Company, of New York, who furnish complete equipments
-from ten dollars up. While I recognize the excellence of these
-articles, I have selected the “tourograph,” as being something with
-which I have experimented, and likely, from its simplicity, to meet
-the wants of beginners.
-
-Since the expense is reduced to so reasonable a sum, and the road is
-made so easy that any one can travel it, what boy or girl will be
-deterred from entering this fascinating domain of photography?
-
-If you can secure some old room in the garret, or in some unused
-corner, cover the window with yellow or orange paper, excluding all
-other light, and take to it such simple chemicals and apparatus as
-I have indicated, then what a delightful world for experiment and
-research is opened to you!
-
-The mysteries of photography; how the subtle changes are wrought by
-the potent salts and acids, under the influence of the sun, I cannot
-explain now. But following the outline I have sketched, the rest will
-appear as you get interested, and you will gain an insight into wonders
-hitherto unrevealed, and enjoy sensations to which the boys and girls
-of past generations have been strangers.
-
-
-
-
-XXI.—ARCHERY FOR BOYS.
-
-
-MR. MAURICE THOMPSON has excited all the grown-up boys who loved in
-their younger days to draw the bow, by his graceful articles on archery
-for young men and women.
-
-I want to tell the boys who are wide awake how they may, without
-too much labor and with but little expense, make their own bows and
-arrows and targets, having _their_ fun, like their elders, in this
-health-giving and graceful recreation.
-
-In the first place, after you have made your implements for the sport,
-you must never shoot at or towards anyone; nor must you ever shoot
-directly upwards. In the one case you may maim some one for life, and
-in the other you may put out your own eye as an acquaintance of the
-writer’s once did in Virginia.
-
-[Illustration: FIG. A.]
-
-To make a bow take a piece of any tough, elastic wood, as cedar, ash,
-sassafras or hickory, well-seasoned, about your own length. Trim it so
-as to taper gradually from the centre to the ends, keeping it flat, at
-first, until you have it as in this sketch-for a boy, say, five feet in
-height: (Fig. A)
-
-This represents a bow five feet long, one and a quarter inches broad
-in the middle, three-fourths of an inch thick at the centre, and a
-half-inch scant at the ends in breadth and thickness.
-
-[Illustration: FIG. B.]
-
-Bend the bow across your knee, pulling back both ends, one in each
-hand, the centre against your knee, and see whether it is easily bent,
-and whether it springs readily back to its original position. If so
-your bow is about the right size. Cut near each end the notch for the
-string as in this figure: (Fig. B.)
-
-Bevel the side of the bow which is to be held towards you, so that a
-section of your bow will look like this figure: (Fig. C.)
-
-[Illustration: FIG. C.]
-
-The back or flat part is held from you in shooting, and the bevelled or
-rounded part towards you. Scrape the bow with glass and smooth it with
-sandpaper.
-
-To shape your bow lay it on a stout, flat piece of timber, and drive
-five ten-penny nails in the timber, one at the centre of your bow, and
-the others as in figure below, so as to bend the ends for about six
-inches in a direction contrary to the direction in which you draw the
-bow: (Fig. D.)
-
-[Illustration: Fig. D. (A and B are six inches from the ends. The bow
-is bent slightly at C.)]
-
-Your bow is now finished as far as the woodwork is concerned, and
-you may proceed to wrap it from end to end with silk or colored
-twine, increasing its elasticity and improving the appearance. The
-ends of the wrap must be concealed as in wrapping a fish-hook. Glue
-with Spaulding’s glue a piece of velvet or even red flannel around
-the middle to mark your handhold. The ends may in like manner be
-ornamented by glueing colored pieces upon them.
-
-A hempen string, whipped in the middle with colored silk, to mark the
-place for your arrow nock to be put, in shooting, will make a very good
-string.
-
-For arrows any light, tough wood, which splits straight, will do. I
-use white pine, which may be gotten from an ordinary store-box, and
-for hunting-arrows seasoned hickory. These must be trimmed straight
-and true, until they are in thickness about the size of ordinary cedar
-pencils, from twenty-five to twenty-eight inches in length. They must
-be feathered and weighted either with lead or copper, or by fastening
-on sharp awl-points or steel arrow-points with wire.
-
-I used to make six different kinds; a simple copper-wrap, a blunt
-leaden head, a sharp leaden head like a minie bullet, an awl-point
-wrapped with copper wire and soldered, and a broad-head hunting-arrow.
-
-[Illustration: FIG. E.]
-
-To make a copper wrap, wrap with copper wire the last half-inch of the
-arrow until you get near the end, then lay a needle as large as your
-wire obliquely along the arrow as in this figure: (Fig. E.) Continue
-the wrapping until you have weighted the arrow sufficiently; draw out
-the needle and thrust the end of your wire through the little passage
-kept by the needle, and draw it tight thus: (Fig. F.)
-
-[Illustration: FIG. F. (Before wrap was drawn through.)]
-
-[Illustration: FIG. G. (After wire was drawn through.)]
-
-A blunt leaden head is made by pouring three or four melted buck-shot
-into a cylinder of paper, wrapped around the end of the arrow, slightly
-larger at the open end, and tied on by a piece of thread. The wood of
-the arrow must be cut thus: (Fig. H.)
-
-[Illustration: FIG. H.]
-
-The paper is put on thus: (Fig. X.)
-
-[Illustration: FIG. X.]
-
-It should look like this after the metal has been poured in and the
-paper all stripped off. (Fig. I.)
-
-[Illustration: FIG. I.]
-
-It should look like this after being sharpened like a minie bullet:
-(Fig. J.)
-
-[Illustration: FIG. J.]
-
-An awl-point arrow is made by inserting the point in the end of the
-arrow, wrapping with copper wire, and getting a tinner to drop some
-solder at the end to fasten the wire and awl-point firmly together. The
-awl-point looks like this: (Fig. K.)
-
-[Illustration: FIG. K.]
-
-[Illustration: FIG. L.]
-
-The awls (like Fig. L) are filed like this into teeth-like notches on
-the part going into the wood, and roundly sharp on the other part thus:
-(Fig. M.) These may be shot into an oak-tree and extracted by a twist
-of the hand close to the arrow-point.
-
-[Illustration: FIG. M.]
-
-[Illustration: FIG. N.]
-
-The broad-head hunting-point (Fig. N) is put on by slitting the arrow
-and inserting the flat handle of the arrow point, and wrapping it with
-silk, sinews, or copper wire. These points can be sharpened along the
-line A B on a whetstone, and will cut like knives. The hunting arrow
-looks like this: (Fig. O.)
-
-[Illustration: FIG. O.]
-
-To feather an arrow you strip a goose feather from the quill and,
-after clipping off the part near the quill-end, you mark a line down
-the arrow from a point one inch from the nock and, spreading some
-Spaulding’s glue along that line apply the feather, lightly pressing
-it home with forefinger and thumb. After you have glued on one piece
-lay aside the arrow and fix another, and so on until the first is set,
-so that you may put on another piece. When you have fastened these
-feathers on each arrow lay them aside for ten or twelve hours. The
-three feathers will look like this: (Fig. P.)
-
-[Illustration: FIG. P.]
-
-A boy can hardly make a good quiver unless he were to kill some furred
-animal and make a cylindrical case such as the Indians have, out of its
-skin. I am afraid that he usually would have to get a harness-maker to
-make him a quiver out of leather, somewhat larger at the top than at
-the bottom. It should hold from eight to twelve arrows.
-
-[Illustration: The Target.]
-
-A good target may be made of soft pine, circular or elliptical in
-shape. In the latter case a line-shot might count, even though it were
-farther from the centre. Pieces should be tacked to the back of this
-target at right angles to the grain of the wood. Differently-colored
-circles or rings, a little more than the width of an arrow, must be
-painted on this, with a centre twice the width of an arrow. The outer
-ring counts one, the next two, three, four and so on to the centre,
-which of course counts highest. By this plan one’s score could be told
-with perfect accuracy.
-
-If an arrow struck on a line between number three and four it counts
-three and a half. Anything like this rarely happens. The target is
-fixed upon an easel formed of three pieces of wood fastened together
-by a string at the top, and it ought to lean back at the top slightly,
-away from the archer.
-
-The three arrows count seven, nine, ten—twenty-six in all. In
-target-shooting you should use awl-pointed, wire-wrapped arrows, as
-they can be easily drawn out of even a wooden target.
-
-
-
-
-XXII.—SIR WALTER SCOTT’S IDEA.
-
-
-SOME years ago, while reading Lockhart’s _Life of Sir Walter Scott_, I
-came across a passage, in the autobiographical part, which struck me as
-so suggestive that I copied it; and here I copy it again, after which I
-will say my little say on the subject (it was when he was a youth, you
-know):
-
-    Wherever I went, I cut a piece of a branch from a tree—these
-    constituted what I called my log-book; and I intended to have a
-    set of chessmen out of them, each having reference to the place
-    where it was cut—as the kings from Falkland and Holy Rood; the
-    queens from Queen Mary’s yew-tree at Crookston; the bishops
-    from abbeys or Episcopal palaces; the knights from baronial
-    residences; the rooks from royal fortresses; and the pawns
-    generally from places worthy of historical note.
-
-Do you suppose he ever did it?
-
-Now I had had the “collecting craze” for years, just as most boys and
-girls have now; and wherever I had been, had secured something, till
-a most miscellaneous accumulation was packed away in boxes and drawers
-about the house. Moreover, the rest of the children, as they grew up,
-had been possessed with the same idea. The boy who went South had
-obtained specimens of different kinds of woods; the one who was in the
-army had picked up relics; the girl who went to the White Mountains,
-and afterwards to Ticonderoga, had gathered mosses, leaves, and wild
-flowers.
-
-Besides, all of us who had a duplicate or a bit to spare, had exchanged
-with some of our friends, just as you are all doing. The thing is in
-the air. Boys are boys, and girls are girls, everywhere; and fashions
-repeat themselves, and are passed on. You are doing what we did before
-you; and by and by, others will do as you are doing.
-
-The result was that we had a little of everything, and a great deal, a
-very great deal all told; and when spring house-cleaning came around,
-and as in all proper households, every closet and drawer, bag and
-bundle was turned inside out, our mother would say: “Why don’t you make
-something out of these things? Seems to me if I couldn’t, I’d give
-them to somebody who would.”
-
-There was the trouble—we meant to; forever meaning to do something;
-but that class, whether old or young, does not usually accomplish much.
-
-But let me tell you of things that _have_ been done—by whom it does
-not matter. One boy started up on Sir Walter’s plan, and set the
-example for his comrades (besides correspondents); so that presently
-hand-books on chess made their appearance in the neighborhood; and
-there began to be a great deal of turning on lathes, and fine sawing,
-and whittling, and sand-papering. Pretty soon chess was all the talk;
-and as that game is one which requires in Wordsworth’s line (written on
-an altogether different subject)
-
-    Endurance, foresight, strength, and skill,
-
-(the strength being strength of purpose) also a good head for planning,
-and a memory, it turned out that the chessmen fancy proved a good
-thing. Nothing outside of good, hard, school studies can better
-discipline some of the faculties than that game. It is indeed no light
-accomplishment to play even tolerably well. Besides, when those boys
-were absorbed in chess, their fathers and mothers did not have to worry
-about them when they were away in the evening.
-
-One set had historic associations almost the next best thing to Sir
-Walter’s. Think of the king being made of a piece of wood from Mount
-Vernon; a castle (or rook) of a piece from Fort Ticonderoga (we have
-forts, or ruins of forts, enough); a knight from a piece of John
-Brown’s scaffold; and the pawns from a peach-tree that grew from a
-stone a soldier had thrown away on a Virginia battlefield.
-
-Chessmen can be made from specimens of wood of our native trees; solid
-oak for king or castle, delicate poplar or birch for the queen, and so
-on; or of any curious and rare woods; and almost all have some beauty
-of grain or markings. They can be turned on a lathe, and then finished
-in grooves and otherwise, or wholly done with the knife. Many, as you
-know, are in two pieces; and the king and queen in some sets can be
-taken apart in two places, making three.
-
-There are great opportunities in pieces of wood. The boy who went to
-the war brought home enough of Southern woods for several canes; and
-for convenience in packing, he cut it in sections about six inches
-long; purposing to fit them together on the same principle that a cap
-of rubber is fitted to the end of a pencil; by cutting away on one
-piece to slip into a hole made in the next, plug fashion, and there
-glued.
-
-Relics in wood can be worked into a glove box or handkerchief box,
-skilfully joining the parts and as skilfully gluing them. Picture
-frames suggest another form. There is one here made by a clerk in a
-store while waiting for customers. It has over three hundred small
-strips, lapping in a fanciful way, and not a tack, or a brad is used in
-the work; but this is too complicated.
-
-It is easier to turn out checker-men or napkin-rings, or make
-pen-holders, or paper-knives. Very elegant paper-knives can be
-fashioned, having one kind for the blade and two for the handle. But
-all this woodwork must be done with great care, accuracy and nicety,
-not only in the cutting and dovetailing or matching of the parts, but
-in the gluing and finishing off, including a delicate oiling to bring
-out the grain. It is nice work; to be sure it is. But if soldiers in
-prisons can do such things as some of our soldiers did, with not much
-besides a jack-knife to do with, pray cannot a smart Western or Eastern
-boy do as much?—between scroll saws and the variety of choice tools
-within his reach, he is not the boy I take him for if he cannot make
-himself a set of chessmen, or a work-box for his sister.
-
-As for minerals, I lately saw at a State Fair a box on which broken-up
-specimens from that State were glued, crusting it all over with stone
-that sparkled in places like crystal. On each specimen was a mere speck
-of paper with a number on it, which corresponded to a number on a
-written list placed inside, telling what they were—beryl, tourmaline,
-quartz, etc., etc., and I thought it an admirable thing.
-
-In a parlor, arranged in a border around the little iron fence in front
-of the coal grate I once saw a curious display of cobble-stones brought
-home from different beaches. The lady who put them there was artistic,
-and the effect was pretty. Sea-shells of delicate varieties can be used
-as necklaces or bracelets if pierced with a red-hot darning needle,
-or in some way bored to admit of being strung; some of those lovely,
-iridescent, foreign shells, strung in such a way, are greatly to be
-desired. You can think of so many ways to put them to pretty use!
-
-Mosses and lichens you can group on card-board or glue them to a wooden
-cross. With leaves and pressed flowers you can do no end of things. You
-can mount them on card-board, or make a wreath of them around a piece
-of wire or rattan; or ornament a fan with them—a round, Japanese fan,
-recovering it with silk or paper of a neutral color, for background.
-One girl made a transparency with three or four bright autumn leaves
-(from a woodbine), which were gathered from among some that had fallen
-at Longfellow’s gate—just where the poet’s feet had passed in and
-out hundreds of times. She cut two pieces of coarse lace to fit the
-window-pane, glued her cluster of leaves in the centre between them,
-then overcast the outer edges and put on a deep binding of crimson
-velvet. As the light streamed through they were gorgeous as old stained
-glass.
-
-If you collect relics, souvenirs, momentos, curiosities, they are
-worth arranging. If you get tired of them, give them to somebody else.
-
-All these articles require much painstaking. They will be spoiled for
-any person of good taste if they are daubed, out of proportion, or
-awry. Don’t let them have a home-made look either. They need not. No
-reason why a boy of average skill should not do as well, after some
-experience, as those sailors in the light-ships; or why a girl should
-not, with care and all her trying, make as pretty things as the gypsy
-women or the nuns, of whom people like so well to buy.
-
-
-
-
-XXIII.—KNOTS, HITCHES AND SPLICES.
-
-
-WHEN I was a boy (which was not so very long ago), it was my fortune,
-one time, to make a trip from Bristol, Rhode Island, to New York, as
-a sort of working passenger in the sloop _Resolution_, Captain Israel
-Northup. One morning the captain called out to me from the wheel to
-bring aft a bucket of water, at the same time pointing to a wooden pail
-that stood on the deck near me. I therefore made fast (as I thought)
-to the handle of the pail the end of the peak halliards and dropped it
-over the side. It filled readily enough, and I was carelessly pulling
-it up again, when suddenly, to my great chagrin, the knot that I had
-made untied itself, and away went the pail drifting rapidly astern.
-
-Captain Israel, although he had witnessed the whole of this
-performance, said nothing at the time. But a little later, chancing
-to walk past where I was sitting, he picked up the end of a rope, and,
-running it through a ringbolt near by, showed me the knot which you see
-in Fig. 1.
-
-[Illustration: FIG. 1.—ANCHOR-BEND.]
-
-“The next time you throw a bucket overboard,” said he, “you’d better
-make it fast with an Anchor-bend.” Then in the kindness of his heart
-he sat down on the rail beside me and gave me a practical lesson
-(afterwards several times renewed) in the matter of rope-tying.
-
-“There is some things about ropes that a boy _must_ know to be wuth
-anything at all,” observed he. “An’ there mought be times when a man
-would give all Cuby ter know how ter tie two ropes together so’t they’d
-_stay_.”
-
-[Illustration: FIG. 2.—THE WRONG WAY.]
-
-Believing that these words of Captain Israel are worth heeding, and
-wishing, so far as is possible in an article like this, to do for
-other boys what the worthy old sailor did for me, I shall ask the
-readers—both boys and girls, mind you—to take a rope and practise,
-according to the following directions, some few of the most important
-knots, hitches and splices.
-
-The first thing to be sure of is the right way to fasten together two
-pieces of string or rope. That is a thing that some of us have to do
-twenty times a day; and it is quite probable that twenty times a day
-we do it wrong. Suppose that you wish to lengthen your fish-line, or
-add another ball to your kite-string: how will you do it? Shall you lay
-the two ends side by side and then twist them together into a knot just
-such as your sister would make in the end of her thread, as is seen in
-Fig. 2?
-
-If you do, you may fairly expect that your fish (if you hook him) will
-get away with the main part of your line, or that presently your kite
-will go skurrying off to northward far out of your sight, until you
-find it again, half an hour later, after a hot chase, hanging tangled
-and torn in one of the trees of farmer Applewood’s orchard. Such a knot
-is at least as likely to slip as to hold, and, if tied in a rope, is
-liable sooner or later to cut the rope, because the strain is at right
-angles. What is really wanted is a Square-knot (Fig. 3, _a_).
-
-[Illustration: FIG. 3.
-
-A SQUARE OR REEF-KNOT.
-
-A GRANNY.]
-
-Take the two ends and tie them together exactly as you would tie a
-“hard-knot” in your shoe-string. Only you must be careful and not tie a
-Granny (Fig. 3, _b_).
-
-One _may_ slip, the other won’t.
-
-Fig. 4 is a Becket-hitch, the proper knot for joining a large and a
-smaller rope. It will be useful, for example, when the keleg-line of
-your boat is too short, and the only line at hand to bend on to it is a
-stout piece of hemp twine.
-
-[Illustration: FIG. 4.—A BECKET-HITCH.]
-
-A loop at the end of a rope—that is, a loop that will not draw up—is
-another knot that has frequently to be made. And yet few people know
-how to make it. I know a very bright young fellow living out at the
-Highlands, who the other day made a loop in the end of a rope which
-he _knew_ would not slip, and then, squeezing it over his dog’s head,
-tied him to the kennel and went off to school by himself. But the loop
-did slip, and poor Don almost choked to death before his plight was
-discovered. What is wanted in such a case is a Bowline.
-
-[Illustration: FIG. 5.—THE BOWLINE.]
-
-Make a bight near the end of your rope, as in the first cut of Fig. 5.
-Seize this with the left hand at _a_, and then with the right hand pass
-the end _b_ up through the bight, around behind the main part of the
-rope at _c_ and down in front of it through the bight again as in _d_.
-Draw this tight and you have the much-talked-of Bowline. It is a very
-simple matter, as you see; but with it you can make a slip-noose that
-will give you no trouble in lacing up your box, or you can put your
-dog’s head in it without fear of coming home and finding him “dead at
-his post;” or the farmer’s daughter can safely tether a pet pony or
-the bleating calf out to feed upon the fresh grass.
-
-[Illustration: FIG. 6. FIG. 7. FIG. 8. FIG. 9.]
-
-While speaking still of the ends of ropes, let us stop and learn to
-“fasten them off” properly to prevent their untwisting or fraying out.
-The painter or main-sheet of your boat, Bridget’s clothes-line, your
-little sister’s jump-rope, and indeed _any_ rope whose end is not
-(like the Irishman’s) cut off altogether, may need such treatment.
-The simplest method is to “serve” or wind the end with small twine.
-A Single-wall (Fig. 6), or a Double-wall (Fig. 7), is better. But
-better still is the Boatswain’s-whipping, formed by making an inverted
-single-wall and then splicing the ends back over the rope itself (Fig.
-8 and Fig. 9).
-
-The most elegant of all such, however, is the Stopper-knot, seen
-complete in Fig. 14.
-
-Place the end _a_ as in Fig. 10, holding it with the thumb at _d_; pass
-_b_ around under it, _c_ around under _b_ and through the bight of _a_,
-and pull tight; this forms a Single-wall (Fig. 11). Now lay _a_ over
-_d_, _b_ over _e_, _c_ over _b_ and through the bight of _a_, and draw
-tight (Fig 12).
-
-Next pass _b_ down around _f_ and up through the bight _g_, and do the
-same with _a_ and _c_, forming Fig. 13.
-
-[Illustration: THE FIVE STEPS OF THE STOPPER-KNOT.
-
-FIG. 10.
-
-FIG. 11.
-
-FIG. 12.
-
-FIG. 13.
-
-FIG. 14.]
-
-[Illustration: FIG. 15.—A SHEEPSHANK, BEFORE IT IS DRAWN TIGHT.]
-
-Then pass each strand by the side of the strands in the crown down
-through the walling to form the “double-crown,” and cut close the ends
-_a_, _b_ (and _c_), producing Fig. 14.
-
-A Sheepshank (Fig. 15) is a knot by which a rope may be made shorter,
-or (as a young yacht-woman of my acquaintance recently expressed it) “a
-tuck taken in it.” If the tide has come in and you wish to shorten the
-mooring-line of your boat, or if the line by which your campaign flag
-is suspended across the street is too loose, or your clothesline, or
-your swing, has sagged frightfully, the Sheepshank will gather up the
-slack for you and hold it firmly.
-
-When one wants to make an artificial handle for an old jug or some
-other vessel, the True-Lover’s knot is used, as seen in Fig 16.
-
-[Illustration: FIG. 16.—THE TRUE-LOVER’S KNOT.]
-
-Tie two loose knots, _a_, _b_, as in the first cut of Fig. 17; pass
-the bight _a_ through the opening _f_, the bight _b_ through _g_, pull
-the loops equal, and, to complete the knot as in second cut of Fig. 17,
-join the ends _c_, _d_, by a long splice at _e_.
-
-[Illustration: FIG. 17.]
-
-The Jar-sling, seen in Fig. 20, serves a similar purpose. You are out
-picnicking, perhaps, and you suddenly find it desirable to convert an
-empty gherkin bottle into a swing-vessel in which to take home alive
-some tadpoles or minnows. In a long piece of cord make a large loop
-as in Fig. 18, and hold the bight against the standing parts, _a, a_;
-pass the thumb and forefinger of the other hand down through _c_, lay
-hold of _b_ where the crook of the imaginary wire is seen, and draw it
-through _c_ down a little below _a, a_, as in Fig 19, _d_, and hold it
-there. Now pass the thumb and forefinger down through the opening _e_
-(in the way the wire goes), lay hold of _g_, and draw it up through
-_e_, forming the complete knot as in Fig. 20.
-
-One more knot, the Turk’s-head (Fig. 23), remains to be described
-before we pass to the briefer subject of hitches. Take a long piece of
-fishing-cord, place the end _a_ against the forefinger, wind the cord
-around the two fingers and hold it with the thumb, as in Fig. 21.
-
-[Illustration: FIG. 18. FIG. 19. FIG. 20.]
-
-Now with the other hand lay the part _b_ _over_ part _c_, and while
-in that position pass the end _a_ down between them, over the first
-crossing, under left strand, up between, over second crossing, under
-right strand, up between; take the hitch off your fingers, and it will
-be as in Fig. 22.
-
-Next pass the loose end through the opening _d_, laying it against the
-cord _a_; then with it follow that strand (_a_) over and under, over
-and under, until you have a complete plait of three cords. Pass the
-knot over a stick to make it taut, and cut the ends close.
-
-[Illustration: FIG. 21.]
-
-The Turk’s-head knot, like the two preceding it, will tax your
-precision, deftness and patience, and is an ornamental rather than a
-useful knot. You may weave one from wire or cord about the handle of
-your cane or riding-whip, or you may pull a few hairs from old Dobbin’s
-tail and make them into a very pretty horsehair ring for your cousin
-Fanny when you two are out driving together along the forest road.
-
-[Illustration: FIG. 22. FIG. 23.]
-
-The knots in Figs. 24, 25 and 26 explain themselves; they are often
-useful to picnickers and campers-out. _Hitches_ are no less _knots_
-than any of the foregoing; but they are knots used to fasten the end of
-a rope to any object in such manner as to be easily cast off when no
-longer needed. They are few in number, and all very simple and easily
-described.
-
-[Illustration: FIG. 24.—TWO WAYS OF FASTENING A WEIGHT TO A LINE.]
-
-[Illustration: FIG. 25.—TO TIE A SHORT LINE, TO WHICH A HOOK IS
-ATTACHED, TO A LONGER OR GROUND LINE.]
-
-[Illustration: FIG. 26.—TO FASTEN A LINE TO A FISHHOOK.]
-
-A Blackwall hitch is merely a loop thrown about a hook, as in Fig.
-27, in such a way that the main part of the rope, _c_, being pulled
-downward, the part a jams the part _b_ against the hook so firmly that
-while the strain is kept up the knot cannot possibly slip. Sailors
-use this hitch very frequently, but it can be used on land as well as
-at sea. If you have retreated, in a game of “Chase,” to the topmost
-branch of the oak-tree on the lawn, and have a rope in your hand just
-long enough to reach the ground and no longer, just make, in a single
-instant of time, a Blackwall hitch in the crotch of the limb, and,
-if you dare trust yourself to it, it will take you to the ground in
-perfect safety, long before your pursuer can climb down again by the
-way he came up; and you can carry off your rope with you.
-
-[Illustration: FIG. 27.—BLACKWALL HITCH.]
-
-Or possibly you might be “up a tree” in a different way. Old Tibbetts,
-your father’s gardener, not daring to trust himself away from mother
-earth, has sent you up into the elm tree to saw off for him the limb
-that is growing too near the house. But that limb must not be allowed
-to come crashing down; and so, with the rope you have taken up with
-you, you cast about it, while you saw, a Timber hitch, shown in Fig. 28.
-
-[Illustration: FIG. 28—TIMBER HITCH.]
-
-[Illustration: FIG. 29.]
-
-Of all hitches, however, the one which any man or boy can least afford
-not to know is the Clove hitch. Make two bights or loops, as in Fig.
-29; hold them between the thumbs and forefingers at _a_, _b_; slide
-the left loop over the right loop; then slip the double loop thus
-formed over the table-leg, or your brother Willie’s finger, or anything
-that will represent a post, and draw tight by the end (Fig. 30).
-Practise this until your fingers can do it swiftly and _of themselves_,
-just as your tongue can say the alphabet; for a Clove hitch, when it is
-used, needs to be made quickly and handsomely. I once saw a young cadet
-from Annapolis, who had been out on a sailing party with some ladies
-and had jumped ashore with a rope, hesitate at least half a minute
-before he could think how to make the proper knot, while a number
-of old sea captains sitting by were watching him and laughing among
-themselves. A Clove hitch may be used, too, when, while out fishing,
-you extemporize an anchor by tying a rope to a stone. And in Fig. 31
-you see again how this knot, _e_ (with a half-hitch, _f_ in front of
-it), is used to tow a floating spar or drag a piece of timber across
-the field.
-
-[Illustration: FIG. 30.—THE CLOVE HITCH.]
-
-Two other hitches, a Rolling hitch and a Cat’s-paw, are shown in Fig.
-32.
-
-[Illustration: FIG. 31.—FLOATING SPAR.]
-
-Splicing is a process by which ropes are joined together so as to
-leave no knot. I appreciated its importance the other morning when I
-saw an intelligent man of fifty work for an hour to splice a hammock
-rope. Where it is specially important that the joining be a very nice
-and smooth one, the “short” splice is used. It is made by passing
-the strands of one piece in and out between those of the other. The
-short splice always leaves the spliced part thicker and clumsier than
-the rest of the rope. If it is desirable that the joining be a very
-neat one, so as to admit of the rope’s running readily through the
-sheave-hole of a block, the “long” splice is necessary. This is made
-by unwinding each end about two inches, placing the strands as in the
-short splice, then unwinding one strand further back, and winding the
-corresponding strand of the other piece in its place; proceeding in
-the same way with the other strands, and then fastening the ends in
-such a way that it is almost impossible to detect the splice. We have
-not space to describe here the exact mode of procedure; but there is
-scarcely a town or village anywhere but has its “old sailor,” and there
-is no old sailor anywhere but will be glad to come and give you all a
-lesson in splicing.
-
-[Illustration: FIG. 32. A ROLLING HITCH. A CAT’S-PAW.]
-
-[Illustration: FIG. 33. FIG. 34.]
-
-[Illustration: FIG. 35. FIG. 36. FIG. 37.]
-
-A splice that you can very easily learn for yourselves, however, is
-the Eye-splice. First make yourself a marling-spike—if you have not
-the genuine article by whittling down to a point a piece of hard wood.
-I have found that the half of a clothes-pin, so treated, answered the
-purpose exceedingly well. Then take a piece of good three-strand rope,
-unwind the strands, and place them as you see _a_, _b_, _c_, in Fig.
-33. Open the strand _d_ and pass _a_ through it, as in Fig. 34; then
-open _e_ and pass _b_ _over_ _d_ and _under_ _e_, as in Fig. 35. Turn
-the eye over, Fig. 36, open _f_ and pass _c_ through it, as in Fig.
-37, and pull the strands tight. Now pass _a_ _over_ the strand next
-it, _under_ the next one, and so on with the others. Proceed in the
-same way until the splice is about an inch long. Then stretch the eye
-(holding by the rope) to tighten everything, and cut the ends close. If
-you will make a neat Eye-splice all by yourself and take it to the old
-sailor aforementioned, he will be sure to think it worth while to teach
-you all he knows, and he will be likely to tell you many things about
-knots, hitches and splices which are of necessity omitted here.
-
-
-
-
-Transcriber’s Notes
-
-
-Minor punctuation errors have been corrected.
-
-Some inconsistencies in hyphenation have been left as printed.
-
-In the text version underscores have been used to indicate _italics_,
-and equals signs to show =bold= text.
-
-Figure numbering is not consistent through the book.
-
-p 79. The figure here is mislabelled as Fig 2 and has been corrected to
-Fig. 1.
-
-p 107. Fig14 is out of order and repeated further on, left as printed.
-
-p. 58. “Half the length of brass piece” has been corrected to “Half the
-length of the brass piece”.
-
-p. 106. “50 feet, ⅞ inch pien” changed to “50 feet, ⅞ inch pine”.
-
-p. 144. Fig. 3 appears to be upside down. It has been left as printed.
-
-p. 166. “No we have a pile of books” changed to “Now we have a pile of
-books”.
-
-p. 167. “The back cloth is always at beast an inch longer”
-
-changed to “The back cloth is always at best an inch longer”.
-
-p. 174. “hindrances that I had to encouter” changed to “hindrances that
-I had to encounter”.
-
-
-
-
-
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-<pre>
-
-The Project Gutenberg EBook of A Boy's Workshop, by Harry Craigin
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: A Boy's Workshop
-       With plans and designs for in-door and out-door work
-
-Author: Harry Craigin
-
-Release Date: November 13, 2015 [EBook #50451]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK A BOY'S WORKSHOP ***
-
-
-
-
-Produced by Chris Curnow, Chris Jordan and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-</pre>
-
-
-<div class="chapter">
-
-<h1 class="faux">A BOY’S WORKSHOP<br />
-WITH PLANS AND DESIGNS FOR IN-DOOR AND OUT-DOOR WORK</h1>
-
-<p class="ph2">SOME SPECIAL BOOKS<br />
-FOR NEIGHBORHOOD CLUBS.</p>
-
-
-<p>To meet the growing demand for books for young people which shall
-be as entertaining as stories, and at the same time educational in influence,
-we suggest the following:</p>
-
-<blockquote>
-
-<p>I. <b>The Reading Union Library</b>, a series prepared for the
-Chautauqua Young Folks’ Reading Union, $1.00 volume, fully illustrated;
-four volumes now ready, others in preparation: (a) <i>Magna
-Charta Stories</i>, thrilling tales of the world’s great struggles for liberty,
-edited by Arthur Gilman; (b) <i>Old Ocean</i>, the romance and wonders of
-the sea, by Ernest Ingersoll; (c) <i>Dooryard Folks</i>, fascinating natural
-history, by Miss A. B. Harris, and including the author’s curious experiments
-with “A Winter Garden”; (d) <i>The Great Composers</i>, a condensed,
-comprehensive story of music and musicians, by H. Butterworth.</p>
-
-<p>II. <b>Our Business Boys.</b> The ways to success in business life,
-the rocks of danger, as described by <i>eighty-three business men</i>, in response
-to inquiries by the author, Rev. F. E. Clark. Price, 60 cents.</p>
-
-<p>III. For reading after or in connection with, the above, there are
-three volumes about those who have worked and won: (a) <i>Men of Mark</i>,
-(b) <i>Noble Workers</i>, (c) <i>Stories of Success</i>; to which may well be added
-(d) <i>A Noble Life; or, Hints for Living</i>, by Rev. O. A. Kingsbury;
-each volume, $1.25.</p>
-
-<p>IV. Charlotte M. Yonge’s <b>Young Folks’ Histories</b>, $1.50 a
-volume:</p>
-
-<p>
-Young Folks’ History of Germany.<br />
-Young Folks’ History of Greece.<br />
-Young Folks’ History of Rome.<br />
-Young Folks’ History of England.<br />
-Young Folks’ History of France.<br />
-Young Folks’ Bible History.<br />
-</p>
-
-<p>V. <b>Lothrop’s Library of Entertaining History.</b> Edited
-by Arthur Gilman, M. A. Each volume has one hundred illustrations.
-These histories are designed to furnish in a succinct but interesting
-form, such descriptions of the lands treated as shall meet the wants of
-those busy readers who cannot devote themselves to the study of detailed
-and elaborate works, but who wish to be well-informed in historical
-matters. $1.50 per volume.</p>
-
-<p><i>America</i>, by Arthur Gilman, M. A.; <i>India</i>, by Fannie Roper Feudge;
-<i>Egypt</i>, by Mrs. Clara Erskine Clement; <i>Spain</i>, by Prof. James Albert
-Harrison; <i>Switzerland</i>, by Miss Harriet D. S. Mackenzie.</p>
-
-<p>VI. <b>Popular Biographies</b>, of great and good men, whose efforts
-and accomplishments cannot fail of helpful suggestions to young
-people. Each volume illustrated. Price $1.50.</p>
-
-<p>
-Abraham Lincoln.<br />
-Horace Greeley.<br />
-Henry Wilson.<br />
-Bayard Taylor.<br />
-Henry W. Longfellow.<br />
-Washington.<br />
-Daniel Webster.<br />
-Charles Sumner.<br />
-James A. Garfield.<br />
-George Peabody.<br />
-Charles Dickens.<br />
-William the Silent.<br />
-Benjamin Franklin.<br />
-Amos Lawrence.<br />
-Israel Putnam.<br />
-John G. Whittier.<br />
-David Livingstone.<br />
-Oliver Wendell Holmes.<br />
-</p>
-
-<p>The above books sent, post-paid on receipt of price. Send for full
-catalogue of more than a thousand volumes, including many volumes of
-story, biography, travel and adventure equally desirable with the above
-for neighborhood clubs and reading circles.</p></blockquote>
-
-
-<p class="center">D. LOTHROP &amp; CO., Publishers, Boston.</p>
-</div>
-
-<div class="chapter">
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_1" id="Page_1"></a></span></p>
-
-
-<p class="center f150">                           A BOY’S WORKSHOP</p>
-
-
-<p class="center p4">                        WITH PLANS AND DESIGNS</p>
-
-
-<p class="center f120 p4">                     FOR IN-DOOR AND OUT-DOOR WORK</p>
-
-
-<p class="center p4">                                  BY<br />
-<span class="f120">     A BOY AND HIS FRIENDS</span></p>
-
-
-<p class="center p4">                        WITH AN INTRODUCTION BY<br />
-
-<span class="f120">                        HENRY RANDALL WAITE</span></p>
-<hr class="tb" />
-
-<p class="center">                                BOSTON<br />
-<span class="f120">                        D. LOTHROP AND COMPANY</span><br />
-                      FRANKLIN AND HAWLEY STREETS
-</p>
-
-
-<p><span class="pagenum"><a name="Page_2" id="Page_2"></a></span></p>
-
-
-<p class="center p4">                             Copyright by<br />
-
-  <span class="smcap">D. Lothrop and Company</span><br />
-
-   1884</p>
-
-
-<p class="center">                              <b>Press of
-                           Berwick &amp; Smith,
-                              Boston.</b>
-</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_3" id="Page_3"></a></span></p>
-
-<h2 class="p4">                     CONTENTS.</h2>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="TOC">
-<tr class="f75"><td class="tocchap">CHAP.</td><td class="tocdesc">&nbsp;</td><td class="tocpg">PAGE</td></tr>
-<tr class="f75"><td class="tocchap"><span class="smcap">Chap.</span></td>
-<td class="tocdesc">&nbsp;</td>
-<td class="tocpg"><span class="smcap">Page</span></td></tr>
-
-<tr><td class="tocchap">I.</td><td class="tocdesc"> The Shop Itself</td>
-<td class="tocpg"><a href="#Page_7">7</a></td></tr>
-
-<tr><td class="tocchap">II.</td><td class="tocdesc"> The Sawhorse and Workbench</td>
-<td class="tocpg"><a href="#Page_13">13</a></td></tr>
-
-<tr><td class="tocchap">III.</td><td class="tocdesc"> The Sawhorse and Workbench (<i>Continued</i>)</td>
-<td class="tocpg"><a href="#Page_21">21</a></td></tr>
-
-<tr><td class="tocchap">IV.</td><td class="tocdesc"> The use of Tools</td>
-<td class="tocpg"><a href="#Page_30">30</a></td></tr>
-
-<tr><td class="tocchap">V.</td><td class="tocdesc"> How to make a Tool Cabinet</td>
-<td class="tocpg"><a href="#Page_38">38</a></td></tr>
-
-<tr><td class="tocchap">VI.</td><td class="tocdesc"> How to make a Tool Cabinet (<i>Continued</i>)</td>
-<td class="tocpg"><a href="#Page_47">47</a></td></tr>
-
-<tr><td class="tocchap">VII.</td><td class="tocdesc"> Hinges and Lock</td>
-<td class="tocpg"><a href="#Page_54">54</a></td></tr>
-
-<tr><td class="tocchap">VIII.</td><td class="tocdesc"> Curtain Poles</td>
-<td class="tocpg"><a href="#Page_62">62</a></td></tr>
-
-<tr><td class="tocchap">IX.</td><td class="tocdesc"> Book-rest</td>
-<td class="tocpg"><a href="#Page_71">71</a></td></tr>
-
-<tr><td class="tocchap">X.</td><td class="tocdesc"> Book-rest (<i>Continued</i>)</td>
-<td class="tocpg"><a href="#Page_79">79</a></td></tr>
-
-<tr><td class="tocchap">XI.</td><td class="tocdesc"> A Bed Table</td>
-<td class="tocpg"><a href="#Page_85">85</a></td></tr>
-
-<tr><td class="tocchap">XII.</td><td class="tocdesc"> Cabinet</td>
-<td class="tocpg"><a href="#Page_89">89</a></td></tr>
-
-<tr><td class="tocchap">XIII.</td><td class="tocdesc"> A Boy’s “Catchall”</td>
-<td class="tocpg"><a href="#Page_96">96</a></td></tr>
-
-<tr><td class="tocchap">XIV.</td><td class="tocdesc"> How to Build a Portable Wooden Tent</td>
-<td class="tocpg"><a href="#Page_107">107</a></td></tr>
-
-<tr><td class="tocchap">XV.</td><td class="tocdesc"> How to Build a Portable Wooden Tent (<i>Con.</i>)</td>
-<td class="tocpg"><a href="#Page_117">117</a></td></tr>
-
-<tr><td class="tocchap">XVI.</td><td class="tocdesc"> How to make a Fernery</td>
-<td class="tocpg"><a href="#Page_127">127</a></td></tr>
-
-<tr><td class="tocchap">XVII.</td><td class="tocdesc"> A Boy’s Railway and Train</td>
-<td class="tocpg"><a href="#Page_138">138</a><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></td></tr>
-
-<tr><td class="tocchap">XVIII.</td><td class="tocdesc"> How to make a good Fly</td>
-<td class="tocpg"><a href="#Page_154">154</a></td></tr>
-
-<tr><td class="tocchap">XIX.</td><td class="tocdesc"> How to bind Magazines</td>
-<td class="tocpg"><a href="#Page_163">163</a></td></tr>
-
-<tr><td class="tocchap">XX.</td><td class="tocdesc"> How to Photograph</td>
-<td class="tocpg"><a href="#Page_169">169</a></td></tr>
-
-<tr><td class="tocchap">XXI.</td><td class="tocdesc"> Archery for Boys</td>
-<td class="tocpg"><a href="#Page_186">186</a></td></tr>
-
-<tr><td class="tocchap">XXII.</td><td class="tocdesc"> Sir Walter Scott’s Idea</td>
-<td class="tocpg"><a href="#Page_196">196</a></td></tr>
-
-<tr><td class="tocchap">XXIII.</td><td class="tocdesc"> Knots, Hitches and Splices</td>
-<td class="tocpg"><a href="#Page_204">204</a></td></tr>
-</table>
-</div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p>
-
-
-
-
-<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2>
-
-
-<p>T<span class="smcap">he</span> typical American boy, at some period in his life, has a
-taste for the mechanic arts. Before he is out of pinafores, he
-surreptitiously lays hold of edged tools, and with unlimited self-confidence
-tries to make something. If his success lies chiefly
-in the direction of making pieces of furniture and bric-à-brac,
-and the covering of his juvenile apron with gore, followed by a
-tableau in which a shrieking youngster, an angry sire, and a
-sympathetic mother are about equally prominent, the effect is
-merely to determine the amount of the boy’s grit, and to prepare
-the way, in the battles of the future, for the survival of the
-fittest. While a certain number of the pinafored experimenters,
-pensively regarding healed gashes and flattened thumbs, will
-ever after sedulously avoid contact with chisels and hammers,
-the plucky boys, who form the majority, will hardly wait for the
-shedding of belladonna plasters, and the bleaching of gory
-aprons, before seizing upon the instruments of their discomfiture,
-with a firm determination (founded on the boyish belief in
-the intelligence and moral responsibility of inanimate objects)
-to let those tools know that they know how to handle them
-without getting hurt. After various efforts for the mastery, the
-implacable foes of the unskilful juvenile, such as the hatchet,
-the saw and the hammer, will shake their sides in malignant
-laughter over the final discomfiture of a second installment of
-the rising generation, and will own themselves partially subject
-to the ten and twelve-year-old veterans who have come triumphantly
-through the struggle, and can use such tools as happen
-to fall into their hands with a more or less murderous degree
-of execution. To this large class of boys, intrepid, ambitious,
-industrious, and full of manly instincts, America looks for<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
-its inventors, its engineers, architects, designers, skilled artisans,
-and most successful business men in every walk in life. They
-constitute, in fact, what may be termed the “Honorable Guild
-of Amateur Artisans,” and it is for the benefit of the members
-of this juvenile guild that “A Boy’s Workshop” is sent forth,
-with the best wishes of its editors and publishers.</p>
-
-<p>It will bring to thousands of lads just such information in
-regard to the first steps in the mechanic arts as they most need,
-and will enable them, with little other direction, if wisely encouraged
-by their elders, to so develop whatever mechanical
-ingenuity they may possess, as to make it easy to determine
-whether they shall ultimately join the ranks of those wholly
-devoted to the useful arts, or continue to be amateurs, using
-to good advantage whatever skill they have acquired in connection
-with other occupations.</p>
-
-<p>But the parents and instructors of boys have no less reason
-than the boys themselves for awarding to this book a cordial
-welcome. In neither home nor school is adequate attention now
-given to the training of the hands to skill in the use of any of
-the tools employed in the industrial arts. It need hardly be
-stated that every boy should have at least a little training in this
-direction, while to thousands, such training is an essential part
-of their equipment as bread-winners and as useful citizens. “A
-Boy’s Workshop” is calculated to meet a need in this important
-respect, and on this account alone, is worthy of a place in
-the library of every home and school.</p>
-
-<p>The desire to turn the energies of hands and brain upon constructive
-work, is worthy and honorable. Let it have proper
-encouragement. We have too little of the industry which follows
-habits well formed, and too little of the thrift which follows
-skill. Society, the State, and the nation have need of the boy who
-has a workshop. May every boy who wants one, have one, and
-God bless him!</p>
-
-<p>
-HENRY RANDALL WAITE.<br />
-</p>
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p>
-
-
-
-
-<p class="ph2"><a name="A_BOYS_WORKSHOP" id="A_BOYS_WORKSHOP">A BOY’S WORKSHOP.</a></p>
-
-
-
-<hr class="tb" />
-<div class="chapter">
-<h2><a name="I_THE_SHOP_ITSELF" id="I_THE_SHOP_ITSELF"></a>I.&mdash;THE SHOP ITSELF.</h2>
-
-
-<p class="drop-capt">IF there is anything a boy really likes to have, it is
-a workshop of his own.</p>
-
-<p>But then it must be really his own; a place where
-he can pound and hammer, saw and whittle, and
-make all the litter and noise he wants to, without
-having to clear up things.</p>
-
-<p>A boy likes a place where he can leave a thing
-half finished and be sure of finding it again. He
-wants a key to the door, so that he can lock up his
-treasures and know he shall find them safe the next
-spare hour he gets to work at some pet notion.</p>
-
-<p>Housemaids, and sometimes even mothers, don’t see
-the difference between unfinished work and rubbish,
-and off into the kindlings goes something that has
-cost a boy a lot of thought and work. No wonder a<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
-fellow who isn’t a saint, but only a human boy, gets
-out of patience and wishes emphatically, that “folks
-would just let his things alone!”</p>
-
-<p>So I say, let every boy have his own workshop
-and a key to it.</p>
-
-<p>Where shall the workshop be?</p>
-
-<p>I don’t think it makes much difference. There
-must be plenty of light, of course, and the room must
-not be damp. My first workshop was in the attic,
-with a skylight. I liked it first-rate; but it was a
-bother to bring the lumber up-stairs, and then, too,
-the shavings and chips had to be carried down. I
-got along with it capitally though for three years;
-but I like my down-stairs shop better. The noise of
-pounding and sawing never disturbs any one either, if
-it is below. One end of the woodshed can be partitioned
-off for a shop if there is no room in the
-house.</p>
-
-<p>Now you’ve got your workshop, the next thing is,
-“what shall go into it?”</p>
-
-<p>There are two ways to fit up a workshop. The
-easiest and the quickest is also the most expensive:
-<i lang="la" xml:lang="la">i. e.</i> get your father to tell the carpenter to fit it up,<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
-and then buy a tool chest. The objections are: the
-expense and the doubtful quality of the tools in a
-ready-filled tool chest; then, to my thinking, you lose
-a lot of fun yourself. It is a good lesson in carpentry
-to make your own work bench and tool chest,
-and the money you save that way can go into better
-tools.</p>
-
-<p>Every boy ought to remember this, a <em>cheap</em> tool is
-probably a <em>dear</em> tool. The very best is really the
-cheapest in the end, and you can’t do good work
-with poor tools.</p>
-
-<p>Of course the boys I am talking to are not in the
-infant class. A boy who has never fooled round
-with tools, who has never cared enough about carpentry
-to try his hand at tinkering up broken chairs
-and boxes, the boy who hasn’t got past mashing his
-fingers when he drives a nail, and doesn’t know the
-difference between cutting with a saw and whittling
-with a knife, isn’t the boy to care whether he has
-a workshop or not.</p>
-
-<p>But I should like to help the boys who have had
-“toy tool chests,” and have used them enough to find out
-“they are no good,” and are really ambitious to do<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
-neat, serviceable work, and to know enough about the
-right use of good tools to be ready and able to do the
-hundred little odd jobs that come up in a house and
-can often be as well done by a boy carpenter as by a
-regular workman. I know one boy who in one year,
-doing odd jobs himself, saved the full cost of his
-outfit.</p>
-
-<p>When I began I couldn’t find anybody to tell me
-the things I wanted to know. I had to find them
-out for myself, and that is just what I am going to
-try and tell you. So we start with this understanding.
-You are in earnest; you wish to do good, substantial
-work; you haven’t a great deal of money to spend,
-and you are willing to let patience and labor make
-up for the lack of money, knowing, too, that the
-lessons you will get making your work bench and
-tool chest will be worth considerable.</p>
-
-<p>If your mother can spare you an old bureau, or an
-old-fashioned washstand with a lid and a cupboard,
-it will be handy in one corner of the workshop, not
-only to hold your tools till the chest is made, but to
-keep all sorts of odds and ends in by and by.</p>
-
-<p>You ought to have a stout pair of overalls, or a<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
-workman’s apron made of ticking, with a good pocket.
-I have both, and find them handy. If it’s a little job,
-I slip on the apron; if a long one it pays to get into the
-overalls. Your clothes keep clean, and there’s nothing
-to do when the dinner bell rings but to slip off
-the working uniform and wash your hands. Carpentry
-is cleaner work than printing. I know, for I have
-tried both.</p>
-
-<p>Now for the list of essential tools. If it sounds
-large and expensive, you must remember that once
-bought they will last for years, and are your capital,
-your stock in trade. From time to time you will add
-to them. If you live in Boston or the vicinity, I
-should advise you to go to Goodnow and Wightman’s,
-176, or to Wilkinson’s, 184 Washington street, or
-some other first-rate establishment, and get what you
-want. On an order like this there would be quite a
-discount.</p>
-
-<p>The prices vary from time to time, so those in the
-list are given simply that you may have a general idea
-of the cost.</p>
-
-<p>I will say here that it will pay you to have two or
-three practical lessons in the use of a saw, a plane,<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
-and a chisel, from a carpenter. If you are in the
-city, there are regular classes where you can get such
-instructions. It will save patience and tools.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Essential Tools">
-<tr><td class="tdl">Hammer</td><td class="tdr">.75 to $1.00</td></tr>
-<tr><td class="tdl">Saw (cross-cut) 16 to 18 inch</td><td class="tdr">1.25</td></tr>
-<tr><td class="tdl"><span class="ditto">&nbsp;"</span>(splitting)<span class="ditto">&nbsp;""</span></td>
-         <td class="tdr">1.35</td></tr>
-<tr><td class="tdl">Chisel 1 inch socket firmer</td><td class="tdr">.60</td></tr>
-<tr><td class="tdl"><span class="ditto">&nbsp;"&frac12;""&nbsp;"</span></td>
-         <td class="tdr">.25</td></tr>
-<tr><td class="tdl">Bit brace (plain 1.50) ratchet</td><td class="tdr">2.00</td></tr>
-<tr><td class="tdl">Bits &#x215C;, &frac12;, &#x215D;</td><td class="tdr">.80</td></tr>
-<tr><td class="tdl">Small bits &frac14; and less for screws, the set</td><td class="tdr">.50</td></tr>
-<tr><td class="tdl">Screw-driver (at Wilkinson’s ask for a gunmaker’s and machinist’s drop forged)</td>
-         <td class="tdr"> .40</td></tr>
-<tr><td class="tdl">Hatchet</td><td class="tdr">.75</td></tr>
-<tr><td class="tdl">2 ft. rule</td><td class="tdr">.25</td></tr>
-<tr><td class="tdl">Try square (9 inch)</td><td class="tdr">1.00</td></tr>
-<tr><td class="tdl">Oil stone (1&frac12; or 2 inches wide)</td><td class="tdr">.40</td></tr>
-<tr><td class="tdl">Mallet (large wooden)</td><td class="tdr">.35</td></tr>
-<tr><td class="tdl">Small iron Block Plane (Bailey’s)</td><td class="tdr">1.25</td></tr>
-<tr><td class="tdl">Jack or Fore Plane, Stanley’s 20 inch</td><td class="tdr">2.25</td></tr>
-<tr><td class="tdl">Draw Knife 7 inch</td><td class="tdr">.70</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">______</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">$15.10</td></tr>
-</table></div>
-
-<p class="p3">Nails and screws of various sizes can be got at
-any hardware store. If you send an order through
-the village store, be sure to send to first-class establishments,
-and procure the following makes:</p>
-
-<p>Planes, <i>Bailey’s</i> or <i>Stanley’s</i>, iron and wood; chisels
-and gouges, <i>Buck</i> or <i>Moulson</i>; braces, <i>Barber</i>;
-saws, <i>Henry Diston</i>; rules and squares, <i>Stanley</i>;
-files, <i>Stubs, Greaves and Sons</i>.</p>
-</div>
-
-<div class="chapter">
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>
-
-
-
-
-<h2><a name="II_MY_SAWHORSE_AND_WORKBENCH" id="II_MY_SAWHORSE_AND_WORKBENCH"></a>II.&mdash;MY SAWHORSE AND WORKBENCH.</h2>
-
-<p class="drop-capt">NOW that you have a fair assortment of tools to
-work with, the next thing is to have a work-bench;
-for even an
-accomplished carpenter
-can’t do
-much without a
-good, strong, firm
-bench. And of
-course you must
-have a sawhorse before
-you <em>can</em> have a
-bench; but a sawhorse
-is a simple affair to make, and I will tell
-you how to set about it right away, for you ought
-not to buy anything that with a little trouble you
-can make. Besides it will be good, plain practise
-with try-square, saw and plane.</p>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp013" id="figp013"></a><img src="images/i_013.jpg" width="250" height="212" alt="" />
-<div class="caption"><span class="smcap">Fig. 1</span></div>
-</div>
-
-<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p>
-
-<p>The sawhorse for the average boy ought to stand
-about twenty or twenty-two inches high, so that you
-can kneel with one knee on it easily.</p>
-
-<p>You must get two pine boards:</p>
-
-<blockquote>
-<p>
-<i>A</i>, 6&nbsp; feet long, 6 inches wide, 1&frac12; inches thick.<br />
-<i>B</i>, 12 feet long, 6 inches wide, 1 inch thick.<br />
-</p>
-</blockquote>
-
-<p>Take A, cut off two and one half feet: if not
-already planed, plane nicely on all sides. (Unplaned
-boards are cheaper than planed boards.)</p>
-
-<p>Take this two and one half foot board and measure
-four inches from the end. Lay on try-square
-and draw a line across the board at dotted line. (<i>See
-right end of <a href="#figp013">fig. 1</a>.</i>)</p>
-
-<p>Then measure five and one half inches more from
-this line: with try-square extend second line across
-the board. Measure one inch on all these lines from
-the outer edge of board, and connect by lines <i>b b</i>
-and <i>c c</i>. With cross-cut saw cut carefully through
-the one inch from <i>a</i> to <i>b</i>; then with chisel cut out on
-line <i>b b</i>. Don’t cut quite as deep on the lower edge,
-for these openings are for the legs, and should slope
-out a trifle, that the legs may be farther apart on the<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
-floor than at the top when nailed on&mdash;one eighth of
-an inch will make difference enough for a good slant.
-All four leg sockets must be done alike, else your
-horse will be bow-legged and unsteady.</p>
-
-<p>Now plane the twelve-foot board <i>B</i> (unless it is
-already planed). Square one end nicely; measure
-off twenty-two inches. Lay try-square and draw a
-line across the board. Take the cross-cut saw and
-saw neatly on the line. Smooth the end with a block-plane,
-bevelling it slightly, so it will fit firmly on the
-floor. This is for one leg. Do three more legs in
-the same way, always trimming the ends with block-plane,
-to make them stand upon the floor true
-and even.</p>
-
-<div class="figright" style="width: 80px;">
-<a name="figp015" id="figp015"></a><img src="images/i_015.jpg" width="80" height="159" alt="" />
-<div class="caption">Fig 2</div>
-</div>
-
-<p>One thing, boys, you <em>must</em> remember:
-In planing <em>across</em> the grain never plane
-to the end at first, for you will chip the
-corners and spoil the end. Keep reversing
-the block; <i lang="la" xml:lang="la">i. e.</i> first plane from <i>A</i> to <i>B</i>,
-then from <i>B</i> towards <i>A</i>. (<i>See <a href="#figp015">fig. 2</a>.</i>)</p>
-
-<p>Before fitting the legs into their sockets, plane the legs
-to fit the five and one half inch spaces made in the first
-board. The inner upper edge of the legs must come exactly<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
-level with the top line of the board. The
-outer edge will of course be higher on account of
-the slope of the slot, and must be planed smooth
-with block-plane after the legs have been firmly
-nailed into place with three or four eight-penny nails.</p>
-
-<p>To keep the legs from spreading apart at the ends,
-you must make a sort of brace.</p>
-
-<div class="figleft" style="width: 100px;">
-<a name="figp016" id="figp016"></a><img src="images/i_016.jpg" width="100" height="128" alt="" />
-<div class="caption">Fig 3</div>
-</div>
-
-<p>Take a piece of the board left after
-cutting off the legs, and fit it
-across the legs under the top board
-in this way: Hold it close to the
-board and against the legs, then
-draw a pencil line, following the
-outside slant of the legs. (<i>See <a href="#figp016">fig.
-3</a>.</i>) Now with cross-cut saw cut across on this line;
-trim with block-plane before nailing; put one piece
-on each end, nailing through to the legs.</p>
-
-<p>One thing more and then your horse is done;
-ready to stand if not to go.</p>
-
-<p>Find the middle of one end of top board, draw a
-line three inches long down the board, with try-square.
-Then <em>on the end</em> measure one inch each side
-of this centre line. (<i>See <a href="#figp018">fig. 4</a>.</i>) Draw line from <i>a</i><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
-to <i>b</i>, and cut on lines with splitting-saw; this will
-leave a triangular space which you will find very
-useful by and by in cutting small pieces of
-wood.</p>
-
-<p>From board <i>A</i> there ought to be left a piece about
-three and one half feet long, and from board <i>B</i> a
-piece about two feet long. These you will put aside
-for further use.</p>
-
-<p>Now for the Bench (with a capital B, because it
-is the principal partner in the firm of Carpenter and
-Co.).</p>
-
-<p>Buy three good two-inch pine planks. Say two
-planks ten feet long, one foot wide, and one eight feet
-long, six inches wide. Ready planed, at the sawmills
-around here, these cost about eight cents a foot;
-a little less unplaned. Besides these, you want one
-ten-foot inch board, one foot wide; this should cost
-about four cents a foot. Before you really start on
-your Bench, look around your workshop and decide
-where you will have it stand. There must be a space
-ten feet long against the wall, with plenty of light.
-A window at the left is the best.</p>
-
-<p>One thing you must have which I didn’t reckon<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
-with the tools; but it is easy to prepare. I mean a <em>chalk
-line</em>. There are fancy ones,
-but the sort I’m going to
-describe does just as well.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp018" id="figp018"></a><img src="images/i_018.jpg" width="200" height="60" alt="" />
-<div class="caption">Fig 4</div>
-</div>
-
-<p>Get a piece of curtain-cord
-twelve or fifteen feet long, and make a loop
-on one end; then provide yourself with a good piece
-of common chalk; when you want to use it, chalk
-the line well by passing the line over the chalk as
-you would wax thread; to use it put the loop over
-a nail at one end of the line you wish to chalk, hold
-the other taut, and snap the line smartly in the middle;
-it will leave a straight chalk line for a guide in
-cutting.</p>
-
-<p>Now take the shorter of the two-inch planks, the
-one eight feet long, make a mark in the middle
-of each end, drive a small nail in the left-hand
-end exactly in the middle; having chalked your line
-well, slip the loop over the nail, draw the line taut
-down the middle of the board to the other or right-hand
-end, holding the line close to the board; pluck
-the string sharply in the middle and you will find an
-even chalk line the whole length of the board.</p>
-
-<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p>
-
-<p>Put one end of the board over sawhorse, take the
-splitting-saw and cut carefully down the line, holding
-the saw a little more vertical than you would a cross-cut
-saw.</p>
-
-<p>Having divided your board thus, lengthwise, you
-will have two strips eight feet long, three inches wide,
-two inches thick.</p>
-
-<p>With large plane smooth the rough sides of these
-strips as well as you can, resting the boards on the
-sawhorse. One end of each
-strip must be good and
-square: if not so already,
-take small block-plane and
-square it as best you can.</p>
-
-<p>From the squared end
-measure thirty inches; draw
-a line across the board.
-Then by aid of try-square
-make another line one
-eighth inch beyond. This makes it easy to saw
-straight across the wood with a cross-cut saw. Take
-block-plane and square the end nicely.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp019" id="figp019"></a><img src="images/i_019.jpg" width="200" height="231" alt="" />
-<div class="caption">Fig 5</div>
-</div>
-
-<p>You have now prepared one leg of your bench<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
-Cut another thirty-inch length in the same way from
-the piece left. Repeat this with the other strip.
-You now have four legs for your bench just alike
-with nicely squared ends.</p>
-
-<p>For cross-pieces cut from the pieces that remain
-two lengths of nineteen inches each; cut and trim as
-before.</p>
-
-<p>Take one pair of legs (<i lang="la" xml:lang="la">i. e.</i> two of the thirty-inch
-strips), lay them on the floor on the <em>two-inch</em> side, just
-<em>nineteen inches</em> apart. At one end, between the legs, lay
-one of the nineteen-inch pieces <em>also on the two-inch side</em>,
-so it will be flush with the squared ends of the legs;
-hammer the legs on to the ends of the cross pieces
-with two or three twenty-penny nails. This job
-ought to be done very neatly and accurately, so that
-the shape will be exactly like <a href="#figp019">fig. 5</a>. If you are careless
-and let the legs spread while nailing, your Bench
-will be hopelessly rickety.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p>
-
-
-
-
-<h2><a name="III_MY_SAWHORSE_AND_WORKBENCH" id="III_MY_SAWHORSE_AND_WORKBENCH"></a>III.&mdash;MY SAWHORSE AND WORKBENCH.
-(<i>Continued.</i>)</h2>
-
-
-<p class="drop-capt">TO give greater firmness to the bench there must
-be some brace made this way: Take the
-ten-foot inch board; square one end; measure
-twenty-three inches with try-square; cut off nicely
-with cross-cut saw. Now you have a board twenty-three
-inches long and twelve inches wide. Divide in
-middle at each end; connect the points with chalk
-line, then cut down this line with splitting saw.</p>
-
-<p>You will have two pieces twenty-three inches long
-and six inches wide; these are the two end braces.
-Lay one of these pieces across the legs you have just
-joined, at the closed end. All the edges must be
-flush; if not, plane them and make them true. You
-will see that if you have measured and cut carefully
-they will come right, for the legs are each two inches<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
-thick, making four inches, and the cross-piece is
-nineteen inches, making twenty-three in all; just the
-length of your brace. Nail the brace firmly into
-both legs and cross-piece with six-penny nails. Do
-the same with the other set of legs.</p>
-
-<p>Now in the space you have chosen for your bench,
-stand up both pairs of legs endwise to the wall, and
-six feet apart, leaving full two feet clear beyond, as
-your bench will be ten feet long when done.</p>
-
-<p>Take the two big planks (the ten foot ones, two
-inches thick), measure two feet from each end of each
-plank: draw a line in direction <i>a a</i>. (<i>See <a href="#figp025">fig. 6</a>.</i>) Then
-parallel to <i>a a</i>, draw another, <i>b b</i>, one inch farther
-toward the middle of the board; then another, <i>c c</i>, an
-inch beyond that, always measuring away from the
-ends. On these lines <i>a a</i> and <i>b b</i> mark the places
-for your screws in alternate spaces, thus&mdash;</p>
-
-<div class="figcenter" style="width: 300px;">
-<a name="figp022" id="figp022"></a><img src="images/i_022.jpg" width="300" height="56" alt="pattern" />
-</div>
-
-
-<p>Remember always that screws or nails put in diagonally
-like that hold more firmly than the same number
-in a straight line.</p>
-
-<p>Before putting in the screws, see that the legs<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
-stand parallel and close to the wall; put the first
-board on the legs so that the back edge of board is
-even with the back edge of the legs. Screw firmly
-into place, taking care to have the outer edge of the
-legs directly under the first or dotted line; this
-brings the screws evenly along the cross-piece.</p>
-
-<p>Lay the second board close to the first, securing in
-same way; the front edge of this second board ought
-to project one inch beyond the legs. The heads of
-the screws on the top of the bench must be sunk.
-You have left a board eight feet long, one foot wide,
-and one inch thick.</p>
-
-<p>This board is to be put on in front directly under
-the top board and against the legs. It should come
-flush at the <em>right end</em> only, leaving space of two feet
-at the left. Nail this board on to the legs with six-penny
-nails. You have now a capital bench, which
-only needs a vise to complete it.</p>
-
-<p>Cut from the board <i>B</i> (left from sawhorse) a length
-of eighteen inches. Square both ends nicely; lay
-this against the left hand front leg, flush with the
-outer edge and coming close under the front board,
-and nail firmly on to leg.</p>
-
-<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p>
-
-<p>For seventy-five cents at a hardware store, you can
-buy a wooden screw about two feet long for vise, with
-shank one and three fourths
-inches diameter.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp024" id="figp024"></a><img src="images/i_024.jpg" width="250" height="313" alt="" />
-<div class="caption">Fig 7</div>
-</div>
-
-<p>On the front board, ten
-inches from top of bench,
-and about five inches from
-left edge, draw a circle one
-and three fourths inches in
-diameter; this circle when
-cut out should come as
-close to the leg as possible
-without cutting it.</p>
-
-<p>To cut this hole take a five eighths bit and bore a
-series of holes round the inside of the one and three
-fourths inch circle. (<i>See <a href="#figp024">fig. 7</a>.</i>)</p>
-
-<p>The piece in the middle will fall out and leave a rather
-rough hole; but the edges can easily be trimmed.</p>
-
-<p>Then take the board <i>A</i> (the three and one half foot
-piece), cut it thirty-one inches long. Square one end
-and then round it as at <i>D</i>. (<i>See <a href="#figp028">fig. 8</a>.</i>) On the back
-side draw a pencil line through the middle; place
-the board against the left leg, with the sharp edge
-flush with <em>top</em> of bench, so that the pencil line will
-bisect the circular hole. Draw a similar circle on
-the board, and cut out as before.</p>
-
-<div class="figcenter" style="width: 500px;">
-<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
-<a name="figp025" id="figp025"></a><img src="images/i_025.jpg" width="500" height="215" alt="" />
-<div class="caption">Fig 6</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
-Be careful in the doing of this, as the two holes
-must be exactly opposite for the screw to pass
-through. You ought to have two bits of wood left
-after cutting the legs and cross-pieces. Take one of
-these bits and put behind the front board on its
-two inch side and about three inches to the right of
-the left leg and parallel with the leg. It should just
-clear the hole. Fasten securely, so that it will cross
-the joint <i>A</i>. It will serve as a brace, and also give a
-level bearing for the wooden nut which comes with
-the screw and is wound on the end of screw after it
-passes through the two holes.</p>
-
-<p>Your vise as it is will work all right for small
-pieces, but if you have a large article to hold, the
-loose board <i>b</i> will not keep its parallel position, for
-the thickness of the object you have in above will
-throw out the top end, and the lower end will of
-course swing in. To remedy this and make your
-vise adjustable to work of any size, you must do one
-more thing:</p>
-
-<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p>
-
-<p>A little to the right of leg, and one inch from the
-lower edge of the fixed upright, cut a slot two inches
-high and one inch wide; make a corresponding hole
-in the loose upright.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp028" id="figp028"></a><img src="images/i_028.jpg" width="200" height="214" alt="" />
-<div class="caption">Fig 8</div>
-</div>
-
-<p>Take a strip of board two feet long, two inches
-wide, and one inch thick. On a
-line drawn lengthwise through
-the middle measure one inch from
-end and mark; then two inches
-from that point on same line make
-a second mark; at both those
-points bore holes with half-inch
-bit and fit in a peg at each hole. The pegs will be
-one and one half inches apart.</p>
-
-<p>Then at intervals of one inch bore two alternate
-rows of holes with half-inch bit, as far as the length
-of the strip allows. Run this strip through the slot in
-loose board as in <a href="#figp028"><i>fig 8</i></a>, and through the corresponding
-slot in upright put a peg in <i>a</i> in <em>front</em> of loose board
-and a peg in <i>b</i> <em>behind</em> loose board; these pegs will
-hold the strip firm in the slot in the loose board.</p>
-
-<p>According to the size of the object to be held in
-use, draw the loose board toward you and put third<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
-peg into hole at proper distance to keep the loose
-board parallel with the fixed upright.</p>
-
-<p>You see by having holes enough in the strip you
-can adjust the vise to any size. Of course you
-understand that this is not needed in small work.</p>
-
-<p>If you look closely at <a href="#figp025"><i>fig 6</i></a> you will find that there
-is still one thing unexplained: the rows of holes in
-the front board.</p>
-
-<p>When you have some long piece of work in your
-vise you will find it troublesome to keep it level; if
-you have a number of holes bored in the front of
-bench, with a good peg to fit, by changing the peg
-according to the height desired, you can raise the right
-end of your piece of work to the right level.</p>
-
-<p>A plain hook is a desirable addition to the work-bench:
-its use is to hold a board when you wish
-to plane the surface. It is adjustable according to
-the thickness of the board, and should be set in and
-screwed on to the bench at point Y. It will cost at
-hardware store about seventy-five cents.</p>
-
-<blockquote>
-
-<p><span class="smcap">Note.</span>&mdash;In <a href="#figp013"><i>fig. 1</i></a> (the sawhorse) one leg is drawn in dotted
-lines to show the way the leg is fitted into the hole, and the
-right slant. In <a href="#figp025"><i>fig. 6</i></a> the broken space in front board is to show
-the position of brace on right leg.</p></blockquote>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p>
-
-
-
-
-<h2><a name="IV_USE_OF_TOOLS" id="IV_USE_OF_TOOLS"></a>IV.&mdash;USE OF TOOLS.</h2>
-
-
-<p class="drop-capt">WE begin with the saws, of which you have two:
-cross-cut saw, and splitting saw.</p>
-
-<p>The use of a cross-cut saw, as the name implies, is
-to cut <em>across</em> the grain or fibre of the wood: it is one
-of the most indispensable tools we have. The teeth
-are finer and closer together than those of the splitting
-saw, which, as the name describes, is intended to
-cut <em>with</em> the grain, usually lengthwise, of a piece of
-wood. Never try to substitute one for the other, for
-you would injure your tools. When you want to use
-a cross-cut saw, the saw should be held at an angle
-of about forty-five degrees, and must also be held
-steadily without swerving to the right or left; otherwise
-the teeth of the saw will stick, and you cannot
-make a clean cut.</p>
-
-<p>You will observe in looking at a saw that the teeth
-are <em>set</em>, as it is called; every other point turning a little<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
-away to the right or left of a straight line; the reason
-of this is, to make the cut wider than the saw blade;
-otherwise after cutting in a little way the friction
-would make the blade bind. Saws are, or should
-be, in proper condition to use when they are bought;
-if not, or if by any accident the teeth should get bent,
-you must have the saw <em>set</em> without meddling with it
-yourself.</p>
-
-<p>A splitting saw is used differently from a cross-cut
-saw; it should be held more nearly upright; the cutting
-is always done on the <em>down</em> stroke. Never press
-the saw against the wood; the teeth will catch, and
-the saw bend, and the wood won’t be cut if you add
-any weight to that of the saw itself.</p>
-
-<p>There is a certain amount of knack required in
-order to saw well, but practise will improve even the
-most awkward workman. Always saw slowly and
-easily, in a sort of regular time. Be sure the wood is
-held firmly and doesn’t <em>hop</em>.</p>
-
-
-<h3>USE OF PLANES.</h3>
-
-<p>We have jack-planes, smoothing-planes, and block-planes.
-When you want to make aboard thinner, or<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
-smoother, it has got to be planed; also the sides and
-edges of a board are sometimes rough, or you wish
-to bevel them.</p>
-
-<p>If the grain of the wood is perfect, there is no
-trouble about planing in either direction, but generally
-the grain runs in a slight slant or angle to the surface
-of the board instead of parallel to it. If, then, you
-start your plane and plane “against the grain” of the
-board, the edge of the plane will catch in ends of the
-grain lines, and the surface will be chipped instead of
-smoothed. If, however, you start it and plane “with
-the grain,” the ends of the grain lines are smoothed
-down, like the feathers on a bird’s wing when you
-stroke it down instead of up. So it is well to be sure
-about the grain before you begin to plane. Sometimes
-the grain is twisted and runs one way in one
-part of the board and another way in another part in
-a wavy line. Then you must vary the planing according
-to the surface. You would soon learn these simple
-things perhaps, but to know them at the outset
-will save you some vexation.</p>
-
-<p>The smoothing-plane is much shorter than the jack-plane,
-and is used for smoothing smaller pieces which<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
-would be lost under the jack-plane, and also for
-smoothing inequalities left by the jack-plane. I have
-put no smoothing-plane on your list, as for ordinary
-work the block-plane can be used as a smoothing-plane.
-Thus: Turn the small thumb-screw at the
-front of the block-plane and press it forward; this
-opens the mouth of the plane so that the plane can
-be <em>set</em> more and cut a larger shaving.</p>
-
-<p>Now for the proper use of the block-plane, remembering
-to restore it to its original <em>set</em> if you have been
-using it as a smoothing-plane. To smooth the ends
-of boards you need a small plane which can be <em>set</em>
-very fine; i. e., with the blade projecting very little
-from the face of the plane, and with the mouth so
-closed that the blade will not chip in cutting.</p>
-
-<p>One important principle must be practically learned
-before you can do good work: <em>Everything in carpentry
-from beginning to end must be done on the square.</em>
-In planing, above all things, the square must begin
-every bit of work, and end it, and be used to test it,
-all the way along; it is just what the name implies, a
-<em>try square</em>; so perhaps the next thing explained had
-better be some of the uses of the square.</p>
-
-<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p>
-
-<p>To give all the uses of this apparently simple tool
-would be to give you a thorough knowledge of geometry,
-and fill a volume. I will, however, give some of
-the more common uses:</p>
-
-<p>1. In sawing across a board, if you wish to have
-the cut true and even, you must use the square. One
-edge is, of course, already planed, and from this all
-your lines are drawn. You wish, we will suppose, to
-saw three inches from the end of your board; lay the
-thick or handle part of the square close against the
-even edge of the board, three inches from the end;
-you will find that the blade lies flat across, the board
-at a right angle with the edge, and a pencil line
-drawn close to the blade will be a guide for cutting.</p>
-
-<p>2. To test the evenness of the end of a board
-which you have been trimming with a block-plane:
-Apply the square to the side and edge of the board;
-if the work is true, the blade will be level with the end
-of the board; if uneven, the defect is quickly seen.</p>
-
-<p>3. It is well to test your square itself; thus: Lay
-your square snug against a straight edge with the
-handle to the left; draw a line where the edge of the
-blade comes: then reverse the square, having the<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
-handle to the right; draw a similar line: if the square
-is true the lines will coincide; if they diverge ever so
-little the square is imperfect, and you should buy another.</p>
-
-<p>4. In planing the edge of a board, put the handle
-of the square against the <em>face</em> of the board; the blade
-will then go across the edge, and you can soon see if
-it is even; i. e., at right angles with the face of the
-board.</p>
-
-<p>Hammering a nail seems a very simple thing, but
-there’s a right way and a wrong way to do that, as
-you’ll find for yourself after you’ve split two or three
-bits of work; but you might as well learn the right
-way at first.</p>
-
-<p>If you look at a nail of any size, from a brad to a
-twenty-penny spike, you will find that the sides are
-parallel and straight, and two are wedge-shape or
-sloping; also one of the straight sides is finished
-smooth, the other is rough. A nail is virtually a
-wedge. Now the principle of the wedge is to split
-things when the wedge goes with the grain, as when
-you split a board with an axe or hatchet; for an axe
-is a wedge, as you will see if you think about it.</p>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>
-
-<p>If, then, your nail is put in wedge-fashion <em>with</em> the
-grain, ten to one the second good tap with your hammer
-splits the board; if, however, you turn the nail
-the other way, so the wedge side is <em>across</em> the grain,
-and the straight side <em>with</em> the grain, the nail is held
-firm by the grain pressing against the wedge, and the
-board doesn’t split. This is the reason that fine work
-is done with brads better than with tacks, for tacks
-are wedge-shaped on all sides, and in driving them if
-the wood is thin it is very apt to split.</p>
-
-<p>Always <em>start</em> a nail in the direction you mean to
-have it <em>go</em>, and don’t depend on straightening it afterwards.
-If, however, it gets a wrong slant, don’t bend
-it back with your fingers, nor hit it a knock sideway
-with your hammer which will likely enough break the
-nail short off; but with every regular stroke of your
-hammer give an inclination in the right way, and it
-will get there.</p>
-
-<p>Don’t hold on to the nail too long; in soft wood
-the second hammer tap ought to find the nail firm
-enough to stay. Don’t make the first or the second
-hammer stroke a long hard one; if you do, likely as
-not you’ll mash your fingers. The first tap should be<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
-light and short; get the swing gradually, a few inches
-first, adding a few inches more with each stroke; by
-the time you want full force to drive the nail home,
-you’ll find you can’t hit anywhere but on the head of
-the nail. This is something that practise alone can
-make you perfect in. If you watch a good building-carpenter,
-it seems as if he threw the nail into place
-with one hand and hit it on the way.</p>
-
-<p>Don’t think you must look at each nail in order to
-place it right. Your eyes must be in your finger tips;
-<em>the smooth side goes with the grain</em>.</p>
-
-<p>Always keep the different sizes of nails separate;
-then you won’t be bothered by finding the wrong nail
-in your fingers when you are in the midst of a job.</p>
-
-<p>In using chisels and gouges never strike with a
-hammer, but always with a wooden mallet; the hammer
-splits the handles.</p>
-
-<p>In most chisel work it is better to put the bevel
-edge to the line you wish to cut until you have cut
-out most of the wood, then finish with the other edge
-and the pressure of your hand instead of the mallet.</p>
-
-<p>It will be easier to explain the use of the other
-tools as we come to them in construction.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span></p>
-
-
-
-
-<h2><a name="V_HOW_TO_MAKE_A_TOOL_CABINET" id="V_HOW_TO_MAKE_A_TOOL_CABINET"></a>V.&mdash;HOW TO MAKE A TOOL CABINET.</h2>
-
-
-<p class="drop-capt">NOW that you’ve got some very good tools, it
-is time you knew how to take care of them as
-well as to use them.</p>
-
-<p>The best tools will grow rusty and dull, and shabby,
-also, even if they don’t hide away out of sight just
-when you most want to use them, unless you have a
-proper place to put them and <em>always remember to put
-them in that place when you have done using them</em>.</p>
-
-<p>I suppose you think you must have a tool chest
-for this; now a tool chest is a very good thing if you
-want to carry your tools on a journey, i. e. if you are
-a city boy and want to take your kit up into the
-country and have the tools safe from jarring under
-the hands of the baggage-smashers; but I’ve found
-that a tool chest isn’t as handy to have in the work
-shop as a tool cabinet; so I’m going to tell you how
-to make a good tool cabinet with less expense of money,<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
-material and labor than a tool chest would require.</p>
-
-<p>But you must be more exact and careful in measuring
-and cutting than you had to be in making the
-sawhorse and bench. In getting your materials, try
-to have the boards fully one foot wide and three
-fourths of an inch thick. It is easier to make estimates
-on these dimensions, and foot boards are
-usually the easier to obtain; so all the measures for
-the cabinet are made with reference to these dimensions.
-If you happen to have boards that are wider
-or narrower, you must do a little figuring on your
-own account and make the proper allowance.</p>
-
-<p>For a tool cabinet three feet three inches long and
-two feet wide, which will hold all the tools on the
-list given in the first paper and leave room for several
-more that you will be likely to own by and by, you
-must have one six-foot board fully twelve inches wide
-and three fourths of an inch thick; one seven-foot
-board, twelve inches wide, one half inch thick; one
-nine-foot board, twelve inches wide, one half inch
-thick; also a number of three fourths inch screws
-which you are supposed to have in stock; one pair
-brass (or iron) hinges for three fourths inch board,<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
-and a hook for fastening, unless you prefer a lock.</p>
-
-<p>Take three fourths inch board (the one six feet
-long), plane both edges; then by aid of chalk line
-and splitting-saw, cut off a strip two and one half
-inches wide, running the whole length of the board.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a></p>
-
-<p>The board that remains should be nine and one
-half inches wide. Smooth the edge with plane enough
-to remove the roughness left by the saw; then cut off
-another strip two and one half inches wide like the
-first. Smooth the edge of the remaining seven-inch
-board; then divide this seven-inch board into two
-even strips which will be six feet long and about
-three and one half inches wide, perhaps a trifle less,
-from the loss in planing.</p>
-
-<p>All these strips will have one edge that has been
-planed and one left rough by the saw. If you lay
-them together you will find that you have two pairs
-of strips; one pair two and one half inches wide, and
-one pair three and one half inches wide. <em>Each pair</em>
-must be alike in width, otherwise the cabinet will be<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
-uneven and lobsided; so before going any farther lay
-the strips together and plane down any inequalities.</p>
-
-<p>Now take one of the three and one half inch strips
-with try square and block plane. Square one end;
-measure three feet three inches from squared end and
-allow one eighth inch for waste in cutting.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> Cut off
-square with cross-cut saw. Square end of piece cut
-and also of piece remaining. Measure twenty-two
-and one fourth inches and cut and plane as before.
-Do the same with the other three and one half inch
-strip. You have now two sides and top and bottom
-of main part of cabinet, and some small bits left for
-which we shall find a use, i. e. you have two pieces
-three feet three inches long and three and one half
-inches wide, for sides, and two pieces twenty-two and
-one fourth inches long and three and one half inches
-wide for top and bottom.</p>
-
-<p>Now take the two and one half inch strips; cut
-three feet three inches off each, also twenty-two and
-one fourth inches as with the others. Each set of<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
-pieces must be alike in length and width; you have
-two pieces three feet three inches long and two and
-one half inches wide, and two pieces twenty-two and
-one fourth inches long, two and one half inches wide;
-these are for sides, and top and bottom of door of
-cabinet. Lay these four pieces aside while we get
-ready for the back of the cabinet and front part of
-door.</p>
-
-<p>From the seven-foot board (after planing and
-squaring one end) cut off three feet three inches;
-plane square the ends and cut off another piece three
-feet three inches.<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a></p>
-
-<p>From the nine-foot board in the same way cut two
-similar pieces three feet three inches; smooth edges,
-planing off as little as possible.</p>
-
-
-<div class="figcenter" style="width: 500px;">
-<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
-<a name="figp043" id="figp043"></a><img src="images/i_043.jpg" width="500" height="581" alt="" />
-<div class="caption">THE TOOL CABINET OPEN.</div>
-</div>
-
-<p>The piece remaining will measure about two and
-one half feet in length; from this cut off a piece
-twenty-two and one fourth inches long. Saw strip
-three and one half inches wide, which to save confusion
-we will mark <i>A</i>; plane edges, cut off another
-strip two and one half inches wide; mark this <i>B</i>.<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
-Next a strip three and one half inches wide; mark
-this <i>C</i>. Cut <i>C</i> so as to measure seventeen and one
-half inches in length.</p>
-
-<p>The cabinet is now mostly cut out; the next step
-is to put it together.</p>
-
-<p>Take pieces for sides and top and bottom of cabinet.
-Lay two sides parallel at a distance of twenty-two
-and one fourth inches apart; put top and bottom
-in so they will be flush with end of sides. Nail the
-sides on to ends with six or eight-penny nails. Take
-care to keep the corners square, as they will be if
-the edges are even and kept flush.</p>
-
-<p>Before nailing on the back test the squareness of
-the frame in this way (unless your eye is very accurate;
-even then it is a good thing to get in the habit
-of measuring exactly): measure the diagonals from
-the opposite corner. If the measures are alike, all
-right; if, however, one diagonal be longer than the
-other, make it right with gentle, steady pressure on
-each corner with both hands. When the diagonals
-are exactly alike the corners will also be right angles.
-Now lay on two of the two and one half inch pieces
-(those three feet three inches long and one foot wide);<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
-be sure and keep all the edges flush and nail firmly.</p>
-
-<p>Do the same with pieces prepared for doors, and
-you will find you have two shallow boxes three feet
-three inches long and two feet wide (outside measure);
-one will be three and one half inches deep, the
-other two and one half inches deep.</p>
-
-<p>Now take piece marked <i>A</i>, which is for a shelf in
-the cabinet; measure and mark six and one half
-inches from right hand end (this is the length for
-the small plane); then measure and mark another one
-half inch beyond this point; from this <em>last</em> point
-measure length of your oilstone, which is probably six
-or eight inches. The space remaining will make a
-sort of box, or tray, for rule, chalk line and reel, pencils,
-etc., when you have made some use of the bits of
-wood you had left after cutting the shelves.</p>
-
-<p>In the one half inch space between place for plane
-and oilstone put a little block one half inch wide
-and one inch long. At the end of space for oilstone
-nail a strip an inch wide across the shelf, and
-a similar strip in front. This makes one side and
-front of tray; the other side and back will be formed
-by the cabinet itself.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p>
-
-
-
-
-<h2><a name="VI_HOW_TO_MAKE_A_TOOL_CABINET" id="VI_HOW_TO_MAKE_A_TOOL_CABINET"></a>
-VI.&mdash;HOW TO MAKE A TOOL CABINET. (<i>Continued.</i>)</h2>
-
-
-<p class="drop-capt">AFTER shelf <i>A</i> is fitted in this way, you will
-nail it into its place in cabinet so that the top
-of shelf is just seven inches above top of lower shelf,
-or bottom of cabinet which serves for a shelf.</p>
-
-<p>After the shelf is fitted into its place in the cabinet,
-you will find that at one end you have a convenient
-little tray to hold such things as chalk-line, rule, pencils,
-and other small things that are always getting
-out of sight when you most need them. The plan for
-<i>A</i> is just six inches above lower shelf (or bottom of
-cabinet).</p>
-
-<p>N. B. All measurements now are inside measurements.</p>
-
-<p><i>B</i> is twenty-two and one fourth inches long and
-two and one half inches wide. Draw a line down the
-middle of this strip (i. e., one and one fourth inches<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
-from each side). Measure one inch from left-hand
-end and mark. Then from this point on pencil line
-measure one and one half inches and mark again.
-Repeat this until you have six points marked on the
-pencil line, with one and one half inch spaces between.
-From the last point measure one inch, and mark.
-Repeat at intervals of one inch until you have thirteen
-with inch spaces. This should leave about three
-fourths of an inch on right end.</p>
-
-<div class="figcenter" style="width: 400px;">
-<a name="figp048" id="figp048"></a><img src="images/i_048.jpg" width="400" height="102" alt="" />
-<div class="caption">TOOL-DOORS.</div>
-</div>
-
-<p>On the first six marks (those one and one half inches
-apart) bore five eighths inch auger holes. These are
-for tool sockets. First two for the chisels you have
-already; next three for the chisels or gouges you may
-have; the last for the screwdriver.</p>
-
-<p>There must be doors for the tools to enter by; so
-you must cut openings one half inch wide from the
-front of shelf to each hole. This is easily done with
-your cross-cut saw, leaving spaces as in drawing.</p>
-
-<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p>
-
-<p>You have still thirteen marks with inch spaces.
-Bore nine holes a trifle larger than the shanks of the
-bits you are to place therein; three of these bits you
-already have; the other six spaces are for the bits
-you are likely to purchase by and by.</p>
-
-<p>The four remaining marks are for holes graduated
-in size, thus: First, one with three eighths inch bit
-(one of those belonging to smaller set); second, with
-one fourth inch; third and fourth, with the next
-smaller sizes; each bit going into a hole a size larger
-than itself. These smaller bits go in <em>point down</em>.
-It will be a great convenience to mark the numbers
-of the bits on the shelf against their sockets.</p>
-
-<p>Shelf <i>B</i> is to be nailed twenty and one fourth
-inches above shelf <i>A</i>.</p>
-
-<p>Now for shelf <i>C</i>. Ten inches from left-hand end,
-put small one half inch block for same purpose as
-similar block on shelf <i>A</i>; i. e., to keep plane from
-sliding. Nail shelf <i>C</i> three inches above shelf <i>A</i> in
-left-hand side of cabinet. This little shelf of course
-does not reach across the cabinet like the others.</p>
-
-<p>Six and one fourth inches above shelf <i>C</i>, and four
-inches from left-hand side of cabinet, bore hole with<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
-one half inch bit, which shall have a slant downward.
-Parallel to this, and eight inches to the right, make
-another hole just like it. Insert in these holes wooden
-pegs two inches long. Be sure they fit firmly with
-back of cabinet. These pegs are for the draw-shave
-to hang upon, as seen in diagram.</p>
-
-<p>Ten and three fourth inches above shelf <i>A</i>, and
-three inches from right-hand side, make one half inch
-hole slanting down; one and one half inches beyond
-make another; insert pegs three inches long. These
-are for the mallet.</p>
-
-<p>The body of the cabinet is now fitted, and we will
-go to work on the cover.</p>
-
-<p>Take two blocks one inch square and one and one
-half inches long; draw a line lengthwise exactly in
-the centre of each; cut down the line one half inch
-deep the length of block. Put one of these blocks slit
-uppermost on bottom shelf of door four inches from
-left-hand corner. Five and one half inches to the
-right, put the other; fasten into place with screws.</p>
-
-<p>Twenty-one inches above first block, four and one
-half inches from side of door, put block one inch
-square, one and one half inches long. This goes on<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
-horizontally, parallel with lower block. In centre of
-this make small hole, say one fourth inch deep, with
-smallest bit.</p>
-
-<p>Make a second block just like it, and place five
-and one half inches to the right of the first one.</p>
-
-<p>Then from one half inch wood, cut two little strips
-two inches long, one half inch wide, for buttons. In
-the middle bore hole large enough for screw to turn
-freely; attach to middle of upper blocks with screws.
-The tips of the saw-blades go into the slits in the lower
-blocks. The openings in the handles slip over the
-wooden buttons which you have just made, and which
-are horizontal when the saws are put on, and are then
-turned like the button on a barn door to hold the
-saws firmly in place.</p>
-
-<p>Now we must provide for the hatchet, so it will
-not get harm nor do harm.</p>
-
-<p>Take block of one inch wood, five inches long,
-three inches wide; plane one half of one face in
-a slant from the middle, so one edge will be three
-fourths thick, leaving one half the block one inch
-thick, as at first. Bore two holes in the half that is
-still square, big enough for two screws to go through<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
-and fasten on to lower shelf or bottom of door. This
-block in its place is one inch wide at the bottom, and
-three fourths inches at top, leaving a kind of bevel
-five inches long for hatchet-blade, between block and
-back of door. Put hatchet in; hold it upright and
-mark where handle needs support to keep it horizontal;
-probably about nine inches from blade; with
-screws fasten on two small brackets, or else put in
-slanting pegs, if you do not care about the looks outside.</p>
-
-<p>Four inches from top, and five and one half inches
-from left-hand side, put similar bracket or peg; three
-and one half inches further, on the same line, put
-another; these will serve to support the bit brace,
-and I have left enough room for the keyhole-saw,
-which you can see in the diagram, and which some
-time you will like to own.</p>
-
-<p>Now cut a piece of wood three inches long, two
-inches wide, and three fourths inches thick; draw
-line across one end and down the edge two inches
-long.</p>
-
-<p>Cut this line out as you did for the slits for the
-saws, and then (slit up of course) with two screws<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
-put through the lower part, fasten block at point ten
-inches from right-hand side, just far enough above
-the saws to clear them. This is for the try square,
-the slit being for the blade.</p>
-
-<p>Fifteen inches from left-hand side, and four inches
-from top, put a bracket; on the same line, one and
-one half inches farther from the left side, put another;
-these are for the hammer.</p>
-
-<p>You now have all your tools in place. You will in
-all probability have had some tools in the house
-before we began, such as pincers, gimlets, perhaps
-a saw; but of course I have not a list of those
-things.</p>
-
-<p>So I have simply given you a good deal of room to
-put them in, and by this time you ought to know how
-to secure them in their places.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>
-
-
-
-
-<h2><a name="VII_HINGES_AND_LOCK" id="VII_HINGES_AND_LOCK"></a>VII.&mdash;HINGES AND LOCK.</h2>
-
-
-<p class="drop-capt">TO make the tool cabinet complete there must be
-hinges and a lock. These you can get at
-a hardware store. Ask for hinges for three quarters
-inch wood, and about three inches long; you will
-need three hinges, and the screws to fit the holes.
-Brass hinges are best, and look neater and more
-tasteful than iron, though iron will do. If the screws
-don’t come with the hinges, then look out some that
-will fit, from your stock on hand.</p>
-
-<p>The first thing for you to settle is which way you
-wish the cabinet to open; i. e. to the right as in the
-diagram, or to the left as might be if the only place
-for your cabinet happened to be a corner which
-would not admit of opening to the right. Suppose
-the door is to open to the right. Find the middle of
-the front edge of the right hand side of <em>cabinet</em>.
-Mark across the edge, then measure one and one half<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
-inches <em>each way</em> from that line and mark. This is
-the place for the middle hinge. Five inches from
-the lower corner on the same side, and five inches
-from the upper corner measure and mark; then
-measure three inches further from these last lines
-and mark; these are for upper and lower hinges.
-In these three spaces, so marked, cut out rectangles
-as deep as the thickness of one wing of the hinge.</p>
-
-<p>Repeat these measurements, markings and cuttings
-on the <em>left</em> hand side of cover or door. Be careful in
-measuring so that the two halves of the cabinet will
-come together and exactly match.</p>
-
-<p>Now to put on the hinges: Take one hinge, shut
-it together <em>tight</em>, so as to be sure you are folding
-it the right way; then open till the wings are at right
-angles. Lay <em>left</em> wing into space cut for it in <em>right</em>
-side of cabinet. Take care to have the wing fit
-neatly, letting the round edge of hinge project.
-Screw firmly into place. Put all the hinges in place
-on the cabinet before beginning on the cover.</p>
-
-<p>Now lay the cabinet down flat on your workbench,
-or on the floor. Put the cover down beside it, with
-a bit of board or blocks underneath thick enough to<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>
-bring the hinge places of the door on a level with
-those of the cabinet. Then fasten the <em>right</em> hand
-wings of hinges into the places prepared on the <em>left</em>
-side of door. Be careful, as before, to have the
-round part of hinge project so that it will work freely
-and have the <em>wings flush</em> with inside of cabinet and
-door.</p>
-
-<p>When open, there will be a narrow space between
-the door and cabinet, but when closed
-they will fit tight.</p>
-
-<p>Now for a fastening: If you simply
-wish to keep the cabinet closed
-when not in use, you can put a hook
-on the door, the eye on the cabinet. If however you
-wish to lock up your tools for safe keeping, you must
-invest in a good lock and key. The best sort for your
-purpose is what is called a chest-lock. (<a href="#figp056"><i>Fig. 1.</i></a>) They
-come in various sizes, so I can’t give exact measurements.
-It must of course go in the middle of the
-side opposite the hinges.</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp056" id="figp056"></a><img src="images/i_056.jpg" width="150" height="141" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>As you look at the lock you will see that one face
-is smooth, and the other side, where you find the
-keyhole, is irregular. This irregular part is the one<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
-that sets into the wood. From the inside of cabinet
-(opposite the middle hinge) cut a place to correspond
-in size with the lock so that it will fit neatly. The
-opening for the key must of course be cut through
-on to the outside of cabinet. Be careful to do this
-neatly and cut out no more than is needful for the
-key to pass in freely.</p>
-
-<p>By and by, on a bit of nicer work, I will tell you
-how to put on a scutcheon to guard the keyhole, but
-it isn’t necessary for this. The other part of the
-lock which has the tongue, or tongues, is fitted into
-the door of the cabinet in the same way; the tongues
-of course projecting from the edge of the side. Be
-careful to have them come exactly opposite the openings
-for them in the cabinet side. <em>You cannot be too
-exact in carpentry.</em> The next thing is to fasten the
-cabinet securely against the wall. Of course you can
-stand it on the end of your bench, but it is better on
-the wall.</p>
-
-<p>You will need four strips of brass four inches long,
-one inch wide, and about one eighth thick, with four
-holes for screws bored in each piece. Two of these
-go on the top corners, and two on the lower corners<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
-of cabinet. Put them on so that the screws will go
-through into the inch-thick side of cabinet, not
-merely into the thinner back. Half the length of
-the brass piece with two holes must project
-above on the upper corners, and below
-on lower corners. (<a href="#figp058"><i>Fig. 2.</i></a>)</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp058" id="figp058"></a><img src="images/i_058.jpg" width="150" height="158" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<p>You will want some one to hold the
-cabinet steady for you while you secure
-it with long heavy screws, two at each
-corner. Of course your tools are not in the cabinet
-while you are at work upon it.</p>
-
-<p>One word of caution: If the cabinet is to go in a
-corner, leave a few inches (i. e. the thickness of the
-door) measured outside between the wall and hinges,
-or you’ll find you can’t open the door.</p>
-
-<p>If you have carefully followed all the directions,
-you have now a good, plain, serviceable tool cabinet.</p>
-
-<p>If you would like to stain it, which would improve
-the looks, I will try to tell you how. You must not
-get discouraged if the first attempt doesn’t turn out
-very well, for one must practise even to stain well;
-but the cabinet is a good thing to start with. Of
-course the staining is easier done before the cabinet<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
-is hung; but a neat workman can do it on the wall.</p>
-
-<p>First determine the color you wish your stain to be.
-I should say black walnut, as it is the easiest to put
-on, and you will not be likely to tire of it. The
-quantities I give will do more than the cabinet; but
-if stoppered tight will keep for future use, and for very
-small quantities you have to pay exorbitant prices.</p>
-
-<p>I haven’t much faith in home-made stains; they
-cost about as much, and are not very satisfactory. At
-any oil or paint shop, get a quart of stain, which will
-cost forty or fifty cents; one fourth pound <em>clear</em> glue
-for sizing&mdash;this ought not to be more than eight or
-nine cents; one quart nice varnish (what is called
-<em>inside</em> coach varnish is the best), this will cost about
-seventy-five cents; at same time get a small piece of
-putty, same color as the stain; the man at the paint
-shop where you get your stain, will color the putty
-for you. With this colored putty fill up all holes made
-by nail heads or screws.</p>
-
-<p>If you are on good terms with a painter, he will
-likely enough lend you a couple of brushes. If you
-have to buy them, get one large and one small, costing
-from fifty to seventy-five cents.</p>
-
-<p><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p>
-
-<p>See that the surface of the cabinet is free from dust;
-to make sure, wipe inside and out with soft cloth.
-Stir the stain up thoroughly from the bottom of the
-can with a small stick; repeat this frequently, otherwise
-your stain will not be even colored.</p>
-
-<p>With the large brush put on one coat of stain, remembering
-always to draw the brush in <em>one direction</em>
-and <em>with the grain</em> of the wood.</p>
-
-<p>Put on as evenly as possible; always pat and press
-the brush on the side of the can so it will not drip,
-otherwise your stain will be streaky. Let this dry
-thoroughly for half a day where no dust is flying.
-Prepare the size by melting glue in warm water, add
-boiling water till thin and smooth, then add a spoonful
-of lime water.</p>
-
-<p>Clean the stain brush in warm water and use it for
-the size; one coat put on evenly so as to cover every
-part stained; clean your brush again in warm water.
-Next day put on the varnish; this requires especial
-care. It must be a <em>thin</em>, <em>even</em> coat if you wish to
-have a creditable job. It is worth taking pains. It
-ought to have a day or two to dry in a place where
-no dust is flying.</p>
-
-<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
-
-<p>If you are in a hurry, you can use shellac, which
-dries almost instantly; but for this very reason, is
-much harder to put on well. I always prefer the
-coach varnish.</p>
-
-<p>The small brush is handy for the shelves and
-corners.</p>
-
-<p>Make a neat job, and don’t let the size or the varnish
-get into lumps in the corners.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p>
-
-
-
-
-<h2><a name="VIII_CURTAIN_POLES" id="VIII_CURTAIN_POLES"></a>VIII.&mdash;CURTAIN POLES.</h2>
-
-
-<p class="drop-capt">PERHAPS this paper will sound more like upholstery
-than carpentry, but there is carpentry in
-it, and of the sort too that boy-carpenters can do just
-as well as men-carpenters, and make changes in
-accordance to the requirement of the windows
-for which they are planning, the material at hand
-and their own taste. Always remember that mere
-rules for such work are not enough, and that you
-must keep on hand a good supply of <em>common sense</em>.</p>
-
-<p>If you should look in the yellow-covered Farmer’s
-Almanac, hanging by a loop in the chimney corner,
-you’d see, “About this time look out for clearing
-weather;” that means clearing out and cleaning up
-and setting the house in order inside, as well as old
-Mother Earth outside: what our mothers call
-“spring cleaning.” Curtains come down to be
-washed and put up again, and it’s a good time, too, to<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
-put up curtains where there never have been any, for
-nothing makes a room look more homelike and inviting
-than drapery of some sort or other, no matter
-how simple.</p>
-
-<p>It used to be the fashion to tack curtains across
-the top of a window-frame with a strip of stamped
-brass-work called a cornice, or a bit of bright chintz,
-or turkey red, or something like a ruffle, to cover the
-edges; but curtain poles, or rods and rings, are the
-fashion now. They are prettier than the other things,
-and have one advantage beside: the curtains can be
-pushed quite to one side when one wants more air or
-light, and can be drawn close together again when
-more perfect shade is needed.</p>
-
-<p>Suppose you want to fix up your own room to look
-pretty and not cost very much. I found it good fun
-to make something useful out of something other
-people had discarded as useless. I’ll tell you how I
-made my room look cosey, and what I did it with. It
-had just one window, a half-dormer as they call it,
-and looked to the west, out over the hills; but the
-sun shone in very bright and hot in the afternoon,
-and I had to have a dark shade which I fitted myself<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
-from one that had belonged to a larger window.
-It kept the sun out, but it was not pretty, and I was
-determined to have some draperies. Of course I
-could not make curtains, for a boy is more handy
-with a hammer than a needle; but when mother
-found what I was up to, she said she’d give me the
-curtains if I could do all the rest. They were very
-simple, just cream-colored Nottingham lace, and cost
-$1.00. They might have been made of unbleached
-strainer cloth at six cents a yard, with a ruffle, if this
-had been for your mother or sister who didn’t mind
-sewing; but it is the pole I mean to tell you about.</p>
-
-<p>I’m sure to look at it you would never guess what
-that pole was, or where I got it.</p>
-
-<p>Up in the attic, in one corner, I found an old
-United States map, so old, so out of date that as a
-map it had been useless for years and years, for it
-was printed when the State of Ohio was “way out
-West.” The map used to hang in grandfather’s
-library half a century ago. It had black rollers with
-acorn knobs on the ends. I thought right away that
-the smooth slender pole would be just the thing for a
-curtain pole if I could get the map off without splitting<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
-the roller which was of soft pine stained black.
-A sharp knife and a little care did it. One of
-the knobs was easily loosened. Then I measured
-carefully over my window and cut the pole the right
-length and fitted the knobs smoothly into place.
-A little sandpaper and a coat of varnish made
-my stained pine roller look like ebony. But what
-was I to do for curtain rings! The pole was too
-slender for the heavy wooden rings sold by the
-dozen at the upholsterer’s; besides I did not want to
-spend any money. Back to the attic I went and
-rummaged in what we call the “trumpery box,” full of
-the odds and ends that accumulate in an old house.
-Among a lot of brass knobs and hooks and hinges, I
-came across a lot of dingy metal rings tied together
-with a bit of stout string. The rings were about
-an inch and a half across; I could not tell what the
-rings were made of, they were so black, but I thought
-a good washing would bring out the complexion, so I
-put the rings into a bath of ammonia and soda, which
-soon showed that under the black coating was something
-very much like brass. A stiff brush and a little
-fine pummice gave me a dozen glittering rings,<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
-six for each curtain. I divided the curtains evenly;
-with strong thread fastened the rings in place on the
-upper edge of each curtain and slipped them on
-to the pole. Two inches from the ends of the pole I
-screwed the little rings through which the cord had
-passed when the map was hung. A little hook at
-each end of the upper window frame served to hang
-my pole, which of course was very light, but heavy
-enough for muslin or lace. In the same “trumpery
-box” I found two brass knobs (door knobs, I guess
-they were). I screwed one of these each side of the
-window and looped back my curtains. There was
-my window, as new-fashioned or as old-fashioned as
-you choose to call it, but very pretty and inexpensive.</p>
-
-<p>There are few old houses in the country that
-would not give at least as much to work with as I
-had. The old rollers on old-fashioned paper shades,
-such as you will find in lots of up-country attics,
-would make just as good poles stained and varnished.
-Even the acorn caps are not essential, for many of the
-most fashionable <i lang="fr" xml:lang="fr">portieres</i> and curtain poles, nowadays,
-especially those of bamboo, have no caps at all<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
-on the ends: only then you put a screw in at right
-angles, to keep the end ring from coming off.</p>
-
-<p>That was the first curtain pole that I put up. The
-next room I tried my hand on had a bay with three
-windows, and was harder to manage, but it did not
-cost very much after all. I saw an advertisement of
-an odd lot of curtain poles with rings and brackets
-complete for seventy-five cents apiece. Since then I
-have seen them advertised for sixty cents, which is
-cheaper than you can get the wood and turn them for
-yourself.</p>
-
-<p>I found that two poles would do for the three windows,
-for the side windows were narrow, and half a
-pole was enough for each. I only wanted two ends
-instead of the four that belonged with the poles, so a
-trifle was allowed, enough to give me some extra rings
-and two extra brackets.</p>
-
-<p>The first thing to do was to get the angle of the
-bay: this I did with some mathematical instruments,
-but you might not have those handy, and this way
-will give it near enough. Take a good-sized piece of
-stiff paper (stout wrapping paper will do), lay a
-straight edge on the floor against the mop-board<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>
-of the middle window, and fold the end of the paper
-to exactly fit the side mop-board, something like this.
-Then fold the straight edges together and you will
-have the angle shown in the dotted line.</p>
-
-<p>Measure length of middle and side windows and cut
-the poles at the angle shown by the folded paper: a
-few brads will secure the slanting ends when they are
-neatly put together.</p>
-
-<div class="figcenter" style="width: 400px;">
-<a name="figp068" id="figp068"></a><img src="images/i_068.jpg" width="400" height="108" alt="" />
-</div>
-
-<p>The brackets that come with these cheap poles are
-iron spikes bent up at one end. Two are used for
-each pole; they are driven into the wall about four or
-five inches from the ends of the poles, and the poles
-rest on the brackets; of course the joined corners
-count as ends, and are supported in the same way.
-Some prefer to put ring-headed screws into the poles
-and slip the rings over the ends of the spikes; and
-more expensive poles have brass “cup brackets”
-which of course are ornamental, but also expensive.</p>
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>
-
-<p>The wooden rings have ring screws on which to
-fasten the curtains. The number used is a matter of
-taste and depends upon the stuff the curtains are
-made of, the size of the folds you want, and the number
-of rings you have. Five or six do very well for a
-yard-wide curtain. Be sure and divide evenly; put
-one ring at each upper corner and the rest as they
-come; a few stitches with coarse thread will secure
-them, or better still, an inch of tape slipped through
-the ring and fastened by the doubled ends on to the
-edge of the cloth. You can buy curtain hooks if you
-like, and have them sewed on. These are something
-like big dress hooks: the advantage is, that when you
-want to take curtains down you just unhook them
-from the rings without taking the poles down at all.</p>
-
-<p>I know a boy who made a pretty pair of curtain-poles
-out of two straight, slender beech saplings; he
-twisted rings out of stout wire and wound them with
-crossway strips of dark cloth. For muslin curtains,
-loops of bright ribbons instead of rings would be
-prettier still on such rustic poles.</p>
-
-<p>Would you like to know what curtains went on to
-my sixty-cent poles? They are very “æsthetic” in<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
-color, but are just soft Canton flannel at a shilling a
-yard. The centre of olive, the sides dark crimson with
-bands between of darker olive. These are looped
-away on either side with bands made of the flannel and
-underneath are full curtains of six-cent scrim, (unbleached).</p>
-
-<p>But curtain-making belongs to the girls, so having
-told you how to make the poles and put them up, I
-will leave the rest to them.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
-
-
-
-
-<h2><a name="IX_BOOK-REST" id="IX_BOOK-REST"></a>IX.&mdash;BOOK-REST.</h2>
-
-
-<p class="drop-capt">PERHAPS you would like now to make something
-useful and pretty for your father or your big
-brother, so I will try to tell you how to make a book-rest
-like one I made myself for Christmas. It has
-no fancy carving about it, but is made (as you can see
-by the illustration) of straight pieces.</p>
-
-<p>The directions for finding the angles might be given
-mathematically, so that you could get them for yourself
-with a little figuring, but it will be easier practically
-to find the angles in the way I describe, and
-they will be accurate enough for this piece of work.</p>
-
-<p>For the book-rest you must buy some planed whitewood
-which is preferable to any other on account
-of staining. A piece eighteen inches long, twelve
-inches wide and one half inch thick, will be enough;
-it will cost about ten cents.</p>
-
-<p>Lengthwise with chalk-line mark off eleven strips
-five eighths inch wide; cut them with splitting-saw and<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
-plane, the sides cut with fore-plane, making each
-strip <span class="smcap">JUST</span> one half inch in breadth as well as thickness.</p>
-
-<p>We will begin with the uprights for the front.</p>
-
-<p>Take one of these strips, square one end: then
-measure a little over one half inch down the stick,
-and with try-square make a continuous line around
-the stick.</p>
-
-<p>Find the centre of the end just squared by drawing
-diagonals, and then either with block-plane
-or knife, point the stick by putting the
-edge of knife on the continuous line on one
-of the faces of the square, and directing the
-blade toward the centre of end; a steady,
-firm pressure will give a good bevel. Finish
-the other three sides in the same way, and
-you will have a pyramid with square base for one end
-of your stick: cut the stick off square thirteen inches
-from the point. Finish two more sticks in the same
-way, and you will have your three front uprights.</p>
-
-<div class="figleft" style="width: 75px;">
-<a name="figp072" id="figp072"></a><img src="images/i_072.jpg" width="75" height="211" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>Now take another piece; square one end as nicely
-as possible (everything depends in this job on the
-neatness and accuracy of your work), measure seven<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
-and five eighths inches from squared end; cut off and
-square: you will have a stick seven and one half
-inches long. Make another like this from the piece
-left. These pieces we will mark <i>A</i>: they are the
-short uprights in diagram. Now cut two pieces
-twelve and one half inches long: square both ends;
-find exact middle, measure one fourth inch in each
-direction from middle and draw lines with square
-<em>across</em> the stick. Right and left on the side faces
-(<em>not</em> the one underneath), draw lines parallel with top
-face one fourth inch from it. These last lines show
-how deep you are to saw on the first two lines with
-cross-cut saw. With chisel remove the little piece
-one half by one half by one fourth. Take care not
-to cut the stick deeper than the lines indicate. The
-sticks will look like <a href="#figp072">fig. 1</a>. These are the cross bars,
-<i>BB</i>.</p>
-
-<p>From another stick cut three pieces six inches
-long: square both ends; these are marked <i>CCC</i>; two
-belong to the back, and one for the front connecting
-<i>CC</i>. From short pieces left cut two pieces two and
-three fourths inches long, of course squaring the
-ends: these are <i>DD</i>, and go at side of front.</p>
-
-<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
-
-<p>For uprights of back cut two pieces ten inches long:
-square ends. On a board or piece of paper mark
-on a line two points three and one
-half inches apart. From the right-hand
-point draw a perpendicular, the
-line connecting the two points being
-the base of a triangle. Lay one ten-inch
-stick from the left hand point
-to the perpendicular, making the hypotenuse
-of a right-angled triangle.
-You will readily see how much of a
-bevel is required to make the lower
-end set firmly. It will probably be about one eighth
-of an inch; make the same bevel on the other ten-inch
-piece: these we will mark <i>EE</i> (the uprights for
-the back). Bevel the lower ends of the three-pointed
-sticks (the uprights for front) in the same way. (<i>See
-base of <a href="#figp074">fig. 2</a>.</i>)</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp074" id="figp074"></a><img src="images/i_074.jpg" width="150" height="297" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<p>On one front upright, measure two and three
-fourths inches from point on face <i>A</i>: cut out bit one
-half by one half by one fourth as in piece <i>B</i>. Repeat
-at eight inches; again at ten and five eighths inches
-from point of stick. This completes middle upright.</p>
-
-<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p>
-
-<p>Now to return to pieces <i>EE</i>. On a board or paper
-mark in line three points three and one half inches
-apart. Hold beveled end of pointed upright on
-point one, so that a point <i>Y</i> ten inches from bevel
-will be perpendicular to point two. Stand bevel end
-of <i>E</i> on point three, so that the other end will rest
-against point <i>Y</i>. You will then see the bevel needed on
-upper end of <i>E</i> to
-make it fit against
-point <i>Y</i>. It will be
-about an inch long.</p>
-
-<div class="figright" style="width: 300px;">
-<a name="figp075" id="figp075"></a><img src="images/i_075.jpg" width="300" height="259" alt="" />
-<div class="caption">FIG. 3.</div>
-</div>
-
-<p>Treat the other
-<i>E</i> in the same way,
-taking care that
-both bevels start
-from same face of
-stick. Square end of new stick: cut off six inches
-and square again. At point three inches from end
-cut out bit one half by one half by one fourth, as in <i>B</i>.
-This is the stick <i>F</i>.</p>
-
-<p>Cut two sticks ten inches long: square ends. These
-are <i>GG</i>.</p>
-
-<p>The pieces are all cut out; now of course you had<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
-more whitewood than these measures, but it is so
-cheap it seemed best to allow for mistakes, and the
-spoiling of two or three sticks in cutting bevels, etc.
-The bits left always come handy.</p>
-
-<p>In putting the parts together you must be very
-careful. You will need some one-inch brads and
-some seven-sixteenths or three eighth ones also, and
-about two feet of brass spring wire, two French
-screws one inch long (slim ones), and two five eighths
-inch ones.</p>
-
-<p>Take first the pointed piece for the middle of
-front: the one with the squares cut out of it: fit one
-of the <i>B’s</i> into the upper place and the other into the
-lower one. Put piece <i>F</i> into the middle slot; put
-two brads through each piece (<i>BBF</i>) and into the
-pointed one. Turn the whole over so the face <i>A</i>
-is down.</p>
-
-<p>Take two pieces marked <i>A</i>; with inch-brads fasten
-pieces <i>D</i> endwise, so that upper face of <i>D</i> will be
-two and one eighth inches from end of <i>A</i>.</p>
-
-<p>Place one <i>A</i> between the two <i>B’s</i> on the right
-of pointed stick with <i>D</i> pointing to the right; you
-will find that the end of <i>F</i> touches <i>A</i> at a point<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
-two and one eighth inches from the bottom, so that
-<i>F</i> and <i>D</i> divide <i>A</i> plus one half inch (eight inches)
-into thirds.</p>
-
-<p>Place the other <i>A</i> and <i>D</i> facing just opposite on
-the other side of pointed stick. You will find that
-the ends of the <i>A’s</i> touch the <i>B’s</i> at a point half-way
-between the end of <i>B</i> and the pointed piece. Secure
-in position with inch-brads.</p>
-
-<p>Place one of the other pointed sticks to the right,
-the other to the left of ends of <i>B</i> and <i>D</i>, and fasten
-so that the end of upper <i>B</i> is two and one half inches
-from point, and <i>D</i> two and one eighth inches from
-upper <i>B</i> and lower <i>B</i> <em>slightly</em> over two inches from
-bottom of bevel. In placing these two pointed pieces
-<em>be sure</em> and have the face <i>a</i> (<a href="#figp074"><i>fig. 2</i></a>) down.</p>
-
-<p>Now for the back. Take the pieces marked <i>E</i>;
-measure two and five eighth inches from upper ends;
-fasten one of the pieces <i>C</i> by the ends to these
-points, and the second <i>C</i> at a point a <em>little</em> over two
-inches from bottom.</p>
-
-<p>Fasten upper beveled ends of the <i>E’s</i> to backs of
-points <i>x</i> (<i>see picture</i>) with short brass screws and a
-couple of brads.</p>
-
-<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p>
-
-<p>Next take pieces <i>G</i>, and measure two and three
-fourth inches from end: bore holes large enough to
-admit long screws; with brads fasten third <i>C</i> at points
-one and one half inches from ends of <i>G</i>, and one and
-one fourth inch from holes. (This is to support the
-book.) Then screw <i>G</i>’s directly under <i>B</i> and <i>A</i>, the
-long ends directed backward. You will find the
-seven-inch ends will touch the lower part of pieces <i>E</i>
-about one half inch from bottom. Fasten with brads.</p>
-
-<p>These two pieces (<i>G</i>) serve to keep the back from
-spreading away from front and make the rest strong
-enough to support quite a heavy book.</p>
-
-<p>This is really a very simple thing to make, for the
-lines are all straight, and if you are careful in cutting,
-fitting and joining, you will feel paid for the trouble.</p>
-</div>
-
-<div class="chapter">
-
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p>
-
-
-
-
-<h2><a name="X_BOOK-REST_Continued" id="X_BOOK-REST_Continued"></a>X.&mdash;BOOK-REST. (<i>Continued.</i>)</h2>
-
-
-<p class="drop-capt">YOU now
-have the
-book-rest all
-put together
-ready for finishing.
-The first thing now to do is to sandpaper
-it. For this you must buy some (o) or (oo)
-sandpaper, and go over the whole thing, being
-careful not to round the corners. You can accomplish
-this by stretching a piece of sandpaper
-over one of the little bits that remained
-after cutting: this will make a flat, firm surface,
-and will not be so liable to round the edges as if
-stretched over your thumb.</p>
-
-<div class="figright" style="width: 350px;">
-<a name="figp079" id="figp079"></a><img src="images/i_079.jpg" width="350" height="343" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>Before staining, you must make the brass springs
-to hold the leaves back.</p>
-
-<p>Cut six and one half inches of your spring wire,<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
-(which should be about one sixteenth of an inch in
-diameter.) At a point five eighths of an inch from
-end, bend the wire into a right angle; two and one
-fourth inches from that point give the wire a turn
-round a small nail, or piece of telegraph wire (you
-cannot turn it evenly with your fingers alone); this
-is to give the wire a spring, and will enable you to lift
-the end of the wire on to the leaves of the book.
-Now turn the end of the wire in so as to make
-a rounded end. It will then look like <a href="#figp079"><i>fig. 1</i></a>.</p>
-
-<p>Make another spring exactly like this one: then
-cut off a piece five and one half inches long, bend to
-a right angle at a point five eighths of an inch from
-end. Then at a point two inches from angle, give
-the wire a turn as in the other set, and turn the end
-in. Make a second one like this of the remaining
-piece of wire.</p>
-
-<p>To fasten these springs on to the rest, you must
-bore a hole one-sixteenth of an inch in diameter
-through the sides of the two <em>end uprights</em>, at a point
-just below the end of piece <i>D</i>. Insert the five
-eighth inch ends of the larger set of springs into
-these holes, from the outside. You will find that you<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
-can lay the springs back when not in use, and that
-you can turn them out and lift the ends over the
-edges of your book, so as to keep the pages down
-when you do need to use them.</p>
-
-<p>The smaller set can be fastened in the same way
-under lower <i>B</i> or under <i>G</i> if you prefer, at a point
-near the lower ends of <i>A A</i>.</p>
-
-<p>If you are going to stain the book-rest, it is better
-to do it before fastening in the springs.</p>
-
-<p>I think ebony stain goes best, and as you can
-make it yourself, it would perhaps be cheaper.</p>
-
-<p>First you must get some logwood chips (about a
-teacupful); after boiling them in a pint of water for
-an hour or so, apply with an old brush (not the chips,
-but the decoction you have made by boiling the chips!).
-You can put on two or three coats of this, letting
-it dry each time.</p>
-
-<p>The next part will perhaps be the hardest. Get
-some iron rust or old iron filings, put these in strong
-vinegar or acetic acid and let it stand a day or two;
-if by this time the liquid is not of a reddish-black
-color, add more iron rust.</p>
-
-<p>After the two or three coats of logwood, your wood<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
-will be of a dark yellow color, but this will immediately
-turn to a fine black when you apply the iron.
-Only one coat of this is needful, because it does not
-soak in. You might try the logwood and the iron on
-a small bit of wood first, and then you will see if
-the solution of iron is strong enough for a good
-black.</p>
-
-<p>When the book-rest is <em>perfectly</em> dry, rub on some
-thin shellac with a soft cloth: this will make the dull
-finish now considered so desirable.</p>
-
-<p>This book-rest is very convenient to use round the
-house at home, and is, as you have seen, very easy
-to make: but it as an awkward thing to pack away in
-a trunk if you are going into the country, for instance,
-or are travelling.</p>
-
-<p>You may like to make another, if you have been
-successful with this one, and this time you can make
-it with hinges, so as to fold up compactly, by making
-the following alterations:</p>
-
-<p>The front will be the same and the back also, with
-the exception of the uprights <i>E E</i>, being hinged instead
-of screwed on to upper <i>B</i>.</p>
-
-<p>The two <i>G’s</i> must have a one fourth inch hole bored<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
-one fourth of an inch from the back end, and a corresponding
-one bored through <i>E</i> about an inch from
-the bottom; these holes are for
-pins, on which the <i>G’s</i> may turn.</p>
-
-<p>Instead of the six-inch <i>C</i>
-which joins the two <i>G’s</i> at a
-point one and one half inches
-from outer end, there should be
-two pieces seven inches long
-fastened with brads, at points
-respectively three inches and six
-and one half inches from outer
-ends of <i>G</i>. The piece six and
-one half inches from end <em>can</em> be
-left out&mdash;though it looks neater with it&mdash;but
-the back will shut closer without it.</p>
-
-<div class="figright" style="width: 150px;">
-<a name="figp083" id="figp083"></a><img src="images/i_083.jpg" width="150" height="353" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<p>Now put the peg through the <i>G’s</i> and into the
-<i>E’s</i>.</p>
-
-<p>Draw the back of the book-rest from the front, put
-ends of <i>G’s</i> through the spaces bounded by pieces
-<i>A</i>, <i>B</i> and <i>D</i>, and you will find that the <i>G’s</i> rest
-in the corners made by <i>A</i> and <i>B</i>.</p>
-
-<p>When you want to shut up the book-rest, you<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
-must draw the <i>G’s</i> out, and turn them away from
-front on to the back of the <i>E’s</i>, and then shut the
-<i>E’s</i> up on to the <i>A’s</i> as in <a href="#figp083">figure</a>.</p>
-
-<p>I don’t think this quite as pretty as the fixed
-book-rest, and there are of course other ways of
-changing the original plan which would be more
-ornamental; but this is very easy and will answer
-the purpose. You will find it good fun and good
-practice to experiment on changes in any of the
-designs given, after you have mastered the simple
-forms and the plain directions given in these papers.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p>
-
-
-
-
-<h2><a name="XI_A_BED_TABLE" id="XI_A_BED_TABLE"></a>XI.&mdash;A BED TABLE.</h2>
-
-
-<p class="drop-capt">THE accompanying <a href="#figp086">figure</a> shows you a very useful
-but rather peculiar piece of furniture quite
-simple to make; if you are ever ill in bed yourself or
-any one in the family is obliged to lie in bed and
-have meals brought to them, I think you will say it is
-a handy thing to have instead of a waiter that joggles
-and tips on one’s lap in the bed, instead of even a
-table at the side of the bed that compels one to
-twist round uncomfortably in order to reach.</p>
-
-<p>It explains itself, almost; but a few directions and
-dimensions will help you.</p>
-
-<p>As you can see, it is a tray with legs to set over the
-lap in bed, with a rim to keep things from sliding off,
-and is light enough to be carried by the side handles;
-a tempting breakfast for the invalid can be arranged
-neatly upon it instead of a waiter.</p>
-
-<p>It can be made of any kind of wood, but black<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
-walnut is as pretty as any and enough can be bought
-for it, for about fifty cents.</p>
-
-<p>You will need two boards, each two feet long; one
-should be one foot wide and one half inch thick,
-the other one and a half foot wide and one half inch
-thick.</p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="figp086" id="figp086"></a><img src="images/i_086.jpg" width="500" height="369" alt="" />
-<div class="caption">BED TABLE.</div>
-</div>
-
-<p>Take the first one; plane nicely, being careful to
-have the ends and edges square. Set this aside for
-the top of tray.</p>
-
-<p>Plain one edge of second piece (the one and one
-half feet wide); with splitting saw cut off strips twenty-four
-inches long by four inches wide: square<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
-ends and plane edges of piece left. Measure one
-foot from end, square and cut off. You will have two
-pieces alike for the ends or legs, and one strip two
-feet long, four inches wide, for back.</p>
-
-<p>Round off one edge of top (the piece two feet long
-by one foot wide) with small plane, and sandpaper
-smooth. Take two side pieces; find points nine
-inches from bottom and respectively four and eight
-inches from side of leg; bore holes with largest bits,
-split out piece between, enlarge and smooth with
-gouge or knife to fit the hand. These are to slip the
-fingers through to hold the tray.</p>
-
-<p>Draw a line parallel with, and ten inches from, bottom
-of legs and fasten one leg on either end of the
-two foot by one foot piece, using three one inch
-screws for each leg.</p>
-
-<p>Fit the back piece neatly on to square edge of top
-and fasten with four screws; put a screw on upper
-corner of each of the sides, through into end of back
-to make it steadier.</p>
-
-<p>If the corners of the sides are rounded as in picture,
-it will look a little better.</p>
-
-<p>You can make this bed table even more useful by<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
-attaching a simple book rest which will be a great
-comfort to an invalid who is able to read yet finds it
-fatiguing to hold a book.</p>
-
-<p>Cut two pieces one quarter inch thick, one wide and
-seven inches long, and one piece nine inches long;
-one half inch from bottom of the two seven inch
-pieces, bore holes large enough for seven-eighths
-inch screws to play in.</p>
-
-<p>One half from ends of nine inch piece, make some
-smaller holes, and also two holes one inch from top of
-back (on inside) and eight inches apart.</p>
-
-<p>Screw ends of seven inch pieces into these holes
-and the nine inch piece into the other ends of the
-seven inch pieces; of course the screws must play
-easily. When not in use the rack will fold over and
-lie inside the back as shown by dotted lines.</p>
-
-<p>To keep the book from slipping forward insert
-two movable pegs about three and a half inches
-apart in front of middle of back.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>
-
-
-
-
-<h2><a name="XII_CABINET" id="XII_CABINET"></a>XII.&mdash;CABINET.</h2>
-
-
-<p class="drop-capt">I HAVE often been asked to describe a “Cabinet
-for Specimens,” such as I made for minerals.
-It would be equally good for shells, eggs, coins, or
-even for a bookcase. The shelves hold the specimens
-protected from dust with glass doors, and from meddling
-fingers with a lock and key. The cupboard (or
-drawer if preferable) below holds duplicates useful in
-making exchanges, and the needful tools for the specialty
-which interests you.</p>
-
-<p>The cabinet of course can be made of black walnut
-or any other hard wood, but for lightness as well as
-cheapness I used pine (stained) and put in a back of
-dark-brown cambric instead of wood, the cambric
-costing fifteen or twenty cents, where the wood would
-cost nearly a dollar and a half.</p>
-
-<p>I can’t give you close estimates about lumber
-either as to price or lengths, because at different mills<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span>
-boards vary greatly in dimensions, and values at the
-West or in Maine are unlike those in cities. I will
-therefore describe my own, feeling sure that by this
-time if you have made all the other articles in the
-series you can alter the pattern I give you, or follow
-it accurately, according to the purpose you have in
-view.</p>
-
-<p>My cabinet fits easily in an alcove six feet, six
-inches high, and four feet, six inches wide; and is
-large enough to hold an interesting collection. For
-convenience in cutting, the seven boards I used were
-selected according to the following dimensions:</p>
-
-<blockquote>
-<p>
-A&mdash;12 feet by 12 inches.<br />
-B&mdash;6 feet by 10 inches.<br />
-C&mdash;8&frac12; feet by 12 inches.<br />
-D&mdash;12 feet by 12 inches.<br />
-H&mdash;4 feet by 13 inches,<br />
-and 2 boards for shelves 8 feet long by 1 foot wide.<br />
-</p>
-</blockquote>
-
-<p>If possible, get three-fourths-inch board, as it is
-both lighter and cheaper, but inch-board is often
-easier to get and my measurements are for that.
-Get it all as clear as possible.</p>
-
-<p>Besides the boards you will need two pieces of<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
-two-inch moulding six feet long, and two pieces
-of three-fourths-inch about eleven feet long, to
-hold the glass in the doors, and three pair of hinges;
-also lock and key if
-you desire all to be
-secure.</p>
-
-<p>Take <i>A</i>, divide in two,
-plane edges and square
-ends for sides.</p>
-
-<p>Take <i>C</i>, cut two
-boards, each four feet
-two inches long, and
-one foot wide, for top
-and bottom.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp091" id="figp091"></a><img src="images/i_091.jpg" width="250" height="337" alt="" />
-<div class="caption">THE CABINET.</div>
-</div>
-
-<p>From <i>B</i> cut two pieces that shall be six feet long,
-and four inches (for sides of door casing), then
-from remainder cut strip three and one half feet by
-one inch, to go behind lower moulding for hinges
-of <i>E</i>.</p>
-
-<p>From board <i>H</i> (which is four feet by thirteen
-inches) cut out block at <em>each end of one edge</em>, three
-inches long by one wide.</p>
-
-<p>Nail <i>CC</i> on to top and bottom of <i>AA</i>, taking care<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
-to put top and bottom (<i>CC</i>) <em>on</em> and not between uprights
-<i>AA</i>.</p>
-
-<p>At point nine inches from lower <i>C</i>, nail board <i>H</i>,
-with the projection facing outward. On each side on
-front nail strips <i>BB</i>. You will find they fit into cuts
-made in <i>H</i>.</p>
-
-<p>Nail the three and one half feet strip close to
-bottom <i>C</i> between <i>BB</i>.</p>
-
-<p>From remainder of board <i>B</i> cut piece three and
-one half feet long; with splitting-saw divide this into
-two boards, one eight inches, one four inches wide.
-Nail the four-inch piece directly under <i>C</i>, between the
-<i>BB</i>. This finishes the front for the doors.</p>
-
-<p>Now for the mouldings: from one of the two-inch
-strips cut piece four feet, four inches long; cut ends
-at angle of forty-five degrees; cut two pieces one foot
-three inches long: have right-hand end of one and
-left-hand end of other cut at angles of forty-five degrees,
-i. e., one half of a right angle. Cut a second
-similar set of mouldings, nailing one set to top, the
-other to bottom of cabinet.</p>
-
-<p>The piece three and one half feet by eight inches
-is a kind of door, which is hinged to the strip behind<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
-the moulding at the bottom. In my cabinet I have it
-for a cupboard, as I said before, but you can put in a
-drawer in its place if you prefer.</p>
-
-<p>For the doors, cut from <i>H</i> four pieces four feet, ten
-inches long by three inches wide, and four pieces one
-foot, nine inches long by three inches wide.</p>
-
-<p>The best way of putting this together is of course
-to mortise it. To do this, draw lines at each end of
-one of the long pieces on the edge one fourth inch
-from each side; then draw lines <em>across</em> the edge at
-points three fourths and two and one fourth inches
-from end.</p>
-
-<p>This rectangle must now be cut out. Bore three one
-half inch holes one and one half inches deep: then
-with chisel split out the remaining wood and smooth
-as nicely as possible. Repeat this on all the long
-pieces.</p>
-
-<p>To make the tenons or tongues which fit the mortises,
-measure one and one fourth inches from ends
-of short sticks, and with try-square draw line all
-round the stick. On sides of stick saw in one fourth
-inch deep; on edges saw three fourths inch deep.
-Then, parallel to sides, draw lines one fourth inch<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
-from sides of stick on the end, and two more lines
-three fourths of inch from and parallel with edges of
-stick. Place edge of chisel just outside of lines and
-chip off the little blocks, gradually shaving the tenons
-down to the lines.</p>
-
-<p>If this is nicely done, the tenons will fit into the
-mortises so that the side edges and ends of the four
-long sticks will fit snugly on to the short ones. Put
-a peg through long and short pieces at the tenons to
-keep them from coming apart.</p>
-
-<p>This can be done in another way that is also somewhat
-easier, by cutting from the sides at the ends of
-the pieces squares three inches by three inches by
-one half inch and screwing together.</p>
-
-<p>If you have only one light of glass to each door,
-there will be no need of a cross-piece,
-so you will simply have to put the moulding
-round on the inside of the door
-frames. If you have smaller panes, you
-will need the crossbars.</p>
-
-<div class="figright" style="width: 150px;">
-<a name="figp094" id="figp094"></a><img src="images/i_094.jpg" width="150" height="106" alt="" />
-<div class="caption">TENON AND
-MORTISE.</div>
-</div>
-
-<p>For the four shelves you will require you must cut
-the two eight-foot boards into four, and make cleats
-to support them. These are merely narrow strips<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
-of wood nailed on inside of <i>HH</i> (at the height desired)
-on which the ends of the shelves rest. The
-staining is done by the rule given in a former
-paper, and the hinges and lock are set as in the tool
-cabinet.</p>
-
-<p>About four yards of dark cambric tacked on the
-back will finish a neat, simple, but serviceable cabinet
-like the illustration.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p>
-
-
-
-
-<h2><a name="XIII_A_BOYS_CATCHALL" id="XIII_A_BOYS_CATCHALL"></a>XIII.&mdash;A BOY’S “CATCHALL.”</h2>
-
-
-<p class="drop-capt">THERE is no better way for a boy to spend his
-evenings, half-holidays, and vacations, than
-in making some useful and pretty articles of furniture
-for his own room, providing he has an aptitude for
-such work, and the mechanical ingenuity and natural
-patience to do it with neatness and accuracy. Yet a
-boy should not&mdash;if he takes pleasure in such work&mdash;become
-discouraged if his first attempts are not
-wholly attended by success, as no success comes
-without perseverance; and perseverance, if the love
-for the work be not wanting, will inevitably bring
-its own reward.</p>
-
-<p>The average boy is not usually blessed with overmuch
-room in which to bestow his many treasures&mdash;his
-bats, balls and marbles, his collection of butterflies
-and bugs, relics of many a pleasant tramp through
-field and wood, and last, but far from least important,<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
-the treasured books of tale and adventure, so dear to
-the heart of a genuine boy; therefore the little case
-or cabinet of the illustration has been contrived, for
-his own making, as a resting-place for all these and
-more, and to prove the happy truth of the old adage,
-“A place for everything, and everything in its place.”</p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="figp097" id="figp097"></a><img src="images/i_097.jpg" width="500" height="559" alt="" />
-<div class="caption">SKETCH NO. 1.</div>
-</div>
-
-<p>It may be constructed of nicely-selected pine, for<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
-this is easily obtained, is cheap, and any little mistake
-will not entail too much expense if the work has to
-be done again, and also it is easily worked, and
-takes a beautiful golden color when “filled,” and
-finished with shellac. Pains must be taken not to
-mar the wood with tool-marks. To make a nice piece
-of work, you will not use any nails, but put the case
-together with dowels, screws, and glue.</p>
-
-<p>Now look over the drawings together. <i>Sketch No.
-1</i> shows the completed case as it should look when
-finished and in place. The first section, <i>A</i>, (<i>Sketch
-No. 2</i>) is a fair-sized box with lifting cover, and a shelf
-beneath. This will be found handy for many odds
-and ends of boyish treasures too cumbersome to
-be stored away in drawers and boxes. <i>Section B</i>
-contains the specimen, or butterfly case, with a row
-of small drawers below, these drawers being handy
-receptacles for marbles, tops, twine, or like odds and
-ends that make a troublesome litter when thrown
-together in a large drawer. Two large drawers below
-these, and the shelf, will find their uses, without doubt.
-<i>Section C</i> has a couple of shelves for books, with
-storage room for bats, hockey sticks, etc., below; and<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
-in one corner is a small box large enough to hold
-two or three balls; outside of this, as the other plans
-will show, is a receptacle for a foot-ball, made of
-bent wire. This, if not a desirable addition, may be
-left off.</p>
-
-<p>Having looked our case over in a general way, let
-us now go into the details of construction and finish.
-In <i>Sketch No. 2</i> will be found all the general measurements.
-The figuring and lettering on the <i>Detail
-Sketch</i> all refer to this drawing. We will first get
-out the stock for the side-pieces of the various sections,
-four in number, and two of them&mdash;those belonging
-to <i>Section B</i>&mdash;of exactly the same size and
-shape. These should be of one and one fourth inch
-stock, and of the dimensions given in <i>Detail Sketch
-No. 3</i>. Mark out carefully the simple outline indicated
-for each piece, using a piece of charcoal, so the
-line may be easily wiped out and corrected if unsatisfactory.
-Go over the corrected outline with a soft
-pencil to preserve them, and then saw them out.
-This must be done with care, to keep the edges even
-and true, using either a draw tool or small saw on
-the finer outlines.</p>
-
-<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="figp100" id="figp100"></a><img src="images/i_100.jpg" width="500" height="402" alt="" />
-<div class="caption">SKETCH NO. 2.</div>
-</div>
-
-<p>The half-trefoil on side of <i>Section A</i> at the bottom
-should be drawn with a compass, or scribing tool,
-and cut with a hand scroll-saw; and the simple pattern
-on the sides should first be marked out with a
-compass, the larger hole carefully cut out with a sharp
-tool to the depth of one fourth inch. The smaller
-holes, surrounding it, bore out to about the same
-depth with a small auger-bit. The straight line decoration
-on sides of <i>Sections B</i> and <i>C</i> are first neatly
-lined with a pencil, and then cut with a sharp tool,
-one fourth inch wide, and about as deep. The cover<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
-of <i>Section A</i> should be of seven eighths inch stock,
-and should project fully an inch over the side and
-front. The back piece, on which the hinges are fastened,
-should be two and one half inches wide.
-This will allow ample room for the back board, and
-give to the cover, when open, sufficient slant to lean
-easily against the wall. This piece should be well
-glued and doweled into place, and two neat brass
-hinges set in, to hold the cover. The bottom of box
-and bottom shelf of this same section are of same
-thickness as top, firmly doweled and glued into place.
-The front panel is of same thickness, and cut to fit
-exactly into place, doweled and glued. The small
-jig-saw patterns at bottom of <i>Sketches No. 8</i>, <i>9</i>, <i>10</i>,
-are cut from one half inch stock, and glued on firmly.
-<i>Section A</i> is now ready to attach to the side piece
-of <i>Section B</i>. This must be neatly and firmly done
-with dowels and glue.</p>
-
-<div class="figcenter" style="width: 443px;">
-<a name="figp102" id="figp102"></a><img src="images/i_102.jpg" width="443" height="600" alt="" />
-<div class="caption">SKETCH NO. 3.</div>
-</div>
-
-<p>In <i>Section B</i> first get out the top, centre and bottom
-shelves, as well as the narrow strip division for
-the drawers; these last need not run back more
-than three inches, excepting for the row of small
-drawers. This division should run entirely from front<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
-to back, the same as the shelves. The thickness of
-all the shelving is the same throughout. Having
-framed together our sides with the centre and bottom
-shelves, and drawer partitions, next place the two
-narrow uprights, on which the doors are to be hung<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>,
-in position. These are one half inch wide and firmly
-doweled and glued into sides; the doors are hung
-with simple brass hinges and made to lap one over the
-other on one fourth inch rebate, and shutting against
-an upright post about three fourths inch square.
-Glue a strip one inch wide and one half inch thick
-around the sides and back piece, for the top to rest
-upon and be fastened to, by one fourth inch dowels,
-and glued; this strip should, for further security, be
-fastened by a number of small screws. Space will not
-allow the details of construction of drawers; but if
-the lad will look at any well-made drawer, he will easily
-find out for himself.</p>
-
-<p>We have already got out the side for the book
-shelves and bat holder, <i>Section C</i>, and have only to
-dowel and glue shelves firmly into place, put the
-back boards in position, having got them out the size
-and shape shown by <i>Sketches 7 and 8</i>.</p>
-
-<p>Now our case is well framed together and it only remains
-for us to finish various small details. After
-fitting a one fourth inch shelf into the specimen case
-midway, the next move is to line the whole of the
-specimen case and the two long drawers beneath<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
-with thin, flat pieces of cork about one eighth inch in
-thickness. First apply to the whole surface to be
-covered, a thin coating of hot glue, fitting in the
-piece of cork while the glue is hot; rub well into
-place, and apply an even pressure, to be left until
-the glue is thoroughly “set;” when this is done
-cover all the cork with nice white paper, applied with
-flour paste. Frame up the door as shown in <i>Sketch
-No. 12</i>, of one half inch stock, setting the glass in from
-the front into a narrow rebate. Then glue a narrow
-moulding on the outside to prevent the glass from
-falling out. Hang the door with brass hinges and
-fit a small lock into place; then dowel neatly into
-place the under brackets, <i>Nos. 9</i>, <i>10</i>, <i>11</i>, in their
-respective positions, place pretty brass pulls on all
-the drawers, and the case is nearly ready for finishing.</p>
-
-<p>In the book case <i>Section 6</i>, the simplest way of arranging
-the shelves is to bore a row of one fourth inch
-holes front and back and at both sides, and fit little
-pegs into these for two shelves to rest on. These
-may be raised or lowered by changing the positions
-of the pegs. Make a little box as shown of one fourth
-inch stock, fasten this neatly with small screws into<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
-the left-hand upper corner of the bat holder under
-the lower shelf; this is to hold the base and hockey
-balls. The back of the case may be made of narrow
-strips of one fourth inch sheathing, held in by screws.</p>
-
-<p>Fill the woodwork thoroughly with a good filler;
-Wheeler’s is good. After it is wholly dry, go over the
-case with a good coat of white shellac, and when
-dry, rub it down carefully with powdered pummice
-stone, oil and emery cloth. A second coat of shellac
-carefully rubbed down, will result in a rich golden
-brown hue, that will improve with age. This case,
-when complete, will cover a small space of four feet
-nine inches by three feet three inches.</p>
-
-<p>In buying stock, select the best pine for all portions
-that will show. Get the stock well planed and smooth
-it down.</p>
-
-<p>If made by a carpenter, twenty-five dollars would be
-the smallest payable price for a good job, so that the
-price named is not at all excessive for a really good
-thing.</p>
-
-<p>This case being somewhat elaborate is intended
-both in design and instructions here given, for those
-boys who have a fair knowledge of construction, and<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
-some ideas as to the best way to set about it; and it
-must be borne in mind although pine is soft and easily
-worked, it is also easily soiled and injured by tool
-marks more readily than the harder woods.</p>
-
-<p>The general schedule of material and cost given
-below will be found useful in buying.</p>
-
-
-<p class="center">SCHEDULE OF COSTS, ETC.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Schedule of costs">
-<tr><td class="tdl">50 feet, &#x215E; inch pine,} at 6c per foot,<br />
-                    25<span class="ditto"> "&frac12;""</span>}</td>
-                                                         <td class="tdrm">$4.50</td></tr>
-<tr><td class="tdl">Sawing, if done at a mill, about</td><td class="tdr">1.50</td></tr>
-<tr><td class="tdl">Finishing and filling the wood in four coats, about 1 quart of shellac, etc.,</td>
-   <td class="tdrb">1.50</td></tr>
-<tr><td class="tdl">Hardware, locks, hinges, drawers, pulls, etc., etc.,</td><td class="tdr">1.50</td></tr>
-<tr><td class="tdl">Glass for doors,</td><td class="tdr">.50</td></tr>
-<tr><td class="tdl">Cork, paper, glue, etc., about</td><td class="tdr">1.50</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">&mdash;&mdash;&mdash;</td></tr>
-<tr><td class="tdl">Total,</td><td class="tdr">$11.00</td></tr>
-</table></div>
-
-<div class="figcenter" style="width: 600px;">
-<a name="figp108" id="figp108"></a><img src="images/i_108.jpg" width="600" height="427" alt="" />
-<div class="caption">A PORTABLE HOUSE.</div>
-</div>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
-
-
-
-
-<h2><a name="XIV_HOW_TO_BUILD_A_PORTABLE" id="XIV_HOW_TO_BUILD_A_PORTABLE"></a>XIV.&mdash;HOW TO BUILD A PORTABLE
-WOODEN TENT.</h2>
-
-
-<p class="drop-capt">WOODEN tents such as I am about to describe,
-are in use by the contractors who are building
-the western extensions of the Denver and Rio
-Grande Railway in Colorado. There are no towns
-there ahead of the railway, and it is necessary to provide
-sleeping-quarters, provisions and eating-houses,
-for the engineers and road-makers. It is therefore
-needful to have a style of building which can be
-put up and taken down easily, and, above all, which
-shall be capable of transportation over the frightful
-mountain roads. The result, it seems to me, might be
-useful to bevies of boys, to schoolmasters and pupils,
-and to families who camp out every summer for
-some considerable time, and really need to take to
-the woods a house somewhat better than a cloth tent,
-where they can live in warmth and comfort, and
-which shall be a cosey headquarters for storing<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>
-supplies, and to which they may return. My
-object now is in these papers to instruct our
-young home carpenters how during their winter
-leisure to get one of these comfortable wooden tents
-in complete readiness for summer transportation. It
-can be done very cheaply; if you can improve on it,
-so much the better. For my part, I have never seen
-or heard of the like anywhere else, though I believe
-that circus sideshows sometimes have a far more
-cumbersome arrangement answering the same purpose.</p>
-
-<p>Boys might club together, not only to own such a
-portable house in common, but to build it&mdash;a jolly
-way of spending Saturdays in some great wagon-house
-or tool-chamber where there is a big workbench and
-a good tool-chest.</p>
-
-<p>This movable house consists wholly of wood except
-the roof, which is canvas, and the floor, which is dirt,
-unless you choose to plank it. It may be made of
-any size you see fit, it only being necessary that all
-the parts are adjusted to the scale decided upon.
-The dimensions I give, however, are measured upon
-a plan twelve feet square, because that happened to
-be the actual size of the one nearest to me. The<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
-railway men generally join from two to half a dozen
-of these together, end to end, making a long and
-commodious building. A half-dozen congenial families
-could do the same, insuring endless good times
-in the forest solitudes. One twelve-foot length is
-then known as a “section.” If you would rather
-have an oblong figure, make your ends shorter and
-reduce the length of your rafters; or, if you don’t
-like the pretty low pitch of the roof which my measurements
-imply, lengthen your uprights and rafters to
-suit your own ideas of the right angle.</p>
-
-<p>Now for my details:</p>
-
-<p>The walls of your tent-house, six feet in height, are
-to be made of inch-thick matched flooring twelve feet
-long. They should be No. 1 pine, best quality.
-Fasten these firmly together, to the width of six feet,
-by three dressed cleats, six inches wide, one at each
-end and one in the middle, and do this on both sides.
-Make three of these platforms, or walls, which will
-furnish three sides of your house. For the fourth
-side make a similar platform nine feet in length, filling
-out the remaining three feet with a door.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp112" id="figp112"></a><img src="images/i_112.jpg" width="300" height="281" alt="" />
-<div class="caption"><span class="smcap">Fig. 14.</span></div>
-</div>
-
-<p>This door swings <em>out</em>, and the hinges should be<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
-very strong, preferably of the kind used on barn doors,
-so that it can be
-lifted off its hanging
-with ease, and
-so that the long
-shaft of the hinge
-will act as a support
-to prevent undue
-sagging. An
-arrangement must
-be made to lock
-this door. It can easily be secured
-on the inside by a bolt, and outwardly
-by hasp and padlock.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp112a" id="figp112a"></a><img src="images/i_112a.jpg" width="200" height="344" alt="" />
-<div class="caption"><span class="smcap">Fig. 1.</span></div>
-</div>
-
-<p>There remain, now, the peaks or
-gables at the ends, to be provided
-for. Many of the railway men get
-their roof canvas sufficiently large
-to come down and cover this, but
-I think a better plan would be to
-make two triangular platforms of
-boards, fitted to your peak, cleating them together
-just like the lower walls. Then place about four<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
-flat staples in the outside of your end walls, and let
-iron hasps bolted to the lower edge of your peak
-boards drop into them. This would hold the bottom
-of the peak and the top of the end wall squarely
-together. In addition to this a couple of bolts should
-pass through the upright and be secured by nuts,
-so as easily to be unscrewed. (<a href="#figp112"><i>See fig. 14.</i></a>)
-There should be no middle cleat on the
-inside of the gable. The general character
-of these walls appears in several of the
-illustrations, but the cleating is shown in
-<a href="#figp112a"><i>fig. 1</i></a>. Screws should be used throughout
-instead of nails. The woodwork remaining
-to be shaped, consists of the uprights, or
-centre-poles at each end, the ridgepole,
-rafters and braces.</p>
-
-<div class="figleft" style="width: 100px;">
-<a name="figp113" id="figp113"></a><img src="images/i_113.jpg" width="100" height="360" alt="" />
-<div class="caption"><span class="smcap">Fig. 2.</span></div>
-</div>
-
-<p>The two uprights in my model were 8 feet and
-9 inches in height; a greater length would add pitch
-to the roof. These uprights should be made of clear,
-firm stuff, 4 inches by 2, and should be thickened at
-their lower ends by adding pieces of similar size, as
-shown in <i>figures</i> <a href="#figp113">2</a> and <a href="#figp114a">4</a>. This upright stands inside of
-the wall, and edge-wise. Into its upper inner<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>
-edge must be set two iron “eyes” having an inner
-diameter of three quarters of an inch. (<i>See fig. 3</i>). The
-uppermost of these is placed about two inches from
-the top of the stick, and
-the second six inches below.
-These eyes should pass clear
-through the timber and be held by nuts on
-the other side. Six feet from the bottom of
-the upright, a hooked bolt should be passed
-through the timber, the hook facing outwardly,
-and having enough space between it and the
-wood to allow the wall to come
-between. Its purpose is to
-hold the end wall snugly to
-the upright: therefore it must
-be loose enough so that it can
-be turned up while the wall is
-being put into position, and
-then turned down to clamp
-it firmly, as in <a href="#figp114a"><i>figure 4</i></a>.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp114" id="figp114"></a><img src="images/i_114.jpg" width="200" height="238" alt="" />
-<div class="caption"><span class="smcap">Fig. 3.</span></div>
-</div>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp114a" id="figp114a"></a><img src="images/i_114a.jpg" width="200" height="318" alt="" />
-<div class="caption"><span class="smcap">Fig. 4.</span></div>
-</div>
-
-<p>Having made both uprights
-alike, you now turn your attention
-to the ridgepole. This ought to be somewhat<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
-heavier than the uprights, two by six scantling being
-none too strong for the strain which the weight of
-your canvas and an occasional gale of wind will put
-upon it. It is twelve feet long, of course, and six
-inches from each end will have an iron pin 18 inches
-in length driven through from its upper side, intended
-to go through the eyes at the top of the uprights.
-This is shown in <a href="#figp115"><i>fig. 5</i></a>.</p>
-
-<p>On each side of this ridgepole screw in four stout
-staples or eyes, one at three inches from each
-end, and the others at equal distances between; to
-these the rafters are to be attached. (<i>See figs. <a href="#figp114">3</a> and <a href="#figp115">5</a>.</i>)
-Similar staples must be placed an inch below the upper
-inside edge of the side walls to contain the irons
-at the lower end of the
-rafters, as in <a href="#figp117"><i>fig. 6</i></a>; of
-course, therefore, it is
-necessary that the staples
-in the walls should
-fall exactly opposite those on the ridgepole.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp115" id="figp115"></a><img src="images/i_115.jpg" width="250" height="115" alt="" />
-<div class="caption"><span class="smcap">Fig. 5.</span></div>
-</div>
-
-<p>The rafters themselves, eight in number, may
-be made of the same sized stuff as the uprights,
-or lighter, if a tough wood like elm or ash is used<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
-instead of pine; and each will be 7 feet and 4
-inches long unless you want a pretty steep roof,
-in which case you must lengthen them somewhat.
-To the underside of the upper end is fastened
-a strong curved hook, which hangs in the staples on
-the ridgepole (<a href="#figp115"><i>fig. 5</i></a>); while to the lower end is fastened
-a pointed iron three inches long, and set at such
-an angle that it will stand vertical in the eye on the
-wall (<i>see <a href="#figp117">fig. 6</a> next paper</i>) when the rafter is in
-place.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p>
-
-
-
-
-<h2><a name="XV_HOW_TO_BUILD_A_WOODEN_TENT" id="XV_HOW_TO_BUILD_A_WOODEN_TENT"></a>XV.&mdash;HOW TO BUILD A WOODEN TENT.
-(<i>Continued.</i>)</h2>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp117" id="figp117"></a><img src="images/i_117.jpg" width="150" height="186" alt="" />
-<div class="caption"><span class="smcap">Fig. 6.</span></div>
-</div>
-
-
-<p class="drop-capt">THE braces are intended to serve the same purpose
-as the guy-ropes of the ordinary wall tent, and
-are three in number on each side. They consist of stout
-sticks (two by four inches is a good size) long enough
-to reach the ground from the top
-of the wall (five and one half feet
-in the present case) at an angle
-of forty-five degrees. At the
-upper end, underneath, which is
-beveled to stand flat against the
-face of the wall, the brace is
-armed with a strong hook. This
-hook sets into an eye inserted into the top of the
-outside cleat, just as the rafters are hooked to
-the ridgepole. At the lower end, which also is
-beveled off to fit the ground, is fastened a large
-ringbolt. This is on the upper side, so that when<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
-the brace is in position, the ring lies flat on the
-ground beyond it, and through it is driven a barbed
-pin of iron. These braces not only hold the wall
-from sagging out, but equally prevent it from
-pulling in, which
-is just as great a
-danger. How
-they are arranged
-is
-seen at a
-glance in
-<a href="#figp118"><i>fig. 7</i></a>.</p>
-
-<div class="figleft" style="width: 450px;">
-<a name="figp118" id="figp118"></a><img src="images/i_118.jpg" width="450" height="351" alt="" />
-<div class="caption"><span class="smcap">Fig. 7.</span></div>
-</div>
-
-<p>There is also another brace which goes across from
-the corner of the side wall over the doorway to the
-upright, where it is hooked into an eye placed six feet
-above the ground. This cross-brace forms a lintel
-to the door, and serves to make solid the otherwise
-somewhat shaky end of the right-hand siding.</p>
-
-<p>Now comes the setting up and roofing; but before<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span>
-you can do that you must provide fastenings at the
-corners of your walls. I have reserved this for the
-last, since it is the most difficult bit of mechanism.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp119" id="figp119"></a><img src="images/i_119.jpg" width="200" height="78" alt="" />
-<div class="caption"><span class="smcap">Fig. 8.</span></div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp119a" id="figp119a"></a><img src="images/i_119a.jpg" width="300" height="194" alt="" />
-<div class="caption"><span class="smcap">Fig. 9.</span></div>
-</div>
-
-<p>Go to a blacksmith and have him forge for you
-six pieces of iron of the shape shown in <a href="#figp119"><i>fig. 8</i></a>,
-each about an inch and a half
-wide, and an eighth of an inch
-thick; the shafts, or straight
-ends of three of them, should
-measure six inches from the
-point marked <i>a</i>, while the shafts of the others
-should be nine inches in length, the elbow being
-alike in both
-cases. In the
-shaft should be
-punched two
-holes big enough
-to pass stout bolts
-through; but in
-both sizes these holes should be within six inches
-from the straight end. Having provided yourself
-with these bent irons, bolt one of the <em>short size</em> upon<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
-each end of the <em>outside</em> of the <em>rear</em> wall of your house
-six inches from the lower border, and in such a way
-that the bent end
-which is to be turned
-<em>upward</em>, shall project
-beyond the end of the wall just enough to leave a
-space of a quarter of an inch between
-the inside of the curve and the edge
-of the cleat to which it is bolted. Draw
-the nuts on your bolts very tight. Now take your
-remaining short one, and put it upon the lower
-corner of your
-front wall, so that
-its lower edge
-shall be just seven
-inches from
-the bottom of the
-wall, and with the
-elbow projecting
-as before, but
-<em>turned down</em>.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp120" id="figp120"></a><img src="images/i_120.jpg" width="250" height="63" alt="" />
-<div class="caption"><span class="smcap">Fig. 10.</span></div>
-</div>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp120a" id="figp120a"></a><img src="images/i_120a.jpg" width="150" height="91" alt="" />
-<div class="caption"><span class="smcap">Fig. 11.</span></div>
-</div>
-
-<div class="figright" style="width: 350px;">
-<a name="figp120b" id="figp120b"></a><img src="images/i_120b.jpg" width="350" height="291" alt="" />
-<div class="caption"><span class="smcap">Fig. 12.</span></div>
-</div>
-
-<p>You have now left your three longer pieces of iron.
-One of these must be placed on the lower rear end<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
-of your right-hand side-wall (as you face the door)
-at seven and one half inches above the bottom, and
-with the elbow turned <em>down</em>. The other two go on
-opposite ends of the left-hand wall, that at the
-rear end turned <em>down</em>, and that in front turned
-<em>up</em>, the former seven and
-one half, the latter six
-inches above the bottom
-edge. But <em>all these long
-ones must project</em> three
-and one quarter <em>inches</em>,
-because they must reach
-past the edge of the adjoining wall, as you will see
-when you stand the walls up; the edge of the rear
-flush with face of the sidings, and lock them
-together, as shown in <a href="#figp119a"><i>fig. 9</i></a>.</p>
-
-<p>Though I have seen the same arrangement at the
-top, yet a better way is as follows: (<i>Figs. <a href="#figp120">10</a>, <a href="#figp120a">11</a> and
-<a href="#figp120b">12</a>.</i>)</p>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp121" id="figp121"></a><img src="images/i_121.jpg" width="250" height="213" alt="" />
-<div class="caption"><span class="smcap">Fig. 13.</span></div>
-</div>
-
-<p>Have your blacksmith make three flat pieces of
-iron, each six and one half inches in length, having a
-closed loop turned up at the end, which carries a link
-six inches long, as in <a href="#figp120"><i>fig. 10</i></a>. Bolt this piece of<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
-iron near the upper corner of each of the end walls&mdash;that
-is, above each of the <em>short</em> hooks, allowing the
-loop in which the link hangs, <em>and no more</em>, to project.
-Get at the same time three squarely bent hooks
-of round iron (<a href="#figp120a"><i>fig. 11</i></a>), with a thread and nut at the long
-end, and the bent-up point no longer than the inner
-diameter of the link, lengthways, so that it will freely
-pass through the
-link. Set these
-hooks in those unprovided
-upper corners
-of your remaining
-walls that come
-opposite your links
-when the walls are
-set up, at such a
-distance that when
-the link is bent around the corner it will snugly fit
-over the hooks. In order to do this, however (and you
-can see what I mean by a glance at <a href="#figp120b"><i>fig. 12</i></a>), you must
-set your hooks so loosely that you can turn their points
-backwards. The link is then slipped over, and the
-reversion of the hook to the position shown in<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>
-<a href="#figp120b"><i>fig. 12</i></a> binds the two walls cornering there as securely
-together as the interlocking hooks hold them at the
-bottom.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp122" id="figp122"></a><img src="images/i_122.jpg" width="300" height="279" alt="" />
-<div class="caption"><span class="smcap">Fig. 14.</span></div>
-</div>
-
-<p>You will notice that I have no clamps or link at
-the front end near the door. There is no chance for
-any. Instead we trust for solidity to the outside
-brace, which is specially
-important, and to the
-horizontal brace which
-extends across from the
-top of the wall to the
-forward upright. (<i>See
-<a href="#figp121">fig. 13</a>.</i>)</p>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp123" id="figp123"></a><img src="images/i_123.jpg" width="250" height="201" alt="" />
-<div class="caption"><span class="smcap">Fig. 15.</span></div>
-</div>
-
-<p>The next thing is
-your canvas. Measure how much you need for
-your roof, and determine how far down your
-walls you want it to extend. If you are going
-to camp in very cold weather, you would do well
-to have it all the way to the ground. It would
-add greatly to the warmth. As a rule, though, you
-will only want it to come well over the top of the
-siding, with some lapping in front and rear to keep
-out driving rains. When it is sewed into a big sheet<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
-you must attach to it at frequent intervals a short
-stout strap. Opposite these straps (<a href="#figp123"><i>fig. 15</i></a>) nail to the
-outside of your walls straps containing big buckles
-(<a href="#figp122"><i>fig. 14</i></a>) whereby you can buckle down taut your
-canvas roof. I know of no more secure and convenient
-method of holding
-the tent cover than this;
-but I would advise
-you to experiment
-on the
-reach and “full” of your cloth before nailing the
-buckles to the wood work.</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="figp124" id="figp124"></a><img src="images/i_124.jpg" width="450" height="323" alt="" />
-<div class="caption"><span class="smcap">Fig. 16.</span></div>
-</div>
-
-<p>Now comes the setting of your tent-house up.
-The first consideration is the position. I can only
-say that it should be level, and where water will not
-drain into it in case of heavy rains. The next thing
-to be decided is, Will you have a floor? If so,
-lay it a few inches larger than your building, set<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
-your house on it, and nail down a narrow cleat all
-around inside close to the wall; an upright bolt
-dropping into the floor in the centre of each side,
-will be well also.</p>
-
-<p>First set up the centre poles and ridgepole, placing
-the latter on top of the former, and sliding the
-iron pins down through the eyes. (<i><a href="#figp114">Fig. 3</a>.</i>) Then
-place in position the <em>rear</em> wall. The side walls will
-come next, their clamps dropping easily at the corners
-into those of the end wall, and holding them firm
-while you slip the links over their hooks and twist
-them tight. Then set up the braces at the door end,
-and put up the front wall, turning down the tent pin
-on the ridgepole, to hold it firm, and locking the
-whole structure with the last link. Next, hook on
-the rafters, bolt the triangular gable walls to the upper
-part of the ridgepole, and set your braces at the sides.
-Nothing remains but to draw over your canvas, put
-your door upon its hinges, and hang up your hat.
-You are at home; a home you have put together at
-leisure hours in your barn or woodshed during the
-winter, have taken to the woods in a lumber-wagon,
-and set up with the help of a single companion;<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
-and when you are done with it you will carry it back
-to town and store it away in the woodshed or stable
-again.</p>
-
-<p>In respect to the cost, I can give no estimates so
-good as in a few moments you can compile for yourself.
-It all depends on the price of materials and
-the cost of blacksmithing in your own neighborhood.
-The weight and breadth of the canvas purchased is
-also to be estimated variously, according to your
-selection, and the expense will be increased according
-to the degree of finishing, painting, and decoration
-put upon the structure. If I should make one for
-myself in New York or New Jersey, I should not anticipate
-its costing me more than twenty-five dollars
-ready for setting up; but this includes no floor and
-no painting. The interior furnishing of cots, cupboards,
-tables, stoves, <i lang="la" xml:lang="la">et cetera</i>, I presume you will understand
-as well as I. Also that you can contrive to
-put in windows as you want them, and provide a
-means of carrying your stovepipe through a tin ring
-in the canvas roof so as to be safe from ignition. I
-only wish I might help enjoy all the fun you will have!</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p>
-
-
-
-
-<h2><a name="XVI_HOW_TO_MAKE_A_FERNERY" id="XVI_HOW_TO_MAKE_A_FERNERY"></a>XVI.&mdash;HOW TO MAKE A FERNERY.</h2>
-
-
-<p class="drop-capt">AUTUMN is the time to be getting ready for your
-fernery&mdash;all you who are off in the country
-(or who live there), or are just getting back from
-your summer vacation, with a big parcel of ferns and
-things which you collected at the White Mountains,
-or among the Green Mountains, or the Berkshire
-Hills, or at Mount Desert, or in some woods, or by
-some pond, or by the sea, or somewhere, no matter
-where&mdash;lovely things were around you wherever you
-went.</p>
-
-<p>I know what you have been doing: for, have
-I not seen in my summer trips for these twenty years,
-how you young people do; how it seems as if you
-wanted to carry all the woods home with you; how,
-hot and tired, but happy, you have been seen coming
-back to the farmhouse or hotel where you boarded,
-with your arms full; how you put your treasures<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
-safely away in the coolest, shadiest corner of the back
-piazza, and asked anxiously if they would keep till
-you could get them home? And when the morning of
-packing up came, what a stir to get them all into the
-smallest possible compass; for were not the older folks
-of the party all complaining because the boys had
-cut so many cones, and the æsthetic grown-up daughters
-had such bundles of cat-tails and sun-flowers, so
-that the “baggage” was already beyond all bounds
-of reason!</p>
-
-<p>If it should happen that you have not secured what
-you would like to stock your fernery with, you can do
-it now: and if anybody should tell you that those
-frail-looking things will not stand the journey home,
-you can answer, on my authority, that they are mistaken.
-Just get the roots, and you are all right. I
-have not much doubt that there are ferns growing in
-a Western city to-day from some dry-looking roots
-which a lady from New England took out with her,
-and after being a week on her journey, distributed
-among her friends, so that the ferneries all about the
-city were beautiful with them by Christmas time.</p>
-
-<p>There is a good deal of vitality in roots: their hold<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
-on life is something wonderful. Plant them, and you
-will hear from them, as Doctor Franklin did from a seed
-or two he found in a piece of broom corn, to which, I
-suppose, all the brooms in the United States may be
-traced.</p>
-
-<p>Therefore, collect, and have patience. The way is
-to tear up a whole mass of the greenery from some
-moist knoll or hummock, moss and all. It will be
-sure to be full of things, gold-thread, bunch-berry,
-partridge-berry, mitre-wort and dew-berry; and every
-one of them will blossom in a fernery in winter. No
-knowing what will come up out of the moss. Get
-also from the woods the two-leaved Solomon’s seal&mdash;you
-will know it by the bunch of finely speckled
-berries; the Indian cucumber root, the rattle-snake
-plantain, lady’s slipper, wake robin, chick-weed, winter-green,
-princes’ pine, pyrola. All these and many
-others will bloom there, and violets. I might make
-a long list of flowers, besides nearly all kinds of
-ferns, and mosses. But it is well to get any and
-every little delicate woods’ plant that you like; roll
-them up in moss, which will keep them damp enough,
-and when you get home, fit up your fernery.</p>
-
-<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
-
-<p>But first&mdash;in accordance with the principle laid
-down by the famous Mrs. Glass, in her cook-book, who
-says about cooking a hare, “first, get your hare,”&mdash;you
-will first <em>get</em> your fernery.</p>
-
-<p>Many persons would have one quickly enough but
-for thinking the expense too great. But it is not at
-all important that you have one of those nice black
-walnut cases with the costly oval or round glass.
-A home-made one is more convenient, and much
-cheaper.</p>
-
-<p>This, which the artist has drawn from one in use,
-is, as you notice, proportioned like a house with a
-steep roof. The frame is of hard wood&mdash;a mere
-sash to hold the glass (for it is really a glass house),
-so are the bottom or floor, and the base, which is
-about four inches deep. A groove is cut in the sash,
-in which the glass is set firmly; no putty was used,
-though I should suggest it as being more secure. All
-the corners are dovetailed together and made sure
-by little brads.</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="figp131" id="figp131"></a><img src="images/i_131.jpg" width="450" height="344" alt="" />
-<div class="caption">A FERNERY.</div>
-</div>
-
-<p>The roof is separate, so as to be lifted off; and
-when on, is kept fast in place by means of two little
-corks the size of a pipe stem, which are fastened to<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
-the pieces of wood at the bottom of the roof, and shut
-into holes made for them in the strips on which it is
-set, so that when closed not so much as a crack is to
-be seen. This is eighteen inches long and fourteen
-wide, and from base to top is twenty-four inches.
-The glass sides are about ten by sixteen; the ends
-ten by twelve; the sides of the roof are ten by sixteen,
-and the triangular pieces at the ends, ten by ten.
-One could be more elegantly proportioned if the roof
-was not so steep. These figures are given as a guide.
-This is very roomy, especially in height; but that<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
-is no disadvantage, because a tall fern can be set
-in the middle and have space to spread off at will, or
-some little hooks can be screwed into the ridgepole
-(likening it to a house), and tiny hanging things suspended
-from them.</p>
-
-<p>The glass is of the common window-pane kind,
-and was about eleven cents a pane; eight panes were
-required, and the man who had them for sale cut
-them to fit the sash. The wood was maple, and was
-hunted out of the odds and ends in the loft of the
-wood-house. Any thoroughly seasoned wood, even
-pine, is suitable, and the cost is not worth mentioning.
-The frame should be neatly finished and joined,
-should be strong and firm on account of the weight
-after the earth and plants are in; and before the
-glass is cut, should be stained, or oiled, or painted,
-outside and in. A pretty stain is made by stirring a
-tablespoonful of burnt umber into a cup of vinegar,
-more or less, according to whether you wish the
-color to be lighter or darker. Stir vigorously and
-put it on with a little swab: it will dry in the course
-of a few hours, and then can be varnished if you like.
-Five cents’ worth of umber is enough to do your<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
-fernery, with plenty left for three or four brackets
-besides.</p>
-
-<p>All the work should be faithfully done, for you
-want no shrinking or gaping or warping afterwards.
-You must remember that it is to be subjected to
-dampness within and dryness without. Once done
-well, your fernery will last for years, and you can
-have something beautiful in it from January till January
-comes again, a perpetual delight to all who see
-it; and costing so little.</p>
-
-<p>Now, an important part remains&mdash;the movable
-zinc tray, which must just fill the wooden bottom,
-and be of the same height, but not fit so closely that
-you cannot take it out when necessary. Ours cost
-fifty cents, but may be made for less; any tin-man
-will make it.</p>
-
-<p>There you have the figures. You can proportion
-one as you like, but this is large enough unless you
-wish to set little flower pots in; but a larger one
-would be heavy to move about, and instead of a fernery
-one would need a Wardian case.</p>
-
-<p>Now, for the fitting up. Last October we removed
-the roof and the tray and washed the glass, preparatory<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
-to having everything fresh and clean for the
-coming winter. The old contents were emptied, and
-we began anew. The first thing was to place a layer
-of broken brick, and small pebbles and gravel, on the
-bottom of the tray for drainage, perhaps an inch and
-a half deep, over which we scattered bits of charcoal
-to keep all pure. We had previously collected a great
-store of things from the woods with which to stock it,
-taking up a whole mat of moss with all that therein
-grew, and everything with a little of the woods’ mould
-on the roots; also we had a clump of pitcher plants
-from a cranberry meadow, and some rattle-snake
-plantain. Altogether for our fourteen by eighteen
-accommodations, I should judge that we had about a
-wheel-barrow load of material to select from; but we
-were in the country then.</p>
-
-<p>It is always desirable to use the rich, mellow leaf
-mould that is found in the woods. You can easily
-take up your plants with enough of it clinging about
-them; and it is so loose and light it will not add
-materially to the bulk or weight. Not much is needed
-for the fernery; two or three inches of it only above
-the bed of drainage, mixed with a little sand. In the<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
-cities it can be obtained from greenhouses. Many
-of the plants would flourish if only moss was put in.</p>
-
-<p>In ours we placed a good layer of such soil; and the
-first plant we set out was a tall, beautiful fern which
-reached nearly to the roof, for we wanted it to look
-pretty all at once without waiting for things to grow.
-Then a pitcher-plant, purple polygala, creeping snow-berry,
-lots of partridge-berry, with the scarlet berries
-on, and nearly all of the wild things I have named.
-Then we went into the garden and dug up lilies-of-the-valley
-that we were sure were going to bloom,
-which is indicated by the bluntness and plumpness
-of the crown just above ground (the leaves were
-gone), also roots of pansy and fragrant single violet.
-These we put into the corners where they would have
-the most light. We packed the tray full, too full,
-perhaps, not forgetting roots of maiden-hair fern.
-We had not much faith in trailing arbutus, though we
-set out a root or two; our hopes for that sweet flower
-we based on the clusters of buds we gathered from
-the woods, and these we put in a small tumbler of
-water and set among the greenery.</p>
-
-<p>Then we gave our little garden under glass a<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
-thorough sprinkling, put the roof on, and set it in
-the light. Occasionally we raised it and admitted
-the air for a short time, but it does not answer to do
-this often. It must be kept covered, watered perhaps
-once a month, kept in the light and warmth.</p>
-
-<p>The result to us was beyond our highest anticipations.
-Though the pansies did nothing but grow tall
-and rank, there was always a violet to give a friend&mdash;a
-delectable violet which made the room fragrant when
-it was taken out; there were “many flowers” week
-after week; mitre-wort bloomed, princes’ pine, gold-thread,
-and other little things; and while snow yet
-lay on the ground, the lilies-of-the-valley blossomed.
-Greatest success of all, and to our utter amazement,
-the pitcher-plant flowered, maiden-hair thrived, the
-great fern spread off till its tips touched the glass, the
-rattle-snake plantain sent up a spire of bloom, and
-everything was beautiful.</p>
-
-<p>I have told you now the method, the expense,
-and how simple a thing it is to fit up a fernery.
-Another winter we shall put in tulip bulbs and
-some other garden plants there may be room for.
-Things will bear packing quite closely if you are<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
-careful to keep those that like the shade in the background,
-and let the others have the best chance
-for the light. Occasionally the fernery needs turning
-so the sun can reach all; otherwise it requires
-but little care.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p>
-
-
-
-
-<h2><a name="XVII_A_BOYS_RAILWAY_AND_TRAIN" id="XVII_A_BOYS_RAILWAY_AND_TRAIN"></a>XVII.&mdash;A BOY’S RAILWAY AND TRAIN.</h2>
-
-
-<p class="drop-capt">IN a certain old-fashioned house that I visit, a
-large attic is set apart as a playroom for the
-boys, in which to keep their tools, their jig-saw, and
-their treasures of all sorts, dear to the hearts of young
-people.</p>
-
-<p>All around the edge of this room runs a small
-railway with curves and switches complete, with
-bridges and tunnels, and an elegant station, made of
-a deserted dog house, and painted in the newest
-style.</p>
-
-<p>Over this track, propelled by boy-power, runs
-many times a day, a train of cigar-box cars, engine
-and tender, baggage and passenger cars, all in order.
-And everything about it, from the ties to the latest
-parlor car, was made by two boys under fourteen
-years of age, at a very small cost.</p>
-
-<div class="figleft" style="width: 100px;">
-<a name="figp139" id="figp139"></a><img src="images/i_139.jpg" width="100" height="85" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>These boys are no wiser or more skilful than<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
-other boys, and there is nothing about it hard to
-make. I thought many of you young readers of
-mine would like to copy it, and so I have
-studied the thing, taken my instructions from the
-builder himself, and here it is, so plainly told that
-no ordinary boy of twelve need make a
-mistake if he follows directions exactly,
-although to make it perfectly clear, I
-have to use a good many words which
-make it <em>look</em> hard. To begin with the track: first,
-come</p>
-
-
-<p class="ph3">THE TIES.</p>
-
-<p>To make ties for a single track, take a board one
-inch thick. Saw from the end a piece five inches
-long, and split it with a chisel into ties an inch square.
-The number you will need depends, of course, upon
-the length of your road. Having these ready, the
-next thing is the</p>
-
-
-<p class="ph3">RAILS.</p>
-
-<p>Buy at a tinner’s sheets of tin which come fourteen<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
-by twenty inches in size, though any other size may
-be used. If convenient, have the tinner cut each
-sheet into eleven strips twenty feet long and about
-one and a quarter wide. You can, however, cut them
-yourself, with a pair of old shears, first measuring
-carefully, and ruling the sheet off.</p>
-
-<p>Along one side of each strip of tin, near the edge,
-punch nail holes; one close to each end, and four
-between, making thus six holes about four inches
-apart.</p>
-
-<p>To bend the rail to shape, take a ruler and scratch
-a line the whole length one quarter of an inch from
-the edge which has no holes. Lay this edge on a
-straight board, with the mark exactly on the edge of
-the board, so that the quarter of an inch sticks out
-beyond the board. Then tack the tin with two or
-three tacks, to keep it from slipping, while you take a
-hammer and pound the tin down over the edge till it
-is bent at a right angle to the rest. Then take out
-your tacks, and laying the tin on the board, pound
-this turned-up edge over till nearly flat. This makes
-the top of your rail, as you see in <i><a href="#figp139">fig. 1</a></i> (which shows
-the end of a rail) at <i>a</i>.</p>
-
-<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p>
-
-<p>To make the bend <i>c</i> (<i><a href="#figp139">fig. 1</a></i>) draw a line the whole
-length half an inch from the edge where the holes
-are. Again tack the tin to the board, with the half-inch
-sticking out beyond, and pound this edge over
-into a right angle. This completes your rail, the holes
-being along the edge marked <i>b</i> in the figure.</p>
-
-
-<p class="ph3">TO LAY THE TRACK.</p>
-
-<p>Place a number of ties side by side, and with a
-ruler and pencil draw two lines across them, three
-and a half inches apart, having about three quarters
-of an inch beyond the lines at each end. These
-marks are to guide you in laying the track straight.
-When you have thus prepared a number of ties and
-rails, fasten them together by nailing, with small-sized
-carpet tacks, through each punched hole, on to a tie,
-being careful that the <em>end</em> of each rail reaches no
-more than half over its tie, so that the next rail may
-join on right (<i><a href="#figp143">fig. 2</a></i>). The tacked edges of the two
-rails turn towards each other on the inside of the
-track, and thus do not show when a train is on, and
-the angle <i>c</i> rests exactly on the line drawn on the tie.<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
-Go on in this way till your rails are all used, or you
-come to a curve.</p>
-
-
-<p class="ph3">TO MAKE A CURVE.</p>
-
-<p>Take a cold chisel, or an old common chisel, and
-one of your finished rails. On the flat side (from
-<i>b</i> to <i>c</i>, in <i><a href="#figp139">fig. 1</a></i>) cut slits reaching from <i>b</i> to <i>c</i>, and half
-an inch apart. Lay a row of ties in the curve you
-wish to make, and bend the rail to fit them. The slits
-will enable you to bend them nicely, on one side
-by gaping apart, and on the other by slipping over.</p>
-
-<p>If you want a guard rail to keep your train from
-running off at this point, lay an extra rail fastened in
-the same way inside of each rail on the curve.</p>
-
-
-<p class="ph3">TO MAKE A SWITCH.</p>
-
-<p>Select a point where two rails join, for a switch,
-and take one length of rail for the purpose. This
-length, which includes both rails, of course, is to be
-movable, and so must slide over the common ties,
-and not be fastened to them. To keep them in place<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
-they must be tacked to special ties, much thinner,
-and coming between the regular ties that they slide
-over. Having prepared this length, put a tack,
-smaller than the hole you have punched, through
-the end hole at <i>a</i> (<i><a href="#figp148">fig. 4</a></i>), so that the switch will
-move easily on it.</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp143" id="figp143"></a><img src="images/i_143.jpg" width="150" height="119" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<p>At <i>b.</i> (<i><a href="#figp144">fig. 3</a>.</i>), where your two tracks come together,
-you must put pegs (<i>b. b.</i>) to keep the switch
-from moving too far either way,
-and throwing your train off.
-Also, from this point, the ties
-must be long enough to hold
-the side track till it is clear of
-the regular track (<i><a href="#figp144">fig. 3</a></i>). The curve of this side
-track is made, of course, by the directions for making
-a curve. The last special tie at <i>c</i> (<i>fig. 3</i>)
-must run out far enough to take a hold of, to
-move the switch.</p>
-
-
-<p class="ph3">TO MAKE A FROG.</p>
-
-<p>At the point where the rails cross (<i>d</i>, <i><a href="#figp144">fig. 3</a>.</i>) you
-will need a frog, to allow your train to go smoothly<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
-over. To make this, you
-cut your side rails square
-off at <i>d</i>, and begin it
-again on the inside of the
-rail, leaving a space of a
-quarter of an inch open
-to let the flange of your
-car wheels pass through.</p>
-
-<p>Also, you must cut a
-notch in your regular
-track at the same point,
-so that the wheels on
-trains switching off may
-go through (<i><a href="#figp148">fig. 4</a></i>).</p>
-
-<p>Now your track is
-ready, you may begin on
-the train; and first the
-trucks.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp144" id="figp144"></a><img src="images/i_144.jpg" width="250" height="527" alt="" />
-<div class="caption">FIG. 3.</div>
-</div>
-
-
-<p class="ph3">TO MAKE THE TRUCKS.</p>
-
-<p>For wheels you need a lot of rather large spools
-with quite thick shanks, unless you can afford to
-have brass or wooden ones turned for you. The best<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
-spools come in the shops of New York, with French
-sewing cotton, and next best are those which hold
-the knitting silk, so much used nowadays by
-ladies.</p>
-
-<p>Ask your mother and sisters, and all your fancy-work
-loving friends, to save their spools for
-you, and it will not be long before you have
-enough.</p>
-
-<p>Saw each spool into three pieces, as at <i>a, a</i> (<i><a href="#figp149">fig. 5</a></i>).
-The outsides form the wheels with their flanges
-<i>c, c,</i> and the middle piece <i>b</i>, you will need later.</p>
-
-<p>Now for axles, the best are cheap lead pencils (cost
-one cent each), but you can use common skewers
-such as butchers use, whittled down to fit. The
-axles are to fit tightly into the wheels, and turn
-with them.</p>
-
-<p>Now take a block an inch thick, four inches long,
-and two and a half wide, to hold the wheels. In
-each corner of the underside of the block, three
-quarters of an inch from the end, screw a very
-light wire screw ring (or screw eye) with a ring a
-half-inch in diameter.</p>
-
-<p>The axles run through these rings with the flanges<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
-of the wheels next to the block, to run inside the
-track.</p>
-
-<p>Next comes the car itself.</p>
-
-
-<p class="ph3">TO MAKE THE CARS.</p>
-
-<p>Cigar boxes are nice for cars, being already very
-neatly made. You can get at the cigar stores, at
-small cost, if not as a gift, any number of boxes
-with square ends, that is, with the ends of the box
-as high as they are wide. After you have washed
-off the paper, get two boards, one a quarter or three
-eighths of an inch thick, and the other somewhat
-thinner, both being the width of the box. Saw off
-pieces three inches longer than the boxes, for platform
-and roof.</p>
-
-<p>First fasten your trucks under the thicker board,
-which is the bottom. To do this, bore a gimlet hole
-exactly through the middle of each truck block;
-put a six-penny nail from the bottom, first through
-the hole in the truck block, then through the cast-off
-part of a spool (<i>b</i>, <i><a href="#figp149">fig. 5</a></i>), or half of it if too thick,
-or a small twist spool a half-inch high. Nail one<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
-to each end of the board loosely, so it will turn.</p>
-
-<p>Now, carefully take apart your cigar box, and
-mark on each long side a row of windows, like a
-passenger car, and in each end piece mark a door.
-Saw them out on a jig saw. (If you have no saw you
-can paint windows on the outside.)</p>
-
-<p>After cutting the windows and doors, put the box
-together again, with the brads which held it before,
-and laying it on to the platform board, so that each
-end of the board projects for a platform, nail them
-together. Then open the cover (which must never
-be broken off) and nail the roof board on to it in the
-same way; that is, so it will project at each end. Use
-brads for this nailing. The object of fastening the
-roof to the cover is that you may open your car
-and fill it with passengers if you choose.</p>
-
-
-<p class="ph3">TO MAKE THE COUPLINGS.</p>
-
-
-<div class="figright" style="width: 250px;">
-<a name="figp148" id="figp148"></a><img src="images/i_148.jpg" width="250" height="201" alt="" />
-<div class="caption">FIG. 4.</div>
-</div>
-
-<p>Take pieces of stiff copper wire three inches long,
-and with pliers bend over one end of each to form
-a hook, and the other ends into a small ring. Turning
-your car upside down, lay one of these wires<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
-in the middle of the end, with only the hook sticking
-out, and fasten it by a small screw through the ring
-(<i><a href="#figp149a">fig. 6</a></i>); do the same at the other end, and then
-with some small brass curtain rings, which cost
-two or three cents a dozen,
-you can couple your cars
-nicely.</p>
-
-<p>Baggage and freight cars
-you can make in the same
-way, only cutting one large
-door in the side. You can
-make the cars as showy as you please, with paint
-of different colors, and finish them with a piece of
-muslin glued part way over the windows inside for
-shades. And now last comes the engine.</p>
-
-
-<p class="ph3">TO MAKE THE ENGINE.</p>
-
-<p>For the foundation take a board one foot long,
-and three inches wide, which I will call the platform.
-To make the boiler, have a cylinder turned
-of wood, two and a half inches in diameter, and
-eight inches long; or take a square piece of that<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
-size and shave it down yourself to a cylinder; or&mdash;what
-is less trouble, and costs little&mdash;have a tinner
-make one for you, open at both ends, of course.</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp149" id="figp149"></a><img src="images/i_149.jpg" width="150" height="187" alt="" />
-<div class="caption">FIG. 5.</div>
-</div>
-
-<p>The one I will describe, since it
-is the most simple to make, is the
-wooden one. Nail it to the platform
-board in such a way that the
-board will project in front one
-inch. You will have to nail it
-from the bottom of the board.</p>
-
-<div class="figright" style="width: 100px;">
-<a name="figp149a" id="figp149a"></a><img src="images/i_149a.jpg" width="100" height="203" alt="" />
-<div class="caption">FIG. 6.</div>
-</div>
-
-<p>Now take a three-quarter-inch auger and bore
-a hole one inch deep, in the top of the boiler,
-one half inch from the front end. This is
-to receive the smoke stack. To make the
-smoke stack, get a piece of dowelling
-three quarters of an inch thick, and four
-inches long, or use a bit of broom handle
-of that length. Shave the end down till
-it fits nicely into the hole on top of the
-boiler. Have it reach to the bottom of
-the hole, so as to be firm, and leave three inches
-standing up.</p>
-
-<p>To finish the smoke stack, and make it look<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
-like the newest fashion in American engines, you
-must nail on to the top, with brads, a round piece of
-wood, a quarter of an inch thick, and a quarter of
-an inch larger all around than the broomstick itself.
-Behind the boiler</p>
-
-
-<p class="ph3">MAKE THE CAB.</p>
-
-<p>This is a peculiar thing, and the boy builder of the
-cigar-box train insists that it must be done exactly as
-he directs, in order to make a really <em>proper</em> cab. To
-proceed, then:</p>
-
-<p>For the front piece take a board a half-inch thick,
-three and three quarters inches high, and two and
-a half wide. Cut with a jig saw, near the top, two
-windows, one on each side, to overlook the engine.
-Nail this to the back end of the boiler, and to the
-floor. Make the two side pieces of the cab of cigar-box
-wood three inches wide and four inches high.
-In these cut two windows, also near the top. Before
-you nail these side pieces on, make a third piece
-out of half-inch wood, two and a quarter inches
-long, by two and a half wide, and nail it with brads<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
-to the front piece of the cab, one inch from the floor,
-like a shelf. This is the real floor, and without it
-your cab will be a mere toy, and not at all the correct
-thing. Having this shelf in place, nail on your side
-pieces, both to the front piece, and to the shelf.</p>
-
-<p>The roof requires a piece of thin board, two and
-a half inches wide, and four inches long, so that it
-will project one inch beyond the sides. Remember
-it must be put <em>between</em> the side pieces, and on
-<em>top</em> of the front piece, and nailed with brads.</p>
-
-
-<p class="ph3">TO MAKE THE DRIVING WHEELS.</p>
-
-<p>The engine wheels are four in number, made by
-sawing from half-inch board four circles four inches
-in diameter, and from cigar-box wood an equal
-number four and a half inches in diameter. Each
-wheel is double, you see, to form the flange which
-keeps it on the track. Nail with little brads, each
-larger circle on to a smaller one, so that the former
-will project equally all around. Then bore a hole
-exactly in the middle of each, and your wheels are
-ready. With lath nails fasten one pair of wheels to<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
-the platform board at the side of the cab (flanges
-inside, of course), and the other pair to the same
-board in front, and so far that the rims of the two
-wheels on one side will be about two inches apart.</p>
-
-
-<p class="ph3">TO MAKE THE COW-CATCHER.</p>
-
-<p>For this very important addition to the engine
-take a piece of wood three inches wide and two
-inches thick. Saw it on <em>both</em> sides to a point (<i><a href="#figp153">fig. 7</a></i>).
-First shave it down on top so that it forms a sharp
-point at <i>b</i>, <i><a href="#figp153">fig. 7</a></i>. Then draw a line through the
-middle of the top (<i>a</i> to <i>b</i>, <i><a href="#figp153">fig. 7</a></i>), and shave down
-each side so that it shall present a sharp edge all
-around from <i>c</i> to <i>b</i>, and from <i>b</i> to <i>d</i> (<i><a href="#figp153">fig. 7</a></i>). Nail
-this to the front end of the platform board with
-inch-long brads.</p>
-
-
-<p class="ph3">TO MAKE THE TENDER.</p>
-
-<p>This is very easily made of a cigar box, one of
-the low sort, the same width as your cars, but only
-half the height. Remove the cover and take out<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
-one end board. Put the box on a board a half-inch
-longer than itself, and finish with trucks as you did
-your cars.</p>
-
-<p>At the back end of this tender&mdash;the closed end&mdash;fasten
-couplings like these on the cars, but to the
-engine it may be fastened by a common wire hook
-and eye. The hook being on the engine.</p>
-
-<p>This completes your train, and if you wish to make
-a double track, you need only make your ties long
-enough to allow trains to pass, and then lay your
-tracks side by side.</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp153" id="figp153"></a><img src="images/i_153.jpg" width="150" height="114" alt="" />
-<div class="caption">FIG. 7.</div>
-</div>
-
-<p>With a little ingenuity, you can make bridges and
-tunnels, freight trains, and gravel trains, and can,
-in fact, increase your “rolling
-stock” to any extent.</p>
-
-<p>I hope you will enjoy building
-this railway and train half as much
-as did the boys in the attic in
-New York City. With them the building and improving,
-the running of trains and the adding of
-new facilities, make a never-ending entertainment.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span></p>
-
-
-
-
-<h2><a name="XVIII_HOW_TO_MAKE_A_GOOD_FLY" id="XVIII_HOW_TO_MAKE_A_GOOD_FLY"></a>XVIII.&mdash;HOW TO MAKE A GOOD FLY.</h2>
-
-
-<p class="drop-capt">FLY-FISHING is poetry; ordinary angling is
-prose. The latter looks to the catch; the former
-to skill shown in the capture. There is more sport
-in hooking and playing one single bass with a light
-pliant fly-rod, than in dragging in a dozen by mere
-muscular force. To cast a fly lightly to a chosen
-spot, to note instantly the swell indicative of a
-“rise,” to strike at once, but deliberately, to keep
-your rod bent, your line taut, and your fish in the
-water long enough to exhaust him, all require judgment,
-skill and self-control.</p>
-
-<p>But after you have put up your rod for the season,
-you may still extract pleasure from mending your
-tackle, putting reel and rod in order, and last, but
-not least, in making a supply of artificial flies for
-future fishing.</p>
-
-<div class="figleft" style="width: 350px;">
-<a name="figp155" id="figp155"></a><img src="images/i_155.jpg" width="350" height="101" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>The articles necessary for making flies are hooks,<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
-silk, white wax, silkworm-gut, tinsel-feather fibres&mdash;dubbing
-for the bodies of fur, wool, silk or feathers&mdash;hackles
-for legs, and larger feathers for wings.</p>
-
-<div class="figright" style="width: 150px;">
-<a name="figp155a" id="figp155a"></a><img src="images/i_155a.jpg" width="150" height="249" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<div class="figright" style="width: 150px;">
-<a name="figp156" id="figp156"></a><img src="images/i_156.jpg" width="150" height="135" alt="" />
-<div class="caption">FIG. 3.</div>
-</div>
-
-<p>First, get a good hook. The good hook is as
-sharp as a needle, and the barbed end points
-nearly exactly in a line with the end of the shank;
-not inside of the “line of pull,” <i>a</i>, <i>b</i> (see <a href="#figp155">fig. 1</a>), lest
-the point come not in contact with the fish; nor too
-far out,
-lest the
-barb be
-pulled
-flatwise
-against the fish’s mouth, and thus not pierce it readily;
-nor exactly <em>in</em> the line of pull, for,
-though in that case it would pierce
-anything between the point and end
-of shank, it might slip out without
-touching the unclosed jaws
-before the jaw had passed the
-line of pull. A point like <i>x</i> would
-be bad, so would one like <i>z</i>; but
-one like <i>y</i> would be about right.<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
-Now take the hook between the forefinger and thumb
-of your left hand, the shank pointing to your right,
-as in <a href="#figp155a">fig. 2</a>. Say the end of a strong piece of silk,
-well waxed, on the hook near the bend, and, holding
-it firmly with your forefinger and thumb, wrap it
-tightly around the hook nearly to the end of the
-shank, as in <a href="#figp156">fig. 3</a>. Now coil a piece of silkworm-tug
-that has been soaked ten or fifteen minutes, and
-lay it on the hook with the coil to your right, and
-wrap it with your silk carefully and firmly down to
-the bend of the hook, cutting off the silkworm-gut a
-little before you get to the bend,
-so as to cover it well with the wrap,
-like <a href="#figp157">fig. 4</a>, at first; it looks like <a href="#figp157a">fig.
-5</a> after wrapping. Now take two
-of the fibres of a peacock’s feather,
-technically known as peacock’s herl, and a piece of
-silver or gilt tinsel; lay the tinsel on near the bend, and
-then, after two wraps of the silk, lay on the two
-pieces of peacock’s herl, which must be fastened by
-two or three wraps, as in <a href="#figp158">fig. 6</a>. Now fasten in with
-a turn or two of the silk the dubbing for the body of
-the fly. Supposing it to be peacock’s herl, three or four<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
-pieces will do, as in <a href="#figp158a">fig. 7</a>. Then take a hackle-feather,
-shaped like <a href="#figp158b">fig. 8</a>, from the
-neck or rump of a gamecock
-or brown leghorn, and fasten
-in the point with three wraps
-of your silk, as in <a href="#figp159">fig. 9</a>.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp157" id="figp157"></a><img src="images/i_157.jpg" width="200" height="172" alt="" />
-<div class="caption">FIG. 4.</div>
-</div>
-
-<p>You have now a hook, <i>a</i>,
-wrapped with well-waxed silk, <i>b</i>, with a piece of
-silkworm-gut, <i>c</i>, a piece of tinsel, <i>d</i>, two tail-pieces,
-<i>e, e</i>, dubbing for body, <i>f, f, f</i> and hackle for legs, <i>g</i>.</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp157a" id="figp157a"></a><img src="images/i_157a.jpg" width="200" height="144" alt="" />
-<div class="caption">FIG. 5.</div>
-</div>
-
-<div class="figright" style="width: 250px;">
-<a name="figp158" id="figp158"></a><img src="images/i_158.jpg" width="250" height="161" alt="" />
-<div class="caption">FIG. 6.</div>
-</div>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp158a" id="figp158a"></a><img src="images/i_158a.jpg" width="250" height="176" alt="" />
-<div class="caption">FIG. 7.</div>
-</div>
-
-<div class="figright" style="width: 250px;">
-<a name="figp158b" id="figp158b"></a><img src="images/i_158b.jpg" width="250" height="69" alt="" />
-<div class="caption">FIG. 8.</div>
-</div>
-
-<p>Now for the wings. Strip off or cut from a
-hawk’s feather, like <a href="#figp159a">fig. 10</a>, a clipping or two, like
-<a href="#figp160">fig. 11</a>, and fold it into a convenient width, and
-clip the ends square, like <a href="#figp160a">fig. 12</a>. Lay them on
-the shank of the hook, butts
-to the left, points to the right,
-and fasten with three or four
-firm wraps, as in <a href="#figp160b">fig. 13</a>. Now
-draw the silk under the wing,
-between them and the hook,
-to hold them temporarily, and going back to the
-bend of the hook, wind the dubbing, <i>f, f, f</i> around
-the hook over and to your right as far as the root of<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
-the wings, leaving the hackle out; fasten
-the dubbing with
-one or two wraps,
-taking the silk from
-under the wing to
-do the wrapping.
-Next wind your tinsel
-<i>d</i> up to the same
-point and fasten in
-same way. Now wind your hackle towards the right,
-twisting the quill as
-you wind to keep
-the fibres sticking
-outwards, and picking
-out any fibres
-that get entangled
-with a dubbing-needle
-(a needle stuck in a piece of soft pine, like
-<a href="#figp160c">fig. 14</a>) and fasten. Now turn back the wings
-with the points to your left, towards the bend of
-the hook; fasten back
-with one or two wraps,
-passing the silk through<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
-an opening between the wings made by the dubbing-needle,
-to separate them. Finish by making two
-loose wraps, like <a href="#figp160d">fig. 15</a>; then draw the silk through
-them tightly, like <a href="#figp161">fig. 16</a>. Touch this fastening
-with a drop of
-gum-shellac, and
-it will not slip or
-be affected by
-water. Gum-shellac
-dissolved in
-alcohol can be gotten
-at any drugstore,
-and should
-be rather thick. Your fly will now look like <a href="#figp161a">fig.
-17</a>.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp159" id="figp159"></a><img src="images/i_159.jpg" width="300" height="228" alt="" />
-<div class="caption">FIG. 9.</div>
-</div>
-
-<div class="figcenter" style="width: 400px;">
-<a name="figp159a" id="figp159a"></a><img src="images/i_159a.jpg" width="400" height="68" alt="" />
-<div class="caption">FIG. 10.</div>
-</div>
-
-<p>Your flies should be <em>rough</em> imitations of any water-flies
-you see in your tramps, in <em>color</em> and <em>number</em> of
-<em>parts</em>; outrageously colored flies will be taken by
-black bass, who seem to bite at anything that<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span>
-has the nearest apologies for body, wings and
-legs. All game-fish
-bite readily at a simple
-hackle wound
-from bend to shank around any attractively colored
-body in the form of a caterpillar; a good one for
-black bass is made with one reddish-brown
-hackle and two black ones; and a body of
-peacock’s herl
-wrapped with
-green or red silk
-is a good imitation
-of a caterpillar
-common here
-(in Virginia) in
-November.</p>
-
-
-<div class="figleft" style="width: 150px;">
-<a name="figp160" id="figp160"></a><img src="images/i_160.jpg" width="150" height="57" alt="" />
-<div class="caption">FIG. 11.</div>
-</div>
-
-<div class="figright" style="width: 100px;">
-<a name="figp160a" id="figp160a"></a><img src="images/i_160a.jpg" width="100" height="50" alt="" />
-<div class="caption">FIG. 12.</div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp160b" id="figp160b"></a><img src="images/i_160b.jpg" width="300" height="241" alt="" />
-<div class="caption">FIG. 13.</div>
-</div>
-
-
-<p>Anglers also
-make something having no counterpart in nature&mdash;a
-winged hackle&mdash;by tying
-the hackle in a winged fly back from the bend to the end<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
-of shank&mdash;a sort of winged caterpillar. Some fish, no
-doubt, are affected by it as by a caterpillar; others
-as by a fly; others just strike out of curiosity, as a
-kitten plays with a ball. Should
-you buy your tackle, buy from
-tackle-makers who angle occasionally
-themselves. They
-know more “wrinkles” in their “line” in a day than ordinary
-makers learn in a year. Some of the best houses
-in Boston, New York and Baltimore derive their
-most valuable specialties from the presence of one
-or more actual anglers in the firms.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp160c" id="figp160c"></a><img src="images/i_160c.jpg" width="200" height="45" alt="" />
-<div class="caption">FIG. 14.</div>
-</div>
-
-<div class="figright" style="width: 200px;">
-<a name="figp160d" id="figp160d"></a><img src="images/i_160d.jpg" width="200" height="113" alt="" />
-<div class="caption">FIG. 15.</div>
-</div>
-
-
-<p class="pclear">Water-flies have generally, like the Mayfly,
-<a href="#figp162">fig. 18</a>, a body,
-wings, legs, and tail-like
-appendages, technically,
-so you will not
-be far wrong if you
-make your fly have
-those parts, though
-fish bite at flies with
-less than these enumerated. For black bass, greens,
-yellows and reds seem the best colors, though<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
-white and black are often used. I like, however,
-flies that are combinations
-of bright and
-sober tints. A favorite
-fly with me has a body
-of peacock’s herl brown;
-wings, yellowish-white
-feather of chicken-hawk with discolorations on
-them; legs, a reddish-brown hackle from a gamecock
-or brown leghorn cock; tail-pieces, two fibres,
-like wings. I put a red streak in each wing. I
-call it the “academy,” after a school once under my
-care.</p>
-
-
-<div class="figright" style="width: 200px;">
-<a name="figp161" id="figp161"></a><img src="images/i_161.jpg" width="200" height="85" alt="" />
-<div class="caption">FIG. 16.</div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp161a" id="figp161a"></a><img src="images/i_161a.jpg" width="300" height="215" alt="" />
-<div class="caption">FIG. 17.</div>
-</div>
-
-<div class="figright" style="width: 250px;">
-<a name="figp162" id="figp162"></a><img src="images/i_162.jpg" width="250" height="126" alt="" />
-<div class="caption">FIG 18.</div>
-</div>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p>
-
-
-
-
-<h2><a name="XIX_HOW_TO_BIND_MAGAZINES" id="XIX_HOW_TO_BIND_MAGAZINES"></a>XIX.&mdash;HOW TO BIND MAGAZINES.</h2>
-
-
-<p class="drop-capt">IT is often the case that in households where
-even several magazines are taken, that little
-money can be afforded for the purpose of binding
-them; and it follows that they are soon destroyed, or
-else stored away and never looked at. The pretty
-covers provided for most magazines by the publishers
-are of course preferable; but they also, of course,
-cost something. Therefore I have concluded to tell
-you of a durable, cheaper, and on the whole, pretty
-way of binding your yearly, or half-yearly volumes.</p>
-
-<p>For several years we have made it a business to
-bind up our magazines every spring before cleaning
-house time; and we proudly exhibit to our friends
-our collections of neat, strong books which would look
-well in any library. We usually turn a corner of the
-living-room into a bindery, as we have no workshop.</p>
-
-<p>We bring in the work-bench with vise attached,<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
-pile our magazines on it, sort them into volumes,
-remove the covers and advertising leaves, put the
-engravings in their
-proper places if
-they are not there,
-place each volume
-according to date
-or page, lay the
-title page and table
-of contents at the top of each pile, and there are our
-magazines ready to bind. We have meantime a little
-pot of good glue in readiness on the stove, which,
-after it is dissolved thoroughly, is better to be kept
-only warm. A little good twine, a few strips of
-strong cloth, about an inch wide, a handsaw, a pair of
-shears, and some of the old covers and leaves are
-also at hand on the bench. Also we have two bars
-of wood an inch thick, two or three inches wide, and
-about two feet long, fastened together at one or both
-ends (one end only is necessary if a vise is used) by
-a bolt five or six inches long&mdash;this is the press.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp164" id="figp164"></a><img src="images/i_164.jpg" width="300" height="182" alt="" />
-<div class="caption">FIG. 1.</div>
-</div>
-
-<p>Now we take a volume of the magazines, lay an old
-cover on each side. Making sure that the numbers<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
-are perfectly even at the back and upper ends, we
-place them in the press with the backs projecting a
-quarter of an inch at least, placing them in the vise
-with the backs in a horizontal position (<i>see <a href="#figp164">fig. 1</a></i>)
-and screw up pretty tightly. Then we saw into
-the backs as far as they project in three places
-(<i><a href="#figp164">fig. 1</a></i>). Next we dip
-a piece of cord into
-the glue, and wind it
-back and forth once
-or twice in the grooves
-made by the saw. This, as you will see, binds the
-volume firmly together.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp165" id="figp165"></a><img src="images/i_165.jpg" width="250" height="106" alt="" />
-<div class="caption">FIG. 2.</div>
-</div>
-
-<p>Now we take as many strips of cloth as there are
-grooves, each about six inches long, and gluing them
-in the middle, place one in each groove (<i>see <a href="#figp165">fig. 2</a></i>).
-Then we cut a strip of strong paper, and glue it on
-the back of the volume.</p>
-
-<p>The book may be taken immediately from the
-press, though it is better to not handle it for a little
-while, and another set of numbers be put in. Several
-volumes may be bound in a short time, and if these
-directions are followed the binding is altogether<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
-as durable as that done at a bindery would be.</p>
-
-<p>The next thing in order is to smooth the edges;
-this we do by placing each book in the vise again&mdash;the
-tighter the better now&mdash;front edges up at first,
-and projecting far enough to allow them to be made
-even. Now we rasp them off even with the press,
-with a coarse furniture rasp, or the side of a saw.
-Sometimes we leave it thus, and sometimes we spatter-work
-it by dipping an old toothbrush in ink and
-drawing it across a sharp edge of wood, allowing the
-spatters to fall on the book before it is taken from
-the vise. The ends we treated in the same manner.</p>
-
-<p>Now we have a pile of books, without covers, to be
-sure, but even at this stage they are more available
-than if they are not bound at all. However, we provide
-covers without expense. We use old paste-board
-boxes for this purpose, cutting them a little larger
-than the volume they are intended for. We lay these
-covers in place, cover and fasten them by gluing the
-edges of the strips of cloth upon the <em>outside</em> smoothly;
-the cover goes as far back as the cloth will permit.
-Then we make a cover of cloth for the back, usually
-using black or brown cambric, or selesia. The<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
-back cloth is always at best an inch longer than the
-covers, and about three inches wider than the back;
-we cut coarse twine into bits a trifle longer than the
-book is thick, using as many as we may choose.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp167" id="figp167"></a><img src="images/i_167.jpg" width="250" height="101" alt="" />
-<div class="caption">FIG. 3.</div>
-</div>
-
-<p>We dip these twines
-in paste, one at a time,
-and lay them crosswise
-of the cloth, one at
-each end, at least, and just as far apart as the covers
-are long (<i><a href="#figp167">fig. 3.</a></i>), laying the others between. Then
-we cut a strip of strong paper as wide as the cords
-are long, and just as long as the covers, and paste
-it over the cords, and then we paste the cloth down
-on the paper at the ends, and pin the completed back
-tightly around a stick&mdash;a broom handle is good&mdash;and
-let it remain there to dry. When we take it off
-we slip it over the back corners of the covers and
-fasten it strongly down with glue.</p>
-
-<p>After this the covers may be finished as elaborately
-as you may choose; we bind the edges of most of
-ours with cloth, and then trim off the edges of some
-of the front covers of the magazines and paste them
-on. We make a pretty inside finish by laying in a<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
-double leaf of manilla paper, one half pasted to the
-inside of the cover the other being left as fly-leaf.</p>
-
-<p>The freshly bound books should be piled with plenty
-of paper between them to absorb the moisture, with
-weights atop, until they are wholly dry. Shabby books
-may be made almost as good as new by smoothing
-the leaves, rebinding and recovering; and it is surprising
-to see how pretty bits of wrapping paper, and bits
-of brown, black, or gray cloth can be made to serve
-in this work; bits of leather may be used on the
-corners of covers. Sabbath-school papers, Lesson
-Quarterlies, etc., may thus be made into pretty volumes
-very easily. Five cents’ worth of glue will bind a
-great many volumes, and the gluing is a much easier
-and better way than sewing.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
-
-
-
-
-<h2><a name="XX_HOW_TO_PHOTOGRAPH" id="XX_HOW_TO_PHOTOGRAPH"></a>XX.&mdash;HOW TO PHOTOGRAPH.</h2>
-
-
-<p class="drop-capt">NEARLY ten years ago I took lessons in landscape
-photography, and since then have made
-hundreds of photographs of places rarely visited, of
-strange people and wonderful vegetation, which have
-delighted the eyes of many friends. Assuming that
-many members of the Reading Union will wish to
-retain more permanent pictures of vacation scenes
-this summer than can be carried in memory alone, I
-propose to show how they can do this with little
-trouble and expense.</p>
-
-<p>First, I must congratulate you upon your good fortune
-in being able to enter upon the study of photography
-in the year 1882, rather than twenty, or even
-ten, years earlier. In no other department of
-science, except perhaps in electricity, has such an
-advance been made. It was only in 1839 that<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
-Daguerre published his success in obtaining an image
-on a silver plate, and in 1851 that the collodion process&mdash;that
-most in use at the present day&mdash;was
-given to the world. But within the past few years
-improvements have been made, by means of which
-the art is not confined to professional workmen, but
-can be enjoyed by all the young folks in the land.</p>
-
-<p>I well remember the disadvantages attending outdoor
-photography, even no longer ago than when I
-made my first attempts. By the collodion or wet
-process it was absolutely necessary to carry a large
-trunk full of chemicals and bulky apparatus. Among
-other things there was the “dark tent;” in its most
-compact form it was a box, about two feet and a half
-square, with curtains and aprons arranged so as to
-exclude all <em>actinic</em> or chemical light. After setting
-your camera in position and focusing the picture, you
-had to retire into the dark tent, arrange the curtains
-about you to exclude all outside light, and consequently
-air, and then you coated the glass plate with
-collodion and dipped it into the “silver bath” to
-make it sensitive to light. This operation required
-several minutes, and if the day was hot and sultry,<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
-the operator in the dark box was nearly suffocated
-before he emerged with the prepared plate ready for
-the camera. After exposing this he was obliged to
-hide himself again in that hot box full of chemical
-fumes, and there “develop” the picture supposed to
-be upon the glass.</p>
-
-<p>With the discovery that plates could be prepared
-ready for use at any time, and that would remain
-sensitive to the action of light for months, a new field
-was opened, in which any one could wander who had
-the inclination. By this discovery all the bottles of
-chemicals, with the dark tent and the clumsy apparatus,
-were done away with. Materials for a hundred
-photographs can now be carried in a small valise or
-in an ordinary trunk amongst clothes and books.</p>
-
-<p>Though an amateur, and having no greater interest
-in photography than arose from a desire to secure
-pictures of the spots I visited, I hailed the appearance
-of the “dry plates” and their simpler mode
-of use, for I was heartily tired of the old way. My
-fingers were always black with silver stains, and my
-clothes streaked and stained with salts of iron and
-soda. My accidents, from the tipping over of chemicals,<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
-and in struggling over mountain roads and the
-beds of mountain torrents, were more than I could
-count on my fingers. In Florida, whenever I crawled
-into the dark tent&mdash;pitched, perhaps, on the border
-of a swamp or in the deep woods&mdash;the mosquitoes
-and sand-flies would make furious attacks upon my
-legs and nearly drive me wild, and I would be
-haunted by fear of the snakes and alligators that
-might attack me in that defenseless position&mdash;with
-my head in a sack and my hands employed. One
-day an enormous old billy-goat, taking offence at the
-outlandish appearance of my tent, as I was at work
-in it, half concealed from his view, charged on it with
-such force as to knock us all in a heap. When I had
-crawled out from the ruins, expecting to learn that an
-earthquake had passed by, I saw that billy-goat
-standing calmly by, chewing his cud, and shaking his
-head sidewise, as much as to say, “Get into that
-box again, and I’ll knock you over a second time!”
-In the West Indies it was always necessary to hire
-two negroes to carry my trunk, and as they invariably
-bore their burdens on their heads, the silver solution
-would sometimes leave a black streak down their<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
-faces, even darker than their ebony countenances!</p>
-
-<p>The new discovery did away with all this trouble.
-I was quick to see this, and in one of my trips to the
-tropics carried a camera and a stock of “dry plates.”
-Alas! I had too hastily adopted a crude invention.
-I climbed mountains, descended into craters of volcanoes,
-threaded tangled thickets, and penetrated to
-secluded valleys to photograph new scenes with my
-new instrument. Having perfect faith in the new
-invention, I did not test my plates with chemicals on
-the spot, but kept them till I returned, and then gave
-them to the photographer to manipulate. My carelessness
-was well rewarded, for of the nearly one
-hundred plates, <em>not one</em> contained a perfect picture.
-I was in a condition then to sympathize with the
-great Audubon, who had a trunk full of drawings,
-the result of a year’s labor, destroyed by mice.</p>
-
-<p>Unlike him, I had not a sufficiently powerful incentive
-to repeat my travels, and the anticipated pictures
-were gone forever. Nothing daunted, I next year
-procured another machine and tried again, this time
-in Mexico. In that year the inventor had not been
-idle, and I informed myself upon the merits of his<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
-invention so that my results at the end of the journey
-were such as greatly pleased me and my friends; for
-from the plates of glass exposed to light in the
-camera flashed out fac-similes of strange idols of
-stone, grand old ruins, snow-capped volcanoes, valleys
-almost hid in dense vegetation, palms, tropical plants,
-and the picturesque features of that strange country.</p>
-
-<p>But, without further preface, let me tell you how
-you may take pictures this summer without any of the
-hindrances that I had to encounter in my first attempts.</p>
-
-<p>The first thing needed is a camera, which in its
-simplest form is a darkened box, with a lens in front,
-through which the scene is focused upon a plate in
-its back&mdash;a plate of glass prepared with chemicals
-so that its surface is sensitive to the light admitted
-through the lens.</p>
-
-<p>A few seconds of time is generally sufficient for
-the transmission of an impression to this plate, and
-before and after that “exposure” it must be kept
-away from all light until the “latent image”&mdash;the
-picture we cannot yet see&mdash;has been brought out and
-“fixed” by means of chemicals. This forms the
-“negative,” which is to the finished photograph what<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
-an engraved block is to the engraving on paper. To
-obtain this negative is your first object; having got
-this, you may produce from it as many prints as you
-like, at very little cost, either by taking it to a photographer,
-or by continuing the process and printing
-them yourself.</p>
-
-<p>While there are several instruments in the market
-with which the negative can be taken, most of them
-are so costly as to be beyond the reach of a boy or
-a girl with a limited supply of pocket money for a
-vacation trip; hence I shall choose one that is not
-only very cheap, but which I know by experiment
-will perform the work for which it is intended. It is
-the invention of a young man who has a practical
-knowledge of photography, and is called the “tourograph.”</p>
-
-<p>At first sight it is a small mahogany box, eight by
-ten inches broad, with a strap by which one can
-carry it. But by pulling out a slide in front a lens
-is revealed; and by drawing out another slide on the
-top an inner box is shown full of negative plates.
-This smaller box is fitted in position on top of the
-larger one, so that the plates, one at a time, can be<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
-dropped into a carrying-rack turned by a screw, in
-the dark chamber below. This plate having been
-placed in focus, the lens is uncapped for a few
-seconds, then recapped, and the glass is returned
-to the box above, where it is kept till evening, or
-until a favorable time for development. In this way
-all the plates&mdash;eight or ten&mdash;in the box may be
-exposed, and their places filled with fresh ones
-later on.</p>
-
-<p>The camera is supported upon a tripod, or three-legged
-stick, which can be closed up until not much
-larger than an alpenstock.</p>
-
-<p>This is the outline of the mechanical operation
-necessary to secure the negative. The plates, being
-ready prepared and packed in little boxes of a dozen
-each, are transferred to the camera at night, or in
-a dark room by day, by the aid of a <em>red</em> light. This
-is obtained by placing a roll of red or orange-colored
-paper&mdash;made expressly for this purpose&mdash;around
-a lamp or candle, as the light that shines
-through a medium of this color is <em>non-actinic</em>, or
-without the power to produce chemical change in the
-very sensitive plates. You now have a plate with a<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
-latent image of the picture you desire to retain;
-this plate must pass through a chemical operation
-before that image will appear.</p>
-
-<p>Imagine yourself in a darkened room illuminated
-only by the <em>red</em> light, with a plate in your hand on
-which you fondly hope there is a duplicate of the
-scene before which you had set up the instrument. To
-all appearances it is a plate of plain glass, one side
-covered with a film of gelatine, and if you hold it to
-the light nothing appears to indicate the change that
-has taken place in that film since it was exposed to
-the light. The question is, how to bring that picture
-out from its hiding-place. First, you must have a
-shallow pan at hand, and place yourself near a good
-supply of water. Into the pan you pour the chemicals
-previously mixed, necessary for the <em>development</em>
-or bringing out of the hidden image. These chemicals
-are, oxalate of potash and protosulphate of iron.
-To simplify matters, the inventor of the tourograph
-puts up these chemicals in papers, so that you only
-have to put into four ounces, or a gill, of water<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> one<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
-paper of the potash and another of iron; mix well,
-and the solution is ready for the plate. This must
-be placed in the tray with the film side up, and the
-solution flowed over it. When completely covered,
-let it remain, and carefully watch the development.</p>
-
-<p>This is the period of greatest anxiety for the young
-operator, for it is the critical stage of the proceedings.
-A few seconds will determine whether you
-have a picture before you, or merely a square of
-plain glass. Gradually the details unfold themselves: the
-“high lights” or white portions first,
-then the “half tones” or grades of shadow, then the
-deeper shades of foliage or objects feebly lighted.
-When the view has come out distinct, seems to progress
-no farther and to gradually fade away to a
-deep brown, you have got out all it is possible to
-obtain from that exposure, and the plate must be
-removed from the solution, and chemical action
-arrested by washing in clear water.</p>
-
-<p>Now you have before you tangible evidence of
-success, but your picture is not complete; it is dull,
-perhaps obscure, and if exposed to the light of day
-would quickly vanish. It must now <em>fixed</em> in another<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
-solution and in another dish. The “fixing solution”
-is made by dissolving half an ounce of hyposulphite
-of soda in five or six ounces of water. Into this
-place the developed plate, and allow it to remain
-until all the whitish film is dissolved away. If both
-operations are faithfully performed you will have, on
-taking the plate from the solution and holding it to
-the light, a brilliant picture on glass&mdash;the <em>negative</em>&mdash;with
-all the lights and shadows reversed, the white
-portions quite opaque, and the dark parts almost
-transparent.</p>
-
-<p>Now wash very thoroughly in clear water, beneath
-a tap if possible, or by pouring a gentle stream over
-the glass for a few minutes, in order to remove every
-trace of superfluous chemical substance that might
-work injury. As a precaution against the possible
-peeling of the film, it is well to dip the negative in a
-strong solution of alum and water, then wash again,
-and set up to dry in a slanting position, with the film
-side next the wall. When perfectly dry a coat of
-photographic varnish, furnished with the chemicals,
-is flowed over the coated side of the glass, and the
-impression is securely fixed, ready for use in printing.<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
-Having secured the negative, your object is virtually
-attained: the possession of a souvenir of a vacation
-ramble, a favorite view, or of a picturesque camping-place.
-If it were my negative, I should take it to
-some good photographer, and let him prepare from it
-the prints I wanted, as that expense is small, and involves
-a good deal of labor for the amateur. But I
-suppose my readers will wish&mdash;as I did years ago&mdash;to
-see the whole process, and to make their own
-prints or paper pictures.</p>
-
-
-<p class="ph3">PRINTING FROM THE NEGATIVE.</p>
-
-<p>White paper coated with albumen is made sensitive
-to light by being floated upon a solution of chloride
-of silver in water; and this, when dry, is placed
-against the negative and exposed to the sun. In this
-way, by pressing the silvered surface of the paper
-against the film side of the negative, a duplicate impression
-of the picture on the glass is transferred to
-the paper. This may be repeated with other pieces
-of paper any number of times, until hundreds are obtained
-from the same negative. Instead of attempting
-to prepare the paper yourself, it would be better<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
-to purchase it already <em>sensitized</em>, which you can do of
-any dealer in photographic goods. A printing-frame,
-or grooved block with a spring back, is used in
-printing. After having placed it with the negative
-and paper in the sun, watch carefully. By removing
-the frame and retiring to a dark corner, you can examine
-the paper by unspringing <em>one-half</em> the back at
-a time, and thus print to the degree desired. It is
-best to print a little darker than it is designed to have
-the print when finished, as it will bleach a little in the
-subsequent process of <em>toning</em>. This toning operation,
-as well as the cutting up of the paper, the placing of
-it on the negative and removing it, should be performed
-in a darkened room. When a sufficient number
-of prints are done, trim them the size they are to
-be when finished, wash in two or three changes of
-water, and then place in the “toning bath,” made as
-follows: Chloride of gold one grain, water ten
-ounces, saturated solution of bread soda three or four
-drops. This will change them to a deep bluish or
-purple color, and gives them that lovely tint we admire
-in fine photographs.</p>
-
-<p>The chloride of gold is sent in solution, as well as<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span>
-the soda, so that you have but to follow the printed
-directions accompanying them, putting a certain
-quantity of each in the water, and your toning bath is
-at once prepared.</p>
-
-<p>After toning for a few minutes, remove the prints,
-and place in another dish containing an ounce of
-hyposulphite of soda dissolved in a pint of water;
-allow them to remain ten minutes, and then remove
-and wash an hour or more in water&mdash;running water
-if possible&mdash;constantly changing the water and
-moving the prints about. Then dry your prints and
-the completed picture is before you, ready for mounting
-on a card, or pasting in an album.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> If you wish
-to obtain merely a “proof,” or a fair print, without
-the delicacy of shading and tone of the silver print,
-you can do this with “blue paper,” by simply exposing
-this prepared paper beneath the negative, and washing
-and drying without any further toning or fixing.</p>
-
-<p>These, in brief, are the various processes necessary<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
-for procuring a photographic print; but, as I have
-already remarked, the negative being your main
-object, it would be much better to rest content with
-securing that, and depend upon some photographer to
-give you the paper impressions.</p>
-
-<p>To recapitulate: For a short trip, fully equipped
-for taking photographs, we shall need the following:&mdash;</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Materials for photography">
-<tr><td class="tdl">A “tourograph,” for plates 4×5 inches, with alpenstock tripod and lens</td>
-<td class="tdr">$15.00</td></tr>
-<tr><td class="tdl">One dozen 4×5 plates</td><td class="tdr">1.00</td></tr>
-<tr><td class="tdl">One graduate (or measuring glass)</td><td class="tdr">.50</td></tr>
-<tr><td class="tdl">Two developing pans</td><td class="tdr">.40</td></tr>
-<tr><td class="tdl">One pound oxalate potash, in papers ready for use, 60
-cents, half pound protosulphate of iron, in papers, 10
-cents</td><td class="tdr">.70</td></tr>
-<tr><td class="tdl">One pound hypo’ soda, in papers, 10 cents, six ounces varnish, 50 cents</td><td class="tdr">.60</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">&mdash;&mdash;&mdash;</td></tr>
-<tr><td class="tdl">Sum total for apparatus and chemicals sufficient for
-development of fifty negatives</td><td class="tdr">$18.20</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdl">&nbsp;</td></tr>
-<tr><td class="tdl">If you will insist upon printing your own views, then you
-will need in addition&mdash;one printing frame</td>
-<td class="tdr">.60</td></tr>
-<tr><td class="tdl">One bottle chloride gold sufficient for a certain number
-of prints as stated in directions with it, 50 cents, one
-bottle bicarb, soda, 10 cents</td><td class="tdr">.60</td></tr>
-<tr><td class="tdl">Sensitized paper for one dozen prints</td><td class="tdr">.25</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">&mdash;&mdash;&mdash;</td></tr>
-<tr><td class="tdl">&nbsp;</td><td class="tdr">$1.45</td></tr>
-</table></div>
-
-<p class="p3">In round numbers, for $20.00 you can be fully
-prepared to set up for yourself as an amateur photographer,<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>
-and after many trials, with diligence and
-perseverance, can hope to secure photographs of
-scenery, interiors, and even portraits, that will compare
-favorably with the work of professional artists.
-The above is such an outfit&mdash;except that I had a
-larger camera and larger stock of plates&mdash;as I have
-carried to the West Indies and to Mexico.</p>
-
-<p>Since my return, however, I find that my friend,
-the inventor, has produced yet another instrument,
-which he calls his “pocket camera,” which folds up
-into a small package but one inch and a half in thickness,
-and weighs but <em>twenty-four ounces</em>. This is so
-constructed that double plate-holders, each containing
-two dry plates, form the top, sides and back of
-the camera, and the entire outfit for the taking of
-eight negatives, sold for ten dollars.</p>
-
-<p>It is only fair to state that other apparatus and
-outfits can be purchased at rates almost equally
-low, notably those of the Scovill Manufacturing
-Company, of New York, who furnish complete equipments
-from ten dollars up. While I recognize the
-excellence of these articles, I have selected the
-“tourograph,” as being something with which I<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
-have experimented, and likely, from its simplicity, to
-meet the wants of beginners.</p>
-
-<p>Since the expense is reduced to so reasonable a
-sum, and the road is made so easy that any one can
-travel it, what boy or girl will be deterred from entering
-this fascinating domain of photography?</p>
-
-<p>If you can secure some old room in the garret, or
-in some unused corner, cover the window with yellow
-or orange paper, excluding all other light, and
-take to it such simple chemicals and apparatus as I
-have indicated, then what a delightful world for
-experiment and research is opened to you!</p>
-
-<p>The mysteries of photography; how the subtle
-changes are wrought by the potent salts and acids,
-under the influence of the sun, I cannot explain now.
-But following the outline I have sketched, the rest
-will appear as you get interested, and you will gain an
-insight into wonders hitherto unrevealed, and enjoy
-sensations to which the boys and girls of past generations
-have been strangers.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p>
-
-
-
-
-<h2><a name="XXI_ARCHERY_FOR_BOYS" id="XXI_ARCHERY_FOR_BOYS"></a>XXI.&mdash;ARCHERY FOR BOYS.</h2>
-
-
-<p class="drop-capt">MR. MAURICE THOMPSON has excited all
-the grown-up boys who loved in their younger
-days to draw the bow, by his graceful articles on
-archery for young men and women.</p>
-
-<p>I want to tell the boys who are wide awake how
-they may, without too much labor and with but little
-expense, make their own bows and arrows and targets,
-having <em>their</em> fun, like their elders, in this health-giving
-and graceful recreation.</p>
-
-<p>In the first place, after you have made your implements
-for the sport, you must never shoot at or
-towards anyone; nor must you ever shoot directly
-upwards. In the one case you may maim some one
-for life, and in the other you may put out your own
-eye as an acquaintance of the writer’s once did
-in Virginia.</p>
-
-<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p>
-
-
-<div class="figleft" style="width: 140px;">
-<a name="figp187" id="figp187"></a><img src="images/i_187.jpg" width="140" height="595" alt="" />
-<div class="caption"><span class="smcap">Fig. A.</span></div>
-</div>
-
-<p>To make a bow take a piece of
-any tough, elastic wood, as cedar,
-ash, sassafras or hickory, well-seasoned,
-about your own length.
-Trim it so as to taper gradually
-from the centre to the ends, keeping
-it flat, at first, until you have
-it as in this sketch-for a boy,
-say, five feet in height: (<a href="#figp187">Fig. A</a>)</p>
-
-<p>This represents a bow five feet
-long, one and a quarter inches
-broad in the middle, three-fourths
-of an inch thick at the centre,
-and a half-inch scant at the ends
-in breadth and thickness.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp187a" id="figp187a"></a><img src="images/i_187a.jpg" width="250" height="66" alt="" />
-<div class="caption"><span class="smcap">Fig. B.</span></div>
-</div>
-
-<p>Bend the bow across your knee,
-pulling back both ends, one in each
-hand, the centre against your knee,
-and see whether it is easily bent,
-and whether it springs readily
-back to its original position.
-If so your bow is about the right
-size. Cut near each end the
-notch for the string
-as in this figure:
-(<a href="#figp187a">Fig. B</a>.)</p>
-
-<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p>
-
-<p>Bevel the side of the bow which is to be held
-towards you, so that a section
-of your bow will look like this
-figure: (<a href="#figp188">Fig. C</a>.)</p>
-
-<div class="figright" style="width: 200px;">
-<a name="figp188" id="figp188"></a><img src="images/i_188.jpg" width="200" height="109" alt="" />
-<div class="caption"><span class="smcap">Fig. C.</span></div>
-</div>
-
-<p>The back or flat part is
-held from you in shooting, and the bevelled or
-rounded part towards you. Scrape the bow with
-glass and smooth it with sandpaper.</p>
-
-<p>To shape your bow lay it on a stout,
-flat piece of timber, and drive five ten-penny
-nails in the timber, one at the
-centre of your bow, and the others
-as in figure below, so as to bend the
-ends for about six inches in a direction
-contrary to the direction in which
-you draw the bow: (<a href="#figp188a">Fig. D</a>.)</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp188a" id="figp188a"></a><img src="images/i_188a.jpg" width="150" height="575" alt="" />
-<div class="caption">Fig. D. (A and B are six inches from the ends. The bow is bent slightly at C.)</div>
-</div>
-
-<p>Your bow is now finished as far as
-the woodwork is concerned, and you
-may proceed to wrap it from end to
-end with silk or colored twine, increasing
-its elasticity and improving the appearance.
-The ends of the wrap
-must be concealed as in wrapping a
-fish-hook. Glue with Spaulding’s glue
-a piece of velvet or even red flannel
-around the middle to mark your handhold.<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>
-The ends may in like manner be ornamented
-by glueing colored pieces upon them.</p>
-
-<p>A hempen string, whipped in the middle with
-colored silk, to mark the place for your arrow nock to
-be put, in shooting, will make a very good string.</p>
-
-<p>For arrows any light, tough wood, which splits
-straight, will do. I use white pine, which may be
-gotten from an ordinary store-box, and for hunting-arrows
-seasoned hickory. These must be trimmed
-straight and true, until they are in thickness about
-the size of ordinary cedar pencils, from twenty-five to
-twenty-eight inches in length. They must be feathered
-and weighted either with lead or copper, or by
-fastening on sharp awl-points or steel arrow-points
-with wire.</p>
-
-<p>I used to make six different kinds; a simple
-copper-wrap, a blunt leaden head, a sharp leaden
-head like a minie bullet, an awl-point wrapped with
-copper wire and soldered, and a broad-head hunting-arrow.</p>
-
-<div class="figcenter" style="width: 350px;">
-<a name="figp190" id="figp190"></a><img src="images/i_190.jpg" width="350" height="158" alt="" />
-<div class="caption"><span class="smcap">Fig. E.</span></div>
-</div>
-
-<p>To make a copper wrap, wrap with copper wire the
-last half-inch of the arrow until you get near the end,
-then lay a needle as large as your wire obliquely
-along the arrow as in this figure: (<a href="#figp190">Fig. E</a>.) Continue
-the wrapping until you have weighted the arrow
-sufficiently; draw out the needle and thrust the end<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
-of your wire through the little passage kept by the
-needle, and draw it tight thus: (<a href="#figp190a">Fig. F</a>.)</p>
-
-<div class="figcenter" style="width: 350px;">
-<a name="figp190a" id="figp190a"></a><img src="images/i_190a.jpg" width="350" height="114" alt="" />
-<div class="caption"><span class="smcap">Fig. F.</span><br />(Before wrap was drawn through.)</div>
-</div>
-
-<div class="figcenter" style="width: 350px;">
-<a name="figp190b" id="figp190b"></a><img src="images/i_190b.jpg" width="350" height="61" alt="" />
-<div class="caption"><span class="smcap">Fig. G.</span><br />(After wire was drawn through.)</div>
-</div>
-
-<p>A blunt leaden head is made by pouring three or
-four melted buck-shot into a cylinder of paper,
-wrapped around the end of the arrow, slightly larger
-at the open end, and tied on by a piece of thread.
-The wood of the
-arrow must be
-cut thus: (<a href="#figp190c">Fig.
-H</a>.)</p>
-
-<div class="figcenter" style="width: 300px;">
-<a name="figp190c" id="figp190c"></a><img src="images/i_190c.jpg" width="300" height="66" alt="" />
-<div class="caption"><span class="smcap">Fig. H.</span></div>
-</div>
-
-<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
-
-The paper is put on thus: (<a href="#figp191">Fig. X</a>.)</p>
-
-<div class="figcenter" style="width: 350px;">
-<a name="figp191" id="figp191"></a><img src="images/i_191.jpg" width="350" height="79" alt="" />
-<div class="caption"><span class="smcap">Fig. X.</span></div>
-</div>
-
-<p>It should look like this after the metal has
-been poured in
-and the paper
-all stripped off.
-(<a href="#figp191a">Fig. I</a>.)</p>
-
-<div class="figright" style="width: 300px;">
-<a name="figp191a" id="figp191a"></a><img src="images/i_191a.jpg" width="300" height="60" alt="" />
-<div class="caption"><span class="smcap">Fig. I.</span></div>
-</div>
-
-<p>It should look
-like this after being
-sharpened like a
-minie bullet: (<a href="#figp191b">Fig. J</a>.)</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp191b" id="figp191b"></a><img src="images/i_191b.jpg" width="300" height="66" alt="" />
-<div class="caption"><span class="smcap">Fig. J.</span></div>
-</div>
-
-<p>An awl-point arrow is made by inserting the point
-in the end of the arrow, wrapping with copper wire,
-and getting a tinner to drop some solder at the end
-to fasten the
-wire and awl-point
-firmly
-together. The
-awl-point looks
-like this: (<a href="#figp191c">Fig. K</a>.)</p>
-
-<div class="figright" style="width: 300px;">
-<a name="figp191c" id="figp191c"></a><img src="images/i_191c.jpg" width="300" height="60" alt="" />
-<div class="caption"><span class="smcap">Fig. K.</span></div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp191d" id="figp191d"></a><img src="images/i_191d.jpg" width="300" height="77" alt="" />
-<div class="caption"><span class="smcap">Fig. L.</span></div>
-</div>
-
-<p>The awls (like <a href="#figp191d">Fig.
-L</a>) are filed like this
-into teeth-like<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
-notches on the part
-going into the
-wood, and roundly
-sharp on the other
-part thus: (<a href="#figp192">Fig. M</a>.) These may be shot into an
-oak-tree and extracted by a twist of the hand close to
-the arrow-point.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp192" id="figp192"></a><img src="images/i_192.jpg" width="250" height="79" alt="" />
-<div class="caption"><span class="smcap">Fig. M.</span></div>
-</div>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp192a" id="figp192a"></a><img src="images/i_192a.jpg" width="300" height="154" alt="" />
-<div class="caption"><span class="smcap">Fig. N.</span></div>
-</div>
-
-<p>The broad-head
-hunting-point (<a href="#figp192a">Fig.
-N</a>) is put on by
-slitting the arrow
-and inserting the
-flat handle of the
-arrow point, and
-wrapping it with silk, sinews, or copper wire. These
-points can be sharpened along the line A B on a
-whetstone, and will cut like knives. The hunting
-arrow looks like this: (<a href="#figp192c">Fig. O</a>.)</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="figp192c" id="figp192c"></a><img src="images/i_192c.jpg" width="450" height="118" alt="" />
-<div class="caption"><span class="smcap">Fig. O.</span></div>
-</div>
-
-<p>To feather an arrow you strip a goose feather from
-the quill and, after clipping off the part near the
-quill-end, you mark a line down the arrow from a<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
-point one inch from the nock and, spreading some
-Spaulding’s glue along that line apply the feather,
-lightly pressing it home with forefinger and thumb.
-After you have glued on one piece lay aside the
-arrow and fix another, and so on until the first is
-set, so that you may put on another piece. When
-you have fastened these feathers on each arrow lay
-them aside for ten or twelve hours. The three
-feathers will look like this: (<a href="#figp193">Fig. P</a>.)</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="figp193" id="figp193"></a><img src="images/i_193.jpg" width="450" height="125" alt="" />
-<div class="caption"><span class="smcap">Fig. P.</span></div>
-</div>
-
-<p>A boy can hardly make a good quiver unless he
-were to kill some furred animal and make a cylindrical
-case such as the Indians have, out of its skin.
-I am afraid that he usually would have to get a harness-maker
-to make him a quiver out of leather,
-somewhat larger at the top than at the bottom. It
-should hold from eight to twelve arrows.</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="figp194" id="figp194"></a><img src="images/i_194.jpg" width="450" height="581" alt="" />
-<div class="caption">The Target.</div>
-</div>
-
-<p>A good target may be made of soft pine, circular
-or elliptical in shape. In the latter case a line-shot
-might count, even though it were farther from the<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
-centre. Pieces should be tacked to the back of this
-target at right angles to the grain of the wood.
-Differently-colored circles or rings, a little more than
-the width of an arrow, must be painted on this, with a
-centre twice the width of an arrow. The outer ring<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
-counts one, the next two, three, four and so on to
-the centre, which of course counts highest. By this
-plan one’s score could be told with perfect accuracy.</p>
-
-<p>If an arrow struck on a line between number three
-and four it counts three and a half. Anything like
-this rarely happens. The target is fixed upon an
-easel formed of three pieces of wood fastened
-together by a string at the top, and it ought to lean
-back at the top slightly, away from the archer.</p>
-
-<p>The three arrows count seven, nine, ten&mdash;twenty-six
-in all. In target-shooting you should use awl-pointed,
-wire-wrapped arrows, as they can be easily drawn out
-of even a wooden target.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>
-
-
-
-
-<h2><a name="XXII_SIR_WALTER_SCOTTS_IDEA" id="XXII_SIR_WALTER_SCOTTS_IDEA"></a>XXII.&mdash;SIR WALTER SCOTT’S IDEA.</h2>
-
-
-<p class="drop-capt">SOME years ago, while reading Lockhart’s <cite>Life of
-Sir Walter Scott</cite>, I came across a passage, in
-the autobiographical part, which struck me as so
-suggestive that I copied it; and here I copy it again,
-after which I will say my little say on the subject (it
-was when he was a youth, you know):</p>
-
-<blockquote>
-
-<p>Wherever I went, I cut a piece of a branch from a tree&mdash;these
-constituted what I called my log-book; and I intended to
-have a set of chessmen out of them, each having reference to
-the place where it was cut&mdash;as the kings from Falkland and
-Holy Rood; the queens from Queen Mary’s yew-tree at Crookston;
-the bishops from abbeys or Episcopal palaces; the
-knights from baronial residences; the rooks from royal fortresses;
-and the pawns generally from places worthy of historical
-note.</p></blockquote>
-
-<p>Do you suppose he ever did it?</p>
-
-<p>Now I had had the “collecting craze” for years,
-just as most boys and girls have now; and wherever<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
-I had been, had secured something, till a most
-miscellaneous accumulation was packed away in boxes
-and drawers about the house. Moreover, the rest of
-the children, as they grew up, had been possessed
-with the same idea. The boy who went South had
-obtained specimens of different kinds of woods; the
-one who was in the army had picked up relics; the girl
-who went to the White Mountains, and afterwards to
-Ticonderoga, had gathered mosses, leaves, and wild
-flowers.</p>
-
-<p>Besides, all of us who had a duplicate or a bit to
-spare, had exchanged with some of our friends, just
-as you are all doing. The thing is in the air. Boys
-are boys, and girls are girls, everywhere; and fashions
-repeat themselves, and are passed on. You are doing
-what we did before you; and by and by, others will
-do as you are doing.</p>
-
-<p>The result was that we had a little of everything,
-and a great deal, a very great deal all told; and
-when spring house-cleaning came around, and as in
-all proper households, every closet and drawer, bag
-and bundle was turned inside out, our mother would
-say: “Why don’t you make something out of these<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>
-things? Seems to me if I couldn’t, I’d give them
-to somebody who would.”</p>
-
-<p>There was the trouble&mdash;we meant to; forever
-meaning to do something; but that class, whether old
-or young, does not usually accomplish much.</p>
-
-<p>But let me tell you of things that <em>have</em> been done&mdash;by
-whom it does not matter. One boy started up on
-Sir Walter’s plan, and set the example for his comrades
-(besides correspondents); so that presently
-hand-books on chess made their appearance in the
-neighborhood; and there began to be a great deal
-of turning on lathes, and fine sawing, and whittling,
-and sand-papering. Pretty soon chess was all the
-talk; and as that game is one which requires in
-Wordsworth’s line (written on an altogether different
-subject)</p>
-
-<blockquote>
-
-<p>Endurance, foresight, strength, and skill,</p></blockquote>
-
-<p>(the strength being strength of purpose) also a
-good head for planning, and a memory, it turned
-out that the chessmen fancy proved a good thing.
-Nothing outside of good, hard, school studies can
-better discipline some of the faculties than that game.<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>
-It is indeed no light accomplishment to play even
-tolerably well. Besides, when those boys were absorbed
-in chess, their fathers and mothers did not
-have to worry about them when they were away in the
-evening.</p>
-
-<p>One set had historic associations almost the next
-best thing to Sir Walter’s. Think of the king being
-made of a piece of wood from Mount Vernon; a
-castle (or rook) of a piece from Fort Ticonderoga
-(we have forts, or ruins of forts, enough); a knight
-from a piece of John Brown’s scaffold; and the
-pawns from a peach-tree that grew from a stone a
-soldier had thrown away on a Virginia battlefield.</p>
-
-<p>Chessmen can be made from specimens of wood of
-our native trees; solid oak for king or castle, delicate
-poplar or birch for the queen, and so on; or of any
-curious and rare woods; and almost all have some
-beauty of grain or markings. They can be turned on
-a lathe, and then finished in grooves and otherwise,
-or wholly done with the knife. Many, as you know,
-are in two pieces; and the king and queen in some
-sets can be taken apart in two places, making three.</p>
-
-<p>There are great opportunities in pieces of wood.<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
-The boy who went to the war brought home enough
-of Southern woods for several canes; and for convenience
-in packing, he cut it in sections about six
-inches long; purposing to fit them together on the
-same principle that a cap of rubber is fitted to the end
-of a pencil; by cutting away on one piece to slip into
-a hole made in the next, plug fashion, and there
-glued.</p>
-
-<p>Relics in wood can be worked into a glove box or
-handkerchief box, skilfully joining the parts and as
-skilfully gluing them. Picture frames suggest another
-form. There is one here made by a clerk in a store
-while waiting for customers. It has over three hundred
-small strips, lapping in a fanciful way, and not a
-tack, or a brad is used in the work; but this is too
-complicated.</p>
-
-<p>It is easier to turn out checker-men or napkin-rings,
-or make pen-holders, or paper-knives. Very
-elegant paper-knives can be fashioned, having one
-kind for the blade and two for the handle. But all
-this woodwork must be done with great care, accuracy
-and nicety, not only in the cutting and dovetailing
-or matching of the parts, but in the gluing and finishing<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>
-off, including a delicate oiling to bring out the
-grain. It is nice work; to be sure it is. But if soldiers
-in prisons can do such things as some of our
-soldiers did, with not much besides a jack-knife to do
-with, pray cannot a smart Western or Eastern boy do
-as much?&mdash;between scroll saws and the variety of
-choice tools within his reach, he is not the boy I take
-him for if he cannot make himself a set of chessmen,
-or a work-box for his sister.</p>
-
-<p>As for minerals, I lately saw at a State Fair a box
-on which broken-up specimens from that State were
-glued, crusting it all over with stone that sparkled in
-places like crystal. On each specimen was a mere
-speck of paper with a number on it, which corresponded
-to a number on a written list placed inside,
-telling what they were&mdash;beryl, tourmaline, quartz,
-etc., etc., and I thought it an admirable thing.</p>
-
-<p>In a parlor, arranged in a border around the little
-iron fence in front of the coal grate I once saw a
-curious display of cobble-stones brought home from
-different beaches. The lady who put them there was
-artistic, and the effect was pretty. Sea-shells of delicate
-varieties can be used as necklaces or bracelets if<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
-pierced with a red-hot darning needle, or in some way
-bored to admit of being strung; some of those lovely,
-iridescent, foreign shells, strung in such a way, are
-greatly to be desired. You can think of so many
-ways to put them to pretty use!</p>
-
-<p>Mosses and lichens you can group on card-board
-or glue them to a wooden cross. With leaves and
-pressed flowers you can do no end of things. You
-can mount them on card-board, or make a wreath
-of them around a piece of wire or rattan; or ornament
-a fan with them&mdash;a round, Japanese fan, recovering
-it with silk or paper of a neutral color, for
-background. One girl made a transparency with
-three or four bright autumn leaves (from a woodbine),
-which were gathered from among some that
-had fallen at Longfellow’s gate&mdash;just where the
-poet’s feet had passed in and out hundreds of times.
-She cut two pieces of coarse lace to fit the window-pane,
-glued her cluster of leaves in the centre between
-them, then overcast the outer edges and put on a deep
-binding of crimson velvet. As the light streamed
-through they were gorgeous as old stained glass.</p>
-
-<p>If you collect relics, souvenirs, momentos, curiosities,<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
-they are worth arranging. If you get tired of
-them, give them to somebody else.</p>
-
-<p>All these articles require much painstaking. They
-will be spoiled for any person of good taste if they
-are daubed, out of proportion, or awry. Don’t let
-them have a home-made look either. They need
-not. No reason why a boy of average skill should
-not do as well, after some experience, as those sailors
-in the light-ships; or why a girl should not, with care
-and all her trying, make as pretty things as the gypsy
-women or the nuns, of whom people like so well to
-buy.</p>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p>
-
-
-
-
-<h2><a name="XXIII_KNOTS_HITCHES_AND_SPLICES" id="XXIII_KNOTS_HITCHES_AND_SPLICES"></a>XXIII.&mdash;KNOTS, HITCHES AND SPLICES.</h2>
-
-
-<p class="drop-capt">WHEN I was a boy (which was not so very long
-ago), it was my fortune, one time, to make a
-trip from Bristol, Rhode Island, to New York, as a
-sort of working passenger in the sloop <i>Resolution</i>,
-Captain Israel Northup. One morning the captain
-called out to me from the wheel to bring aft a bucket
-of water, at the same time pointing to a wooden pail
-that stood on the deck near me. I therefore made
-fast (as I thought) to the handle of the pail the end of
-the peak halliards and dropped it over the side. It
-filled readily enough, and I was carelessly pulling it
-up again, when suddenly, to my great chagrin, the
-knot that I had made untied itself, and away went the
-pail drifting rapidly astern.</p>
-
-<p>Captain Israel, although he had witnessed the whole
-of this performance, said nothing at the time. But a<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
-little later, chancing to walk
-past where I was sitting, he
-picked up the end of a rope,
-and, running it through a ringbolt
-near by, showed me the
-knot which you see in <a href="#figp205">Fig. 1</a>.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp205" id="figp205"></a><img src="images/i_205.jpg" width="200" height="120" alt="" />
-<div class="caption">FIG. 1.&mdash;ANCHOR-BEND.</div>
-</div>
-
-<p>“The next time you throw a bucket overboard,” said
-he, “you’d better make it fast with an Anchor-bend.”
-Then in the kindness of his heart he sat down on
-the rail beside me and gave me a practical lesson
-(afterwards several times renewed) in the matter of
-rope-tying.</p>
-
-<p>“There is some things about ropes that a boy
-<em>must</em> know to be wuth anything at all,” observed he.
-“An’ there mought be times when a man would give
-all Cuby ter know how ter tie two ropes together so’t
-they’d <em>stay</em>.”</p>
-
-<div class="figright" style="width: 300px;">
-<a name="figp205a" id="figp205a"></a><img src="images/i_205a.jpg" width="300" height="156" alt="" />
-<div class="caption">FIG. 2.&mdash;THE WRONG WAY.</div>
-</div>
-
-<p>Believing that
-these words of
-Captain Israel
-are worth heeding,
-and wishing,
-so far as is possible in an article like this, to do for other<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span>
-boys what the worthy old sailor did for me, I shall ask
-the readers&mdash;both boys and girls, mind you&mdash;to take
-a rope and practise, according to the following directions,
-some few of the most important knots, hitches
-and splices.</p>
-
-<p>The first thing to be sure of is the right way to
-fasten together two pieces of string or rope. That is
-a thing that some of us have to do twenty times a
-day; and it is quite probable that twenty times a day
-we do it wrong. Suppose that you wish to lengthen
-your fish-line, or add another ball to your kite-string:
-how will you do it? Shall you lay the two ends side
-by side and then twist them together into a knot just
-such as your sister would make in the end of her
-thread, as is seen in <a href="#figp205a">Fig. 2</a>?</p>
-
-<p>If you do, you may fairly expect that your fish (if
-you hook him) will get away with the main part of
-your line, or that presently your kite will go skurrying
-off to northward far out of your sight, until you
-find it again, half an hour later, after a hot chase,
-hanging tangled and torn in one of the trees of farmer
-Applewood’s orchard. Such a knot is at least as
-likely to slip as to hold, and, if tied in a rope, is liable<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span>
-sooner or later to cut the rope, because the strain
-is at right angles. What is really wanted is a Square-knot
-(<a href="#figp207">Fig. 3</a>, <i>a</i>).</p>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp207" id="figp207"></a><img src="images/i_207.jpg" width="250" height="278" alt="" />
-<div class="caption">FIG. 3.<br />
-A SQUARE OR REEF-KNOT.<br /> A GRANNY.</div>
-</div>
-
-<p>Take the two ends and
-tie them together exactly as
-you would tie a “hard-knot”
-in your shoe-string. Only
-you must be careful and not
-tie a Granny (<a href="#figp207">Fig. 3</a>, <i>b</i>).</p>
-
-<p>One <em>may</em> slip, the other
-won’t.</p>
-
-<p><a href="#figp207a">Fig. 4</a> is a Becket-hitch,
-the proper knot for joining a large and a smaller
-rope. It will be useful, for example, when the keleg-line
-of your boat is too short, and the
-only line at hand to bend on to it is a
-stout piece of hemp twine.</p>
-
-<div class="figright" style="width: 150px;">
-<a name="figp207a" id="figp207a"></a><img src="images/i_207a.jpg" width="150" height="308" alt="" />
-<div class="caption">FIG. 4.&mdash;A
-BECKET-HITCH.</div>
-</div>
-
-<p>A loop at the end of a rope&mdash;that is,
-a loop that will not draw up&mdash;is another
-knot that has frequently to be made.
-And yet few people know how to make
-it. I know a very bright young fellow
-living out at the Highlands, who the<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
-other day made a loop in the end of a rope which
-he <em>knew</em> would not slip, and then, squeezing it over
-his dog’s head, tied him to the kennel and went off
-to school by himself. But the loop did slip, and
-poor Don almost choked to death before his plight
-was discovered. What is wanted in such a case
-is a Bowline.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp208a" id="figp208a"></a><img src="images/i_208a.jpg" width="200" height="223" alt="" />
-<div class="caption">FIG. 5.&mdash;THE BOWLINE.</div>
-</div>
-
-<p>Make a bight near the end of your rope, as in the
-first cut of <a href="#figp208a">Fig. 5</a>. Seize this
-with the left hand at <i>a</i>, and
-then with the right hand pass
-the end <i>b</i> up through the bight,
-around behind the main part
-of the rope at <i>c</i> and down in
-front of it through the bight
-again as in <i>d</i>. Draw this tight
-and you have the much-talked-of Bowline. It is a very
-simple matter, as you see; but with it you can make a
-slip-noose that will give you no trouble in lacing up
-your box, or you can put your dog’s head in it without
-fear of coming home and finding him “dead at his
-post;” or the farmer’s daughter can safely tether a<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>
-pet pony or the bleating calf out to feed upon the
-fresh grass.</p>
-
-<div class="figcenter" style="width: 550px;">
-<a name="figp209" id="figp209"></a><img src="images/i_209.jpg" width="550" height="235" alt="" />
-<div class="caption">FIG. 6.<span class="space">&nbsp;</span>FIG. 7.<span class="space">&nbsp;</span>FIG. 8.<span class="space">&nbsp;</span>FIG. 9.</div>
-</div>
-
-<p>While speaking still of the ends of ropes, let us
-stop and learn to “fasten them off” properly to prevent
-their untwisting or fraying out. The painter or
-main-sheet of your boat, Bridget’s clothes-line, your
-little sister’s jump-rope, and indeed <em>any</em> rope whose
-end is not (like the Irishman’s) cut off altogether,
-may need such treatment. The simplest method is
-to “serve” or wind the end with small twine. A
-Single-wall (<a href="#figp209">Fig. 6</a>), or a Double-wall (<a href="#figp209">Fig. 7</a>), is better.
-But better still is the Boatswain’s-whipping,
-formed by making an inverted single-wall and then
-splicing the ends back over the rope itself (<a href="#figp209">Fig. 8</a>
-and <a href="#figp209">Fig. 9</a>).</p>
-
-<p><span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p>
-
-<p>The most elegant of all such, however, is
-the Stopper-knot,
-seen
-complete in
-<a href="#figp210a">Fig. 14</a>.</p>
-
-<p>Place the
-end <i>a</i> as in
-<a href="#figp210">Fig. 10</a>,
-holding
-it with the
-thumb at
-<i>d</i>; pass <i>b</i>
-around
-under it,
-<i>c</i> around
-under
-<i>b</i> and
-through the bight of <i>a</i>, and pull tight; this forms
-a Single-wall (<a href="#figp210">Fig. 11</a>). Now lay <i>a</i> over <i>d</i>, <i>b</i>
-over <i>e</i>, <i>c</i> over <i>b</i> and through the bight of <i>a</i>, and
-draw tight (<a href="#figp210a">Fig 12</a>).</p>
-
-<p>Next pass <i>b</i> down around <i>f</i> and up through the
-bight <i>g</i>, and do the same with <i>a</i> and <i>c</i>, forming <a href="#figp210a">Fig. 13</a>.</p>
-
-<div>
-<div class="figcenter" style="width: 400px;">
-<a name="figp210" id="figp210"></a><img src="images/i_210.jpg" width="400" height="263" alt="" />
-<div class="caption">FIG. 10.<span class="space">&nbsp;</span>FIG. 11.</div>
-</div>
-
-<div class="figcenter" style="width: 500px;">
-<a name="figp210a" id="figp210a"></a><img src="images/i_210a.jpg" width="500" height="271" alt="" />
-<div class="caption">FIG. 12.<span class="space">&nbsp;</span>FIG. 13.<span class="space">&nbsp;</span>FIG. 14.</div>
-</div>
-<div class="caption">THE FIVE STEPS OF THE STOPPER-KNOT.</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span></p>
-
-<div class="figleft" style="width: 250px;">
-<a name="figp211" id="figp211"></a><img src="images/i_211.jpg" width="250" height="67" alt="" />
-<div class="caption">FIG. 15.&mdash;A SHEEPSHANK, BEFORE
-IT IS DRAWN TIGHT.</div>
-</div>
-
-<p>Then pass each strand by the side of the strands
-in the crown down through the walling to form the
-“double-crown,” and cut close the ends <i>a</i>, <i>b</i> (and <i>c</i>),
-producing <a href="#figp210a">Fig. 14</a>.</p>
-
-<p>A Sheepshank (<a href="#figp211">Fig. 15</a>) is a knot by which a rope
-may be made shorter, or (as a young yacht-woman of
-my acquaintance recently
-expressed it) “a tuck taken
-in it.” If the tide has
-come in and you wish
-to shorten the mooring-line
-of your boat, or if the line by which your
-campaign flag is suspended across the street is too
-loose, or your clothesline, or your swing, has sagged
-frightfully, the Sheepshank will gather up the slack
-for you and hold it firmly.</p>
-
-<p>When one wants to make
-an artificial handle for an
-old jug or some other vessel,
-the True-Lover’s knot is used,
-as seen in <a href="#figp211a">Fig 16</a>.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp211a" id="figp211a"></a><img src="images/i_211a.jpg" width="250" height="294" alt="" />
-<div class="caption">FIG. 16.&mdash;THE TRUE-LOVER’S
-KNOT.</div>
-</div>
-
-<p>Tie two loose knots, <i>a</i>, <i>b</i>,
-as in the first cut of <a href="#figp212">Fig. 17</a>;<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
-pass the bight <i>a</i> through the opening <i>f</i>, the bight <i>b</i>
-through <i>g</i>, pull the loops equal, and, to complete the
-knot as in second cut of <a href="#figp212">Fig. 17</a>, join the ends <i>c</i>,
-<i>d</i>, by a long splice at <i>e</i>.</p>
-
-<div class="figleft" style="width: 350px;">
-<a name="figp212" id="figp212"></a><img src="images/i_212.jpg" width="350" height="220" alt="" />
-<div class="caption">FIG. 17.</div>
-</div>
-
-<p>The Jar-sling, seen in Fig. 20, serves a similar purpose.
-You are out picnicking, perhaps, and you suddenly
-find it desirable to convert an empty gherkin
-bottle into a swing-vessel in which to take home alive
-some tadpoles or minnows. In a long piece of
-cord make a large loop as in <a href="#figp213">Fig. 18</a>, and hold the
-bight against the standing parts, <i>a, a</i>; pass the thumb
-and forefinger of the other hand down through <i>c</i>, lay
-hold of <i>b</i> where the crook of the imaginary wire is
-seen, and draw it through <i>c</i> down a little below <i>a, a</i>,
-as in <a href="#figp213">Fig 19</a>, <i>d</i>, and hold it there. Now pass the
-thumb and forefinger
-down
-through the opening
-<i>e</i> (in the
-way the wire
-goes), lay hold
-of <i>g</i>, and draw
-it up through<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
-<i>e</i>, forming the complete knot as in <a href="#figp213">Fig. 20</a>.</p>
-
-<p>One more knot, the Turk’s-head (<a href="#figp214a">Fig. 23</a>), remains
-to be described before we pass to the briefer subject
-of hitches. Take a long piece of fishing-cord, place the
-end <i>a</i> against the forefinger, wind the cord around the
-two fingers and hold it with the thumb, as in <a href="#figp214">Fig.
-21</a>.</p>
-
-<div class="figcenter" style="width: 500px;">
-<a name="figp213" id="figp213"></a><img src="images/i_213.jpg" width="500" height="247" alt="" />
-<div class="caption">FIG. 18.<span class="space">&nbsp;</span>FIG. 19.<span class="space">&nbsp;</span>FIG. 20.</div>
-</div>
-
-<p>Now with the other hand lay the part <i>b</i> <em>over</em> part
-<i>c</i>, and while in that position pass the end <i>a</i> down between
-them, over the first crossing, under left strand,
-up between, over second crossing, under right strand,
-up between; take the hitch off your fingers, and it will
-be as in <a href="#figp214a">Fig. 22</a>.</p>
-
-<p>Next pass the loose end through the opening<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
-<i>d</i>, laying it against
-the cord <i>a</i>; then with
-it follow that strand (<i>a</i>)
-over and under, over
-and under, until you
-have a complete plait
-of three cords. Pass
-the knot over a stick to make it taut, and cut the ends
-close.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp214" id="figp214"></a><img src="images/i_214.jpg" width="250" height="172" alt="" />
-<div class="caption">FIG. 21.</div>
-</div>
-
-<p>The Turk’s-head knot, like the two preceding it,
-will tax your precision,
-deftness and patience, and
-is an ornamental rather
-than a useful knot. You
-may weave one from wire
-or cord about the handle
-of your cane or riding-whip,
-or you may pull a few hairs from old Dobbin’s
-tail and make them into a very pretty horsehair
-ring for your cousin Fanny when you two are
-out driving together along the forest road.</p>
-
-<div class="figleft" style="width: 350px;">
-<a name="figp214a" id="figp214a"></a><img src="images/i_214a.jpg" width="350" height="267" alt="" />
-<div class="caption">FIG. 22.<span class="space">&nbsp;</span>FIG. 23.</div>
-</div>
-
-<p>The knots in Figs. <a href="#figp215">24</a>, <a href="#figp215a">25</a> and <a href="#figp215b">26</a> explain themselves;
-they are often useful to picnickers and campers-out.<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
-<em>Hitches</em> are no less <em>knots</em> than any of the foregoing;
-but they are knots used to fasten the end of a rope to
-any object in such manner as to be easily cast off
-when no longer needed. They are few in number,
-and all very simple and easily described.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp215" id="figp215"></a><img src="images/i_215.jpg" width="300" height="212" alt="" />
-<div class="caption">FIG. 24.&mdash;TWO WAYS
-OF FASTENING A WEIGHT TO A LINE.</div>
-</div>
-
-<div class="figright" style="width: 200px;">
-<a name="figp215a" id="figp215a"></a><img src="images/i_215a.jpg" width="200" height="152" alt="" />
-<div class="caption">FIG. 25.&mdash;TO TIE A
-SHORT LINE, TO WHICH
-A HOOK IS ATTACHED,
-TO A LONGER OR
-GROUND LINE.</div>
-</div>
-
-<div class="figleft" style="width: 100px;">
-<a name="figp215b" id="figp215b"></a><img src="images/i_215b.jpg" width="100" height="224" alt="" />
-<div class="caption">FIG. 26.&mdash;TO
-FASTEN
-A LINE TO
-A FISHHOOK.</div>
-</div>
-
-<p>A Blackwall hitch is merely a loop
-thrown about a hook, as in <a href="#figp216">Fig. 27</a>, in such
-a way that the main part of the rope, <i>c</i>,
-being pulled downward, the part a jams
-the part <i>b</i> against the hook so firmly that
-while the strain is kept up the knot cannot
-possibly slip. Sailors use this hitch
-very frequently, but it can be used on land
-as well as at sea. If you have retreated,
-in a game of “Chase,” to the topmost
-branch of the oak-tree on the lawn, and have a rope in<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
-your hand just long enough to reach the ground and no
-longer, just make, in a single instant of time,
-a Blackwall hitch in the crotch of the limb, and, if
-you dare trust yourself to it, it will take you to the
-ground in perfect safety, long before
-your pursuer can climb down again
-by the way he came up; and you can
-carry off your rope with you.</p>
-
-<div class="figright" style="width: 150px;">
-<a name="figp216" id="figp216"></a><img src="images/i_216.jpg" width="150" height="220" alt="" />
-<div class="caption">FIG. 27.&mdash;BLACKWALL
-HITCH.</div>
-</div>
-
-<p>Or possibly you might be “up a
-tree” in a different way. Old Tibbetts,
-your father’s gardener, not daring
-to trust himself away from mother
-earth, has sent you up into the elm tree to saw off
-for him the limb that is growing too near the
-house. But that limb must not be allowed to come
-crashing down; and so, with the rope you have
-taken up with you, you cast about it, while you
-saw, a Timber hitch, shown in <a href="#figp217">Fig. 28</a>.</p>
-
-<div class="figleft" style="width: 150px;">
-<a name="figp217" id="figp217"></a><img src="images/i_217.jpg" width="150" height="150" alt="" />
-<div class="caption">FIG. 28&mdash;TIMBER
-HITCH.</div>
-</div>
-
-<div class="figright" style="width: 150px;">
-<a name="figp217a" id="figp217a"></a><img src="images/i_217a.jpg" width="150" height="150" alt="" />
-<div class="caption">FIG. 29.</div>
-</div>
-
-<p>Of all hitches, however, the one which any man or
-boy can least afford not to know is the Clove
-hitch. Make two bights or loops, as in <a href="#figp217a">Fig. 29</a>;
-hold them between the thumbs and forefingers<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span>
-at <i>a</i>, <i>b</i>; slide the left loop over
-the right loop; then slip the
-double loop thus formed over the
-table-leg, or your brother Willie’s
-finger, or anything that will represent
-a post, and draw tight by
-the end (<a href="#figp218">Fig. 30</a>). Practise this
-until your fingers can do it swiftly and <em>of themselves</em>,
-just as your tongue can say the alphabet; for a
-Clove hitch, when it is used, needs to be made
-quickly and handsomely. I once
-saw a young cadet from Annapolis,
-who had been out on a sailing
-party with some ladies and had
-jumped ashore with a rope, hesitate
-at least half a minute before he could
-think how to make the proper knot, while a number
-of old sea captains sitting by were watching him and
-laughing among themselves. A Clove hitch may be
-used, too, when, while out fishing, you extemporize
-an anchor by tying a rope to a stone. And in <a href="#figp218a">Fig.
-31</a> you see again how this knot, <i>e</i> (with a half-hitch,
-<i>f</i> in front of it), is used to tow a floating spar<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
-or drag a piece of timber across the field.</p>
-
-<div class="figleft" style="width: 200px;">
-<a name="figp218" id="figp218"></a><img src="images/i_218.jpg" width="200" height="223" alt="" />
-<div class="caption">FIG. 30.&mdash;THE CLOVE
-HITCH.</div>
-</div>
-
-<p>Two other hitches, a Rolling
-hitch and a Cat’s-paw, are
-shown in <a href="#figp219">Fig. 32</a>.</p>
-
-<div class="figright" style="width: 250px;">
-<a name="figp218a" id="figp218a"></a><img src="images/i_218a.jpg" width="250" height="114" alt="" />
-<div class="caption">FIG. 31.&mdash;FLOATING SPAR.</div>
-</div>
-
-<p>Splicing is a process by
-which ropes are joined together
-so as to leave no knot. I appreciated
-its importance the
-other morning when I saw an
-intelligent man of fifty work
-for an hour to splice a hammock rope. Where it is
-specially important that the joining be a very nice
-and smooth one, the “short” splice is used. It is
-made by passing the strands of one piece in
-and out between those
-of the other. The short
-splice always leaves the
-spliced part thicker and
-clumsier than the rest of
-the rope. If it is desirable that the joining be a very
-neat one, so as to admit of the rope’s running readily
-through the sheave-hole of a block, the “long” splice
-is necessary. This is made by unwinding each end<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
-about two inches, placing the strands as in the short
-splice, then unwinding
-one
-strand further
-back, and winding
-the corresponding
-strand of the other
-piece in its place;
-proceeding in the same way with the other strands, and
-then fastening the ends in such a way that it is
-almost impossible to detect the splice. We have not
-space to describe
-here the
-exact mode of
-procedure; but
-there is scarcely
-a town or
-village anywhere
-but has
-its “old sailor,”
-and there is no old sailor anywhere but will
-be glad to come and give you all a lesson in splicing.</p>
-
-<div class="figleft" style="width: 300px;">
-<a name="figp219" id="figp219"></a><img src="images/i_219.jpg" width="300" height="192" alt="" />
-<div class="caption">FIG. 32.
-A ROLLING HITCH.<br />
-A CAT’S-PAW.</div>
-</div>
-
-<div class="figright" style="width: 350px;">
-<a name="figp219a" id="figp219a"></a><img src="images/i_219a.jpg" width="350" height="255" alt="" />
-<div class="caption">FIG. 33.<span class="space">&nbsp;</span>FIG. 34.</div>
-</div>
-
-<div class="figcenter" style="width: 400px;">
-<a name="figp220" id="figp220"></a><img src="images/i_220.jpg" width="400" height="219" alt="" />
-<div class="caption">FIG. 35.<span class="space">&nbsp;</span>FIG. 36.<span class="space">&nbsp;</span>FIG. 37.</div>
-</div>
-
-<p>A splice that you can very easily learn for yourselves,<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
-however, is the Eye-splice. First make
-yourself a
-marling-spike&mdash;if
-you have
-not the genuine
-article
-by
-whittling down to a point a piece of hard wood.
-I have found that the half of a clothes-pin,
-so treated, answered the purpose exceedingly well.
-Then take a piece of good three-strand rope, unwind
-the strands, and place them as you see <i>a</i>, <i>b</i>, <i>c</i>, in
-<a href="#figp219a">Fig. 33</a>. Open the strand <i>d</i> and pass <i>a</i> through it,
-as in <a href="#figp219a">Fig. 34</a>; then open <i>e</i> and pass <i>b</i> <em>over</em> <i>d</i> and
-<em>under</em> <i>e</i>, as in <a href="#figp220">Fig. 35</a>. Turn the eye over, <a href="#figp220">Fig. 36</a>,
-open <i>f</i> and pass <i>c</i> through it, as in <a href="#figp220">Fig. 37</a>, and pull
-the strands tight. Now pass <i>a</i> <em>over</em> the strand next
-it, <em>under</em> the next one, and so on with the others.
-Proceed in the same way until the splice is about an
-inch long. Then stretch the eye (holding by the
-rope) to tighten everything, and cut the ends close.
-If you will make a neat Eye-splice all by yourself and<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>
-take it to the old sailor aforementioned, he will be sure
-to think it worth while to teach you all he knows, and
-he will be likely to tell you many things about knots,
-hitches and splices which are of necessity omitted here.</p>
-
-</div>
-
-<div class="chapter">
-
-
-
-<hr class="chap" />
-<h2><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES:</h2>
-
-<div class="footnote">
-
-<p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> I do not explain again how to use a chalk line and a splitting-saw, for you
-ought to thoroughly understand that if you have read the other papers and
-made the sawhorse and workbench yourself.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> Where accuracy is required always allow one eighth inch for waste in sawing;
-draw line and saw <em>on</em> the line and plane off any thickness over and above
-the measure required.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> Always remember to square and plane edges <em>before</em> measuring from them.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> The operator should bear in mind that old saying, “A pint’s a pound, the
-world around,” then he will remember that it contains sixteen fluid ounces,
-four ounces to the gill, &amp;c.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> Many preparations are advertised for sticking the prints to the cards, but
-common starch paste is about as good as anything. Mix the starch in cold
-water, very thin, and then boil it, constantly stirring it to break up lumps, and
-remove from the fire soon as it reaches the boiling point. The prints should
-be wet and pasted on while quite moist, rubbing them down beneath a sheet
-of blotting-paper from the centre to the margin, in order to expel all air, that
-would otherwise cause lumps or wrinkles.</p></div>
-</div>
-
-<div class="chapter">
-
-
-<hr class="chap" />
-
-<div class="transnote">
-<h2>Transcriber’s Notes</h2>
-<p>Minor punctuation errors have been corrected.</p>
-<p>Some inconsistencies in hyphenation have been left as printed.</p>
-<p>In the text version underscores have been used to indicate _italics_,
-and equals signs to show =bold= text.</p>
-
-<ul class="index">
-<li>Figure numbering is not consistent through the book.</li>
-<li>p 79. The figure here is mislabelled as Fig 2 and has been corrected to Fig. 1.</li>
-<li>p 107. Fig14 is out of order and repeated further on, left as printed.</li>
-<li>p. 58. “Half the length of brass piece” has been corrected to “Half the length of the brass piece”.</li>
-<li>p. 106. “50 feet, &#x215E; inch pien” changed to “50 feet, &#x215E; inch pine”.</li>
-<li>p. 144. Fig. 3 appears to be upside down. It has been left as printed.</li>
-<li>p. 166. “No we have a pile of books” changed to “Now we have a pile of books”.</li>
-<li>p. 167. “The back cloth is always at beast an inch longer”
-changed to “The back cloth is always at best an inch longer”.</li>
-<li>p. 174. “hindrances that I had to encouter” changed to “hindrances that I had to encounter”.</li>
-</ul>
-</div>
-
-</div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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